On May 29, Iris Cushing wrote the Pete’s Candy Store mailing list with news of dear friend and former student Cole Heinowitz’s drowning in the Yuba River, Northern California, on Saturday, May 25—Memorial Day Weekend. This page records a series of dates; I first learned of the terrible fact on Tuesday, May 27, just arrived in San Diego for several days work in the UCSD Archive. It is now Saturday, July 5, as I write this, six weeks to be precise from the initiating date. Thus I am making a memorial within the confines and limits of memory, as a memorial in itself. On June 6, Iris wrote again, inviting me and a number of writers close to Cole to read at a memorial event on June 13. I have found that memory works in a series (a nested stack) of distinct but mutually supporting frameworks. There could be no doubt about my wanting to participate and attend. First there is the durational spread that gives us the illusion of living in the present; then short-term memory, lasting through the day and likely as long as a weekend. My decision to attend and book a flight and lodging was made in that frame, and was implemented over the next few hours. As I move forward, through ever longer spans of duration, I reach the proximate limit of a time span of about three weeks. It was within this initial three-week time span that the memorial was scheduled and took place; it is now three weeks from that date. I am writing, then, before its temporal proximity shifts and the event, and all that it articulated, is further displaced. … More
Entries tagged with art
July 5, 2025
Event 106: I Met (Memorial Page)
May 5, 2024
Entry 58: Smithson and the Turn to Poetics
In a postscript to her major biocritical reassessment of Robert Smithson and his oeuvre (Inside the Spiral: The Passions of Robert Smithson), Suzaan Boettger recalls the arrival by mail of the just-published collection of The Writings of Robert Smithson (1979), edited by Nancy Holt and designed by Sol LeWitt. This watershed publication—at the boundary of literature and art, production and reception, content and design—truly launched Smithson into the “Domain of the Great Bear,” his art-historical destiny in the starry night. She sees it as a biographical convergence, writing in her copy:
“This book arrived in the mail on my birthday, 1979, as I was on my way to deliver my first lecture—on earthworks.” While I had prepared by reading Smithson’s texts published in periodicals, the collection’s appearance on the day of my lecture seemed nothing less than serendipitous. (339)
October 21, 2023
Entry 53: With Etel Adnan at Erquy
In July 2018 I traveled with Carla Harryman to visit Etel Adnan in Erquy, the beach town in Brittany where she kept an apartment with direct access to the beach, weather, and sunset. Simone Fattal was not present, while Etel was staying with a younger companion and gifted painter, Eugenie Paultre. I cannot locate photos from the period but Eugenie’s painting titled Mer, recalling the view from Etel’s balcony, suggests the drama and strangeness of this coast—while Erquy continues as a mid-tier vacation retreat, with small hotels, flea markets, parking, normative uses of the beach, hang gliding in the distance, strong tides.
In 2020 Etel published Shifting the Silence with Nightboat Books; the bio notes state that she continues to live in Paris though the work anticipates her death the next year. In terms of genre, the writing is a hybrid poetic meditation, a sentence-level nonnarrative that records states of being and mind, with the turn to language always present and exact. Time is marked at the level of the sentence, with only the sparest narrative motivation: “My thoughts drip, not unlike the faucet. They don’t let me know what they’re about. Other ones follow, strangers equally. / The daylight is getting dim. We’re not in winter, no, we’re somewhere in early July. The sunset will happen soon. Then it will disappear too” (5–6) Temporality emerges from the writing as a form of roughing out, coloring in, and smoothing over—and along with it rhetoric, perception, memory, affect, comprehension: … More
November 21, 2016
Document 48: I Saw (Chicago)
Chicago, 18–20 November 2016
Friday, November 18
Jennifer Rupert
Chris Glomski
Saturday, November 19
40 Years, part 2: Gender. Race. Identity @ Rhona Hoffman
Courttney Cooper @ Western Exhibitions
Four Large Drawings @ Western Exhibitions
Ania Jaworska @ VOL
Sara Greenberger Rafferty @ Document
McArthur Binion @ Kavi Gupta
Lisa Nankivil @ McCormick Gallery
Diana Guerrero-Maciá @ Carrie Secrist
Anne Lindberg @ Carrie Secrist
Justin John Greene @ Andrew Rafacz
Theaster Gates @ Richard Gray
Museum of Contemporary Art, Chicago … More
September 22, 2016
Document 45: I Saw (New York)
New York, 16–18 September 2016
Friday, September 16
Erica Hunt
Marty Ehrlich
Kit Robinson
Alan Bernheimer
Miles Champion
Michael Lally
Ted Greenwald Memorial Reading
Saturday, September 17
Benjamin Coopersmith
Urban gardens, Lower East Side
East River Walk
Rashid Johnson @ Hauser & Wirth W 18 Street
Oscar Murillo @ David Zwirner W 19 Street
Wu Jian’an @ Chambers Fine Art W 19 Street
Maleko Mokgosi @ Jack Shainman W 20 Street
Fred Sandback @ David Zwirner W 20 Street
… More
May 21, 2016
Document 40: People, Art, Films in New York
Thursday, May 5
Michael Gottlieb
Luc Tuymans @ David Zwirner
Tracey Emin @ Lehman Maupin
The Tale of Tales, dir. Matteo Garone (IFC)
Friday, May 6
Michael Golston
Bruce Andrews
Unfinished @ Met Breuer
Andy Warhol, Electric Chairs @ Venus
Jean-Michel Basquiat, images and words @ t/k
David Hammons @ Mnuchin
Allen Jones @ Michael Werner
Anne Collier @ Anton Kern
Richard Serra @ Gagosian
Sigmar Polke @ David Zwirner
Mike Kelley @ Skarstedt
Jasper Johns @ Mathew Marks
Carlos Motta @ PPOW … More











