Postcards for two events I’m excited to be a part of this summer: The Utah Arts Festival in SLC, June 26-29 and Art on the Rockies in Vail, CO, July 11-13. I would love to see you there! If you’d like a postcard - whether you can make it or not - just email me your address les@lesliedukeart.com. #utahartsfestival #artontherockies #art #mailtime
The Salt City Strangers guys aka Deviantart podcast guys will be preforming at the Utah Arts Festival. We will also have a booth! Come by and say hi!
June 26-29
Brunch is a Big Deal @UtahArtsFest! http://uaf.org/bigdeal #artfansunite #yum (at Library Square)
For one day only you can buy 4-Day Passes to the 2014 Utah Arts Festival for only $20!! Check out uaf.org for more details.
Brand new prints from @Boilerplate1893 for @stumptowncomics this weekend! #DoctorWho #Boilerplate #nofilter
Graphic novelists Anina Bennett and Paul Guinan, authors of “Frank Reade: Adventures in the Age of Invention” will present workshops daily in comic art and writing. They will offer workshops geared toward ages 7 to 13, and another for ages 14 and older.
III. Textures of the Mamaland.
On my skin, in the 86 degree heat, the sweat beads up. And soon, my entire body is covered by this layer of sweat. The sun beating down on the sandbar, the ocean on either side of my feet, I start to feel I am in a desert, the white sand bouncing the...
Finding the Bones in Immigrant America
In her new chapbook, Finding the Bones, poet Aimee Suzara writes about a Filipino migrant family, their place in the Philippines and the U.S., as well as the relationship between the “sending” and “receiving” country. The scope is simultaneously expansive (geographically and historically) and intimate as she asks the reader to constantly move between countries, to grasp the present by understanding the past. Divided into three sections, Finding the Bones digs through the materials of an unnamed narrator’s personal and family story, while discovering ancient layers of sedimented life, creatures that bear some eerie semblance to us. Suzara’s poetic excavations complicate the relationship between “hard science” and supernatural activity and re-member their artifacts into new life forms.
In the first part, “Manifest Destiny,” we are presented with multiple layered destinies that continuously unfold across numerous planes of time instead of the singular Manifest Destiny of history books. In “Manifest Destiny 1980,” westbound migrations take place not in canvas-covered wagons or horseback, but in a shiny red Saab on a paved road. The journey of a young Filipino family, including a 4 year-old girl, is layered over the westward push mandated by Thomas Jefferson’s letter to Meriwether Lewis and the Discover Corp in 1803. Sometimes Suzara reveals these parallel journeys, and sometimes she mashes the narratives jaggedly into each other, such as in her cut-up-style “Science.” Here, the narrative about the found skull of a native American man is mosaiced with the narrator’s story about her own skull that was warped at birth, as well as text about racial classification based on skull structure. Together, the narrative shards form a kind of strange, kaleidoscopic composite body that evokes the eeriness (if not horror) of desecrated human remains, and the racial legacies of obsolete practices in western science.
In “Possesions,” the chapbook’s second part, the technologies of empire and US conquest of the Philippines are dissected for us to inspect. Suzara uses primary sources to reveal the role that measuring, inspecting, exhibiting, and naming played in disciplining colonial subjects. In “Suture,” Suzara combines historical documents from 19th century British observers and the names of Filipinos on live display at the St. Louis world Fair with the narrator’s experiences. Yet “Possessions” also evokes the supernatural, pressing on the multiple meanings of the word. A possession can be defined as control over property as well as domination by something else such as an evil spirit, passion or idea. Suzara stitches together disparate parts into a new being that highlights the monstrosity of colonization and construction of race.
In reading Suzara’s carefully constructed depiction of empire, the reader is simultaneously taking an inventory of empire’s residue on father, mother, and daughter—the “cowgirl-Material Girl’s” desire to have freckles, dimples, and pale, white skin. In “Tiny Fires,” the ancestors reproach Americanized migrants and colonized Filipinos and a daughter searches for her mother.
By naming the family members father, mother, and daughter, Suzara invites us to sift through our own narratives to find the bones that will tell us or testify to their (and our) unspoken histories.
Aimee Suzara has been sharing poetry and multidisciplinary performance since 1999. Her play, Pagbabalik (Return) appeared in festivals in 2006-7 and she is working on her second, A History of the Body, both supported by the Zellerbach Family Foundation. Recently, she collaborated with Amara Tabor Smith and Deep Waters Dance Theater for the food-justice themed dance theater piece, Our Daily Bread. Her poems appear in several journals and anthologies such as Kartika Review, 580 Split, Lantern Review,Walang Hiya: Literature Taking Risks Toward Liberatory Practice, Check the Rhyme: An Anthology of Female Poets and Emcees and Poets (Lit Noire Press) and her chapbook, the space between (Finishing Line Press). She’s been featured as a spoken word artist throughout the SF Bay Area and nationally, including at Stanford, Mt. Holyoke College, Portland State University, and UC Santa Cruz. An advocate for the intersection of arts and literacy, she is a creative writing lecturer at Cal State University Monterey and leads workshops in poetry and performance for youth and adults.
@AimeeSuzara, a writer from the Bay Area, will be presenting a mini-workshop, “Making Soul” on Saturday, June 22 #artfansunite
Utah Arts Festival. Dance in the grass, usher in the summer.
We will see you June 20-23!
Jason Isbell doesn’t mince words while discussing his battle with the bottle. “Man, I’m an alcoholic,” the Alabama singer-songwriter said of his addiction that…
A great No Depression interview with 2013 Festival Headliner Jason Isbell!
Just a few pictures I took at the festival.
Clyde Ashby, of Copper Palate Press, prints the new Utah Arts Festival logo on a t-shirt as the festival unveils its new visual look in Salt Lake City on Monday, Feb. 7, 2011. (Kristin Murphy, Deseret News)
..usually the #utahartsfestival lands on my bday wkend..its a wkend early this yr! figure ill go Saturday night or Sunday.. #downtownslc #slc #UAF #utahartsfest #library (Taken with Instagram)
I also got a new watch.
Be an art fan! Visit www.uaf.org for all the latest details, news and artists, and follow us on Facebook and Twitter -- @utahartsfest #artfansunite
Be an art fan! Visit www.uaf.org for all the latest details, news and artists, and follow us on Facebook and Twitter -- @utahartsfest #artfansunite
Love. (Taken with Instagram)
Be an art fan! Visit www.uaf.org for all the latest details, news and artists, and follow us on Facebook and Twitter -- @utahartsfest #artfansunite