INCLINER

Artist and Author David Mack at the AAC 2010

2010-02-27T16:31:00.000-08:00

*****

David Mack returned for another great visit to the AAC this February.

Visiting our Junior-level Narrative Illustration course in the morning, David talked extensively about process and technique, and then did an in-progress critique of some comic pages that members of the class were working on. During the lunch hour, he spoke to the whole school about process as part of our Smart Talk series, providing an in-depth look at THE ALCHEMY, his latest Kabuki collection. As usual, David brought tons of original art for us to look at, which provides an opportunity for students to get a close-up view of his various techniques. Thanks for sharing, David. :)

*****

This is a shot of people hanging out after the digital component of David's Smart Talk presentation:

(photo by Denise Watson)

Here's a closer look at David's original boards:

(photo by Denise Watson)

*****

In this video clip, David talks about how his trade children's book The Shy Creatures evolved from his Kabuki storyline.

(video by Denise Watson)

*****

David Mack is the New York Times Best Selling author and artist of the KABUKI Graphic Novels, the writer and artist of Daredevil from Marvel Comics, and the author and artist of his new children’s book THE SHY CREATURES from MacMillan publishing's new children's book imprint, which is in stores now and available at Amazon.com. Also worth noting, David is an extremely giving individual, always eager to share his knowledge with students.

*****

KERRIE HOULE: 1 POEM (2 VERSIONS)

2010-02-27T10:54:00.000-08:00

KERRIE'D EVERYTHING ACROSS THE COUNTRY TO START A NEW LIFE

Distortion: Negation
Language is illness.
Transformed into space.
And confined to the page.

ImperfectionS giving birth to a ripple of line
she never meAnt to hurt you
but she waNts to get in trouble
she’s interesteD in the layers
but she Promised to wish she’d never come to art school
she Adores writing it out
but she’d Prefer see you fail
she hate’s being alonE
but she’ll cry in fRont of you if you wait long enough

Feedback
Internet stale as bricks.
Leaves hard like tricycles.
“You be the yard and I’ll be its grass.”

*****

*****

Kerrie Houle is a Freshman at the Art Academy of Cincinnati. While still holding on to her Oregonian roots, she's come to terms with the fact that Cincinnati is now her second home.

MONICA WENDEL: 1 POEM

2010-02-09T06:56:00.000-08:00

ARS POETICA

When we hop the fence to the hospital on Roosevelt Island
I wonder if this is poetry, because poetry
does not believe in fences or doors or abandonment. Inside
trees grow through the ground, Chrysler building visible
through the not-roof and the empty window spaces that
open up like trachea. People came here to die of smallpox or to survive,
scarred and forever immune, taking with them the memory of
the smell of festering sores like a rotting bird.
So perhaps it is the hospital itself that is the poem
since it is transformative, since now it is a place
to stand on fallen-down metal doors, rubble, and watch the sky
and the East River move. Two weeks later
I hallucinate when I’m walking from the subway.
Messenger bag over one shoulder,
camera heavy in the other hand. Do ghosts mind
being recorded by the living? Or is their anger sparked by
how simple it is for an entire history to be forgotten?
The answer comes to me like bread rising:
They are angry at the fence put around them
breached and climbed in stilettos and sneakers,
the fence that pretends to contain what cannot be held in.

*****

Monica Wendel will receive her MFA in Creative Writing from NYU in May 2010. One of twelve semi-finalists in the 2009 Miss G Train pageant, she enjoys living in Brooklyn, teaching kids at St. Mary's Health Care System for Children, and entering pointless competitions. In a past life she wrote product descriptions for coffee makers. Exciting developments to follow at www.twitter.com/monicaewendel.

Digits to Digital: An exhibition of iphone and ipod finger art

2010-01-21T13:06:00.001-08:00

Digits to Digital: An exhibition of iphone and ipod finger art, is a fascinating, international online exhibition curated by John Bavaro for the Art Academy of Cincinnati by request of the editorial staff of the Incliner.

The following link will take you to the exhibition, which consists of numerous works by 10 artists, accompanied by a curator's statement that opens a conversation about the compelling implications of a new form of art created by a medium for communication. The individual artists have also contributed brief statements about their work.

Digits to Digital

*****

Below is a sampling of work from the exhibition. Visit the link above to see many more pieces by these great artists.

James O'Shea
Daly City, CA, USA

Kara Kovacev,
New York, New York, USA

Matthew Watkins
Bari, Italy (Born in Manchester England, raised in Toronto, Canada, now living and working in Southern Italy

John Halliday
Edmonton, Alberta, Canada

John Bavaro, Erie, Pennsylvania, USA

Susan Murtaugh
Wisconsin, USA

Benjamin Rabe,
Hamburg, Germany

Julian Wigley
Melbourne, Australia

Cedric Philippe,
Saint Claude/Jura, France

James Schaffer
Pittsburgh, PA, USA

*****

The editors at the Incliner would like to thank John and all of the artists in this exhibit for all their hard work!

*****

Curator John Bavaro is Associate Professor of Art (Painting and Drawing) at Edinboro University of Pennsylvania where he is also the director of the Bruce Gallery. His own work, with the iphone, is an extension of his “GENUS” series-a collection of 100 oil paintings of primates (both human and non-human). More of John's art can be viewed at
www.johnbavaro.com

A bit about John from his website:

"I'm an artist and educator at Edinboro University of Pennsylvania, where I'm the gallery director at the Bruce Gallery. I also teach full time in Drawing, Painting and 2-D Design.
I graduated with a Master of Fine Arts Degree from the University of Cincinnati, and received my B.A. in English from Miami University. I also did additional art foundations studies at Miami and the Art Academy of Cincinnati before getting an art degree.
In the 1990's I spent four years in Thailand with the Maryknoll Mission Association, teaching a variety of groups including Buddhist monks and mentally disabled children. As the cliche goes, I'm sure they taught me more than I did them."

NEW AAC Drawing IV BLOG

2010-01-15T15:14:00.000-08:00

Check out AAC instructor Sarah Hollis' Drawing IV class blog here: http://contemporarysfhollis-drawingiv.blogspot.com/. Already there are some excellent links and images up, including a amazing self-portrait by Sarah herself. This will no doubt be a blog to follow.

Welcome back! Spring is on the way.

AVRIL THURMAN: 2 POEMS

2009-12-10T10:59:00.000-08:00

(Click on poem titles for poems)

1. PAPER LANTERN

2. ABOMINABLE SNOWMAN

*****

Avril Thurman is a poet and visual artist living in Cincinnati, Ohio. Currently a Junior at the Art Academy of Cincinnati, she was recently published in Brighton Approach Vol. I, and has her sights set on New York City, where she will represent the AAC in the New York Studio Program for the Spring Semester of 2010.

NICOLE GREINER: For the Love of Flesh-Meat and Bacon

2009-12-04T09:06:00.000-08:00

poem and visual response by Nicole Greiner

For the Love of Flesh-Meat and Bacon

Flesh and meat are life!
Somewhere along the lines I grew these enormous boobs
On an adult, this living, leathery overcoat weighs about 11 lbs
Areola with nipple shown in its normal position

Dali dreamed of Hitler as a white-skinned girl
Whose thighs produced white cream to numb a man's genitals. Called to linger
she played the role of a cyborg

When I go to piss, it's late
For an anterior horn of the lateral ventricle
From the bladder or seminal fluid, from the testis
Note the two shunts, the Botalli's duct (8)
And the significance of hip and pelvic joints for erect posture

And with my face on fire I am suddenly ashamed
I find it very beautiful.

*****

*****

Nicole Greiner is a Senior in the Sculpture program at the Art Academy of Cincinnati. Her work currently addresses the liminal state and transformation.

DAN LANSDOWN: CENTO

2009-12-04T09:00:00.000-08:00

poem and visual response by Dan Lansdown

*****

*****

Dan Lansdown is a visual artist who currently cooks his drawings. He is a Junior at the Art Academy of Cincinnati.

AVRIL THURMAN: 1 POEM, TWO IMAGES

2009-12-03T05:38:00.000-08:00

I DO NOT WISH TO SPEAK OF CUCUMBERS, BUTTERFLIES, BRUISES.

I do not wish to speak of cucumbers, butterflies, bruises. Dreams
have been many of late, and not a one a mushroom cloud.
A bad cloud. Nor a cloud in the shape of a cloud.
During the downhill, I raise my arms,
winging, to embrace falling catalpa and light pollution.
Which is never heavy, it is only the way we see at night.
Condensation seems ever less and less about molecules,
and more so a cold glass, weeping on a hot day.
There are many kinds of sadness. I read there were
613, to be exact, only 58 of which are legible.
I read of these:
Sadness of having options, nude model sadness,
sadness of feeling the need to create beautiful things.
Oh, there were more, and many more
I have constructed out of loose-leaf, opal, and breath.
Like coins. Do not spend them all in one
go. Here is some advice:
Do not take advice.
Try to locate your equator:
It is harder than you think. I have tried
and after many false meridians, ended up
(ended down) in Antarctica with Herzog, narrating. He speaks like a child.
It is for this we should envy him, to speak nothing of,
and without, accent. It is not a matter obtuse, it is purely continental.
When I say obtuse, I do not mean to say elbows are
ever greater than right nor lesser than wrong. I would never say that.
I wouldn’t dream of it. Any more and less than less would
I dare to dream of looking in a window, only to notice that
the falling snow turns my hair lavender, or astro turf jackets on pepper shakers.
I would never dream that. None of this is true. Make sure.

*****

POEMS TO BE READ TO SMALL ANIMALS (collagraph)

*****

TWELVE POEMS FOR FRANK O'HARA (three-color woodcut on lenox rag paper, plywood, excelsior)

*****

Avril Thurman is a poet and visual artist living in Cincinnati, Ohio. Currently a Junior at the Art Academy of Cincinnati, she was recently published in Brighton Approach Vol. I, and has her sights set on New York City, where she will represent the AAC in the New York Studio Program for the Spring Semester of 2010.

New Incliner Masthead by AAC Alum Michael Vallera

2009-11-20T09:07:00.001-08:00

The Editors of Incliner are very proud of the new Incliner masthead image by AAC alum, Michael
Vallera. See the original image below, along with a brief statement about it by Michael.

*****

It is familiar to understand the photographic image as a moment that has been captured in time, and represented as a document of that instant as it exists in the world. This series of photographs I have been taking over the past two years has much more to do with the folding of an environment up into the present. The images do not operate as isolated structures of a place and time, but through the use of rupture (in the form of two image collage and single image manipulation) create a space for continuous reinvestigation of the landscape and our shared experience within it. --Michael Vallera, 2009

*****

MICHAEL VALLERA is a Chicago based sound/visual artist, who graduated from the Art Academy in 2007. He's currently pursuing an MFA in Sound at The School of the Art Institute of Chicago. See more of his work at: http://michaelvallera.tumblr.com/.

KASSIA BORYCKI: ONE POEM

2009-11-16T16:26:00.000-08:00

(Click the link below to read the Poem)

A World of Their Own...

*****

Kassia Borycki is currently an AAC senior, a fledgling designer, and a maker of pirogies.

SEEING IS READING #3: ALEXIS ORGERA READS HER POEM "TIME TO COLLECT THOSE GOOD"

2009-11-06T07:54:00.000-08:00

TIME TO COLLECT THOSE GOOD

It’s time like it never was
to collect the space you overtook

on the street corner, the space
you call your highrise. Wad it up

into a nylon portrait, migrate it
to the country you invented

with your friend in St. Louis.
Remember?

One day he typed, Let’s start
our own country—

and this felt clandestine,
probable and aquamarine.

From a cracked cookie it rang
against the commotion

of leftover Szechuan chicken.
Time to collect yourself,

those good selves, those good
rain tarps, those Hail Marys,

those happy divers.
Time to collect those good

silly putties, the city centers,
the nay votes, the old vascular

occlusions. When the time comes
couches will float away

with eyes sewn into their seams.
Always time to collect,

always time to be a good swimmer.
Or was there a misspelling

at your funeral?
Was it always just time?

*****

TODAY'S FORTUNE: SOME NOTES ON "TIME TO COLLECT THOSE GOOD"

A few weeks ago I cracked open a fortune cookie that read,

Time to collect those good

This was a shining moment in a hopelessly dull week. Do-It-Yourself fortunes! In addition to the obvious after-dinner fun, the unfinished fortune was like a dare when I needed some prodding. Writing has been hard going lately, and I’ve been mining the strangest places for poems: old emails, the urban planning books my husband reads like romance novels, ads in magazines. Fortune cookie threw the first punch, and I countered.

My relationship to this poem as it stands is that it is a work-in-progress. I wrote the first line, “it’s time like it never was,” and let the poem find its own trajectory. I like where it went. There are inklings of flooding and destruction in there and also the hint that maybe the poem is about time rather than collecting, or perhaps they’re the same thing. Sometimes the freedom of letting the poem just say whatever it will makes for a magical experience first time out. Other times, the language needs some work and the magic exists in the tinkering. In either case, magic = discovery. I’m not sure I’ve found the sparkle in this poem yet; I hope it’ll happen that I can ratchet the volume up several decibels in each line during revision. Another question I have: the poem is written in couplets. Why? Couplets make a lot of sense to me as I’m putting them down; they seem to allow both tiny bursts of compactness and room to breathe in between. If the poem just flew down the page it’d probably be a different poem. I’ll likely experiment with line breaks and stanzas, but I’m ninety-seven percent sure I’ll go back to the couplets.

The repetition of the partial fortune is working for me. Sometimes all a poem needs for a backbone is the momentum of repetition. “Time to collect those good” opens up space for, quite literally, absolutely anything to happen. What happens is this series of oddities like nay votes and silly putty—all things that swirl around in my head sometimes. The repetition, in particular, has unlocked a whole series of poems—none of which I’ve written yet, but I’m getting excited about them.

--Alexis Orgera, 2009

*****

Alexis Orgera is the author of two chapbooks, Illuminatrix (Forklift, Ink) and Dear Friends, the Birds Were Wonderful (Blue Hour Press). Her poems have appeared or are forthcoming in Bat City Review, DIAGRAM, Folio, Forklift Ohio, Fou, Green Mountains Review, Gulf Coast, H_NGM_N, In Posse Review, The Journal, jubilat, Luna, No Tell Motel, Sixth Finch, storySouth, The Rialto, SUB-LIT, and The Tusculum Review, among others. She works at New College of Florida where she edits New CollAge magazine.

Read More of Alexis' work:

"Hurricane Warning" http://www.notellmotel.org/poem_single.php?id=1823_0_1_0
"We Didn't Have Rules but We Had a Kind of System" http://www.strange-machine.com/issue03/alexis_orgera.htm#poem1
"On the Exile of My Throats" http://thediagram.com/8_1/orgera.html
"The Red Dress" http://foumagazine.net/12.html
"Unlike Many Land Mammals" http://www.h-ngm-n.com/h_ngm_n-8/2009/4/21/alexis-orgera.html
"See June Run" http://www.hubcapart.com/ink/18freight.php#18e

TABATHA RUFFT: 1 POEM

2009-11-05T07:24:00.000-08:00

AT THE PIANO

1.

Christmas:
In my mouth,
Everything.
Your resentment
Towards children
For living without you.
Candy dishes
Wrapping paper,
Come time
Unwrapping
Our own Seth Green
Blow up dolls
And cocktails
Honey,
You look fatter
Than ever,
It’s great to see you.
Waste
Of time,
Green and alive,
Clean, unfamiliar
Territory,
Full of feathers
Tweety Bird key chains.

2.

Douglas
Remember
That time
We watched porn,
Sneaking sneaks
Like kids
Snooping for
Christmas presents.
New York City,
I’d rather be. Beautiful
Images?
A minute the music stops,
Living
Under rocks,
Around trees,
Through sweater vests.
Come Alive.
Shut your eyes
And you can feel it
For miles
Around.
Around underpants
And tube socks.
I’ll take my purple
Suitcase and leave you
With your unresolved issues.
Shut your eyes,
And you can feel it:
Nobody wants to be here
Any more than you.

*****

Tabatha Rufft wants to be a giraffe when she grows up. She enjoys pasta and green tea. Currently, she is majoring in Visual Communications at the Art Academy of Cincinnati, though she still doesn't know what that really means.

BROOKE BLANKEMEYER: 1 POEM

2009-10-30T13:51:00.000-07:00

SO

Let’s push back this curtain of uncertain truths
And finally see through the dirty pane of glass
(What a pane in my glass!) we’ll see
That words are words, blah blah blah
And I’ll admit that everything is boring
Except what I find interesting but
All else is rubbish. Let’s be Frank,
Colliding with greatness is all fine and good,
What could be better? But being great is underrated
And of course impossible for anyone under 40.
Mediocre middle man (woman?), my
Icarus-ness is astounding.
Historic days never held my attention for
Too long, sorry you bleeping beepers, but
I don’t know why you’re so exuberant.
Exhume, expel, excrete, exude?
This muddle of expletives is exhausting.
All I want is to be affected by something!
Someone(thing) save me from this numb death.

Amen

*****

Brooke Blankemeyer is a Junior majoring in Illustration at the Art Academy of Cincinnati.
Originally from Columbus, Ohio, she is drawn to beautiful things and feeling interesting textures.
She also really enjoys all aspects of food.

SARA RELOJO: TWO POEMS

2009-10-24T11:00:00.000-07:00

(Click on the links for the poems)

1. I AM: ALREADY

2. River Scene: Men Dragging a Net

*****

Northern Kentuckian Sara Relojo is a 2009 Art Academy Graduate, where she earned her BFA in Illustration. She currently enjoys teaching her three year-old students how to replicate Cy Twombly's magic.

SEEING IS READING #2: POET NATE PRITTS READS ROBERT DUNCAN'S "OFTEN I AM PERMITTED TO RETURN TO A MEADOW"

2009-10-03T13:33:00.000-07:00

On Coleridge, Duncan, Nate Pritts & a Yeare Full of Wonders--by Nate Pritts

Samuel Taylor Coleridge had me convinced that I was some kind of organic harp waiting for a breeze, that rather than being happy it was perhaps preferable “to be bereft of promis'd good, / That we may lift the soul, and contemplate / With lively joy the joys we cannot share.” As an apprentice poet, I found Coleridge’s thought pattern seductive – that the actual events of the poet’s autobiography were secondary to the poem’s primary purpose as a record of consciousness, as enacting the formation of identity.

1. Irritable Reachings

In Chapter XII of the Biographia Literaria, Coleridge considers the way we organize & record our perceptions saying, “During the act of knowledge itself, the objective and subjective are so instantly united, that we cannot determine to which of the two the priority belongs. There is here no first and second; both are coinstantaneous and one.” Further in Chapter XII, Coleridge asserts “being and knowing are identical,” that “a subject…becomes a subject by the act of constructing itself objectively to itself.” Though Coleridge is still talking primarily about the mind & its functions, the implications for poetry are clear; he has challenged himself to create a kind of poetry that works the way the mind does.

However, Coleridge’s work didn’t always walk the talk. His poems succeed, for me, when they represent a dynamic sense of identity but often the language of the poem resorts to describing the process rather than enacting it. An impulse towards clarification & oversimplification pulls the reader outside the process & merely annotates its larger motions. Though Coleridge’s strength may lie in his ability to create & maintain a reality constructed from myriad sense perceptions, his weakness is that a reader is never more than nominally present during the process.

John Keats’ famous concept of Negative Capability, “when a man is capable of being in uncertainties, mysteries, doubts, without any irritable reaching after fact and reason,” sets Coleridge as the antithesis, actually naming him as an example of a man “incapable of remaining content with half-knowledge.”

2. a dream of the grass blowing

Robert Duncan’s work hit me square in the head but left me with an ache in my heart. The first poem in his book The Opening of the Field is “Often I Am Permitted to Return to a Meadow,” a breathless rush of a poem that, to me, seems spoken directly from the brain without the muddying influence of a mouth. Where Coleridge seemed always to need to mediate his impulses & ideas & big concepts through some kind of physical, objective articulation, Duncan had the bravery (it seemed brave to me when I first read it & still does now) to simply & directly & powerfully assert his thoughts as important enough to carry the poem:

as if it were a scene made-up by the mind,
that is not mine, but is a made place,

that is mine, it is so near to the heart,
an eternal pasture folded in all thought […]

I experienced an exhilarating liberation reading these lines with Duncan asserting the power of the subjective intellect & creative capacity over the objective spaces & experiences of this world. In short, he was saying that we regular old normal people, without any special gear or attachments, without having to be a harp in a window, could create things that were as good as things we didn’t create. Further, he was saying that this was true by simply doing it, by writing the poem & demonstrating it. Coleridge’s impulse toward explanation wasn’t in evidence here & as a result the whole process felt incredibly empowering.

What’s more, the poem itself is incredibly flexible, fluent, coursing through different perceptions & intellectual planes of thought with a confidence & certainty that is rare to find in poetry, so much of which can be complicated by asking forgiveness or understanding. Duncan’s work trusts the reader in a way that should be a little unnerving (am I up to this?) & humbling.

3. sicke at heart

The section of Duncan’s poem quoted above is one of four epigraphs to my new book The Wonderfull Yeare – a shepherd’s calendar composed of four seasonal sections.

Each of the seasons in the book are written differently – though constructed might be a better word for how they came into being. They were created through various cut & paste methods, using specific constraints & patterns that differed from season to season. The source poems for each section were my own – things I’d written sometimes as long ago as the mid-1990s – poems that I could no longer understand in some of the most important ways. I had literally forgotten what I was writing; the poems were devoid of context for me, the writer of the poems, the person who had experienced the things the poems were talking about.

I felt like I was sitting in a lime-tree bower trying to imagine my friends having fun.

It all began as notes for an experiment. I removed the last remaining context the poems had (syntactic) by breaking apart the sentences, letting the lines hang out there by themselves. What happened is that I was able to see that the personal history the poems were notating didn’t matter, that the lines & words were themselves more like musical notes that could be used & reused. In fact, repetition became an integral feature of the poem as I constructed what I imagined was a complex internal monologue where the speaker was by turns certain, sorrowful, angry, resentful & full of the kinds of hesitancies that mark my own thoughts. The poems became more responsive to my intellect, my me, than anything I had ever written.

I allowed myself to revise the pieces after they were constructed, & the cut & paste collage was by no means arbitrary (I was asked once if I just plunked the lines down in random order as if pulled out of a hat; the answer is no).

I was able to deprive myself of those irritable reachings, plant my feet firmly in a meadow I had once been in but had no memory of, & compose something that was, at heart, sicke in all the ways I once was, in all the ways I am, in all the ways I always will be.

References:

Coleridge, Samuel Taylor. Biographia Literaria. London: Oxford UP, 1969.
Duncan, Robert. The Opening of the Field. New York: New Directions P, 1973.
Keats, John. Complete Poems & Selected Letters. New York: Random House,2001.
Pritts, Nate. The Wonderfull Yeare. San Diego: Cooper Dillon, 2010.

*****

Click here to read "Endless Summer," a season from The Wonderfull Yeare.

Nate Pritts is the author of two full length books of poetry - Sensational Spectacular and Honorary Astronaut - with a third, The Wonderfull Yeare, due in early 2010. The founder & editor of H_NGM_N, Nate teaches poetry at the Downtown Writers Center/YMCA in Syracuse, NY.

SEEING IS READING #1: POET BRETT PRICE READS "OPEN HOURS"

2009-09-09T19:33:00.000-07:00

OPEN HOURS: The Poem (print version)

OPEN HOURS: The Paragraph

Long story short, “Open Hours:” is, for me, primarily a poem about friendship. I wanted someone I cared about to know that I was thinking about them, when they were going through a shitty time. But to get all “Inside the Actor’s Studio” about it, I’ll say that it was an attempt to synthesize two different kinds of poems that I’d been writing separately in the Fall of 2008. The first was a short, “open field” type of poem, which made use of the insane amount of available text (seen/overheard) in and around New York City, where I had been living for about a year or so. I was writing these short poems as a means of paying more attention to what was so easy for me to tune out in such a huge metropolitan cityscape. The second was a kind of epistolary poem. I realized at a certain point that the subject matter and tone of the letters/emails I had been writing shifted drastically depending on the intended receiver. Particular subjects were lifted, while others were pushed back. Different tones arose. And this was happening without my being intentionally aware of it. The relationship between myself and whoever I was writing to ended up being a natural set of parameters. I wanted this to carry over into my process of writing poetry, so I started writing poems to/for specific people. Anyway, “Open Hours:” was one of my first cracks at combining the two approaches and it allowed me to start developing a form that could move in a fairly deliberate direction, while simultaneously leaving lots of room to wander.

*****

Brett Price is the author of the chapbook Trouble with Mapping (Flying Guillotine, 2008). A Cincinnati native and recent graduate of The Bard MFA Program in Poetry, he currently lives in Brooklyn, NY where he is the Assistant Poetry Editor of Forklift, Ohio: A Journal of Poetry, Cooking & Light Industrial Safety.

"Open Hours" first appeared in Saltgrass.

NEW DIRECTIONS ON THE INCLINER BLOG, ISSUE 16, ETC.

2009-09-03T08:10:00.000-07:00

Next week we'll be starting another new chapter in the history of the Incliner. On Monday 9/7 we will begin posting videos of poets, fiction writers, and visual artists reading from their works or from the works of others who have influenced them. Each post will also contain a brief written statement about the piece being read--notes on process, impetus, and/or the relationship of the reader to the piece, etc. We'll also include a brief bio of the reader and links where you'll be able to find more of their work, whether online, in print or at a gallery near you. The idea is to post one or two readings a month of both up and coming and established artists.

Additionally, issue 16 of Incliner is nearly finished and should be up in the next month or so. Please check back for details.

Submissions for issue 17 are now being accepted, and you can read submission guidelines here.

New Ears

2009-01-06T01:54:00.000-08:00

Hello Folks,
It's a new year, and you know what that means:
A new INCLINER! Huzzah!
And we need New. That means You.

We will be accepting submissions until January 15th, so send in your words and images with reckless abandon. Or, you could send them with composure of a most cucumbery coolness. Either way, the suspense is tickling us into quite a state.

The Submission Guidelines are available at: http://www.incliner.org/index.php?page=submissions

But here they are again:
Incliner accepts submissions of poetry, fiction, creative non-fiction, and visual art each year between September 15th and January 15th. Submissions received at any time other than this will not be considered. We accept only electronic submissions. Send 3-5 poems, 1-2 short stories or other prose works, or 3-5 images to editors@incliner.org. Attach submissions: poetry, fiction, and creative non-fiction as word docs or rtf attachments, and images of visual art as jpgs. We read and respond as quickly as we can (1-3 months). Include a brief note &/or bio with your submission. Visual images should be accompanied by a 1-3 paragraph artist statement. We do not accept simultaneous submissions. Since Incliner is published out of the Art Academy of Cincinnati, a four year college of art and design, we’re looking for work in all genres that reflects and pushes the envelope of contemporary artistic interests, strategies and practice. In general, our sensibility covers a whole range of contradictory impulses, ideals, crushes, and structures—from the reckless to the sublime, from absurdity to the grave. More than anything, though, we want to be moved—inspired to make work of our own, to have a conversation, to experience something of what it means to be human in our time.

Fantabulous! Splendifferous! Pterodactyls!
Thank you and huzzah.
Looking ever forward,
Avril

ART ACADEMY OF CINCINNATI ACADEMIC STUDIES EVENTS: SATURDAY DECEMBER 6TH

2008-12-01T03:51:00.000-08:00

Everybody knows that the annual Art Academy of Cincinnati's Snowflake Sale and Admissions event is this Saturday December 6th from 12-5, but you should also know that in conjunction with the sale the Academic Studies Department is hosting three fantastic events. All will take place in the AAC and all are FREE and open to the public. See below for times and locations:

1. LIVE MUSIC by HARVEY, featuring AAC students, Patrick McConnell and Graham Vogel--show goes from 2:30--3:15 in The Commons.

2. INCLINER POETRY READING!!!! 3:00--3:45 in Room N402, featuring AAC students Annah Hood, Nicholas Hill, Avril Thurman, and Zach Rawe. An open mic will follow the feature, so bring your words!

3. STUDENT ART HISTORY EXTRAVAGANZA: 3:30-4:15 in N301, featuring presentations by AAC students Anthony Birchfied, Janyce Glasper, and Cori Ogleton.

INCLINER 15!

2008-11-19T06:22:00.000-08:00

It's been a long time coming, but here we are: at last at last!

Check out the new-ish, newest Incliner Magazine, the Art Academy of Cincinnati's journal of visual and literary arts. We're calling this issue--issue 15--ELECTRICAL FIRSTS, as it's our first issue as an online journal. We hope you'll enjoy the new format with amazing contributions, both visual and literary, from Kiki Petrosino, Paige Williams, Matthew Morris, Katie Koga, Dan Lumley, Rian Hunter, Adam Lindner, Rebecca Davis, Natasha Hines, Suzanne Lett, Brooke Blankemeyer, Amanda Phirman, Tabatha Rufft, Avril Thurman, Gary Gaffney, Patricia Murphy, Kelly Tadge, Anthony Birchfield, and Jeremy Goode.

Please check back at this blog for special features, reviews, announcements, and posts from visiting artists, writers and AAC faculty.

Until then, enjoy these ELECTRICAL FIRSTS.

The Editors