Further ash is a series of found poems which takes its lexicon entirely from the Merriam Webster's Tenth Edition Collegiate Dictionary, presenting the words strictly in the order in which they appear.

Result #1

Further ash is a series of found poems which takes its lexicon entirely from the Merriam Webster's Tenth Edition Collegiate Dictionary, presenting the words strictly in the order in which they appear. It begins with the question WASH AND GET SEEN. But the answer is in black ink, a mirror image of the text. It moves out in a dizzying, slow rhythm. It is the mélange of signs that gives it its power. The same black ink that becomes the sign, or signifier, of the power of the word IS. In terms of substance the piece is a failure, but the message is simple, if for no other reason than that it is a failure. The piece has been judged by the artist as utterly dematerialized, a failure of the material, of the material language, of the material. The black ink makes one think of the term hair, a failure of the term. It is as if the substance of the language which contains the sign, the sign that is its power, is a failure, a failure of its material. It is the link between sign and sign; a failure of the signs, a failure of language, but an enigma. The black ink moves through a fruit-juice coloration, a texture of the paper, a substance of color, a substance of sign; it becomes sign and signifier, signified. It becomes the sign of a sign in the sense of a synthesis of signs; it signifies in a way which, as a sign, is self-signifying. But the sign is no sign; it is nothing signified. It is black ink, black sign. It is a failure of the sign as sign. It is a failure of the sign as sign. It is a failure of the sign as sign. The black ink becomes a signifier, but only if one sees the works metaphorically, as all signs do, as an emblem of the power of the sign itself. It is as if one looked at the black ink as a black mirror, and saw yourself in the ink; and the reflection became black as well.

Result #2

Since the use of writing as gesture has been so prevalent in The Old Testament, this remains one of the first works one encounters and leaves with the first word, a prayer.

Result #3

The poems were conceived as comic essays by Hales (and another American poet, Emily Dickinson, and a few other witnesses) about everyday things—hanging out, having sex, walking the dog, smoking pot. But Hales is not about normalcy. The poems take on the quality of literary notations (we would be). They are the kind of practical jokes that amuse and/or amuse, and they take on a kind of rhetoric of suffering. They are witty exercises in self-criticism and open-ended analysis. They are themselves often as perverse as Hales's other work, in which he makes statements and statements that are breathtakingly racist.Hales is a great comic, and this show was a serious one. It had a cracker bar in it, which was unusual for the artist, but not necessarily dangerous. The cracker bar was a nightmarish abstraction of personal and social satire, a cartoon of failed, self-conscious idiocy. It was a cynical provocation, and a serious provocation.The key piece of work in this show was Wifredo Lamos Landscape for Human Rights, 1979, a project by the East Bay, a Los Angeles-based group of artists, musicians, and activists who use ideas of self-determination as tools for confronting discrimination in laws and policies. The artist, a white man who lives in Oakland, California, has spent many years investigating the relationship between the artist and his neighbors. And he has written and spoken about the difficulties of this relationship, both real and symbolic. The Work of Resistance does not just stand on one hand and proclaim the achievements of our White Supremacist neighbor, but it applies with resolve and conviction to all people and their injustices. The work is a critique of inequality, not a social celebration.

Result #4

The project, in the words of the artist's declaration, is to make one more tired—less pretentious—by unlearning the vocabulary.

Result #5

. . . and that and its. It is worth noting that the book is published in New York, where it was created. The word clinches her statement. A constant in the students hand is a list of words.She raises some interesting questions regarding the significance of the famous dictionary for current art production. Is there a connection between an artists practice and the schools of pedagogy? The work that was shown here seems to have been deconstructed, and the discursive power of the poem seems to be a reflection of its active juxtaposition with other art forms—works, one might say, that are only superficial, and that appear in direct conflict with one another. These oppositions are the seeds of discourses.