https://emmalearusso.com/strangemansions daily 0.75 2020-07-24 https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1595555900041-QCVKM3T6ATS7KX8WOBRZ/dracula+1992+race+sunset.png STRANGE MANSIONS https://emmalearusso.com/visualart daily 0.75 2020-07-24 https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1595789721669-TVFV7DTECW36YUE4VTFN/duras+agatha+and+the+limitless.png VISUAL ART https://emmalearusso.com/diaries daily 0.75 2020-10-14 https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1602941487607-HOQ3TQLJ1V3IALA9BI5C/asbury+moon.png DIARIES https://emmalearusso.com/teaching daily 0.75 2021-03-14 https://emmalearusso.com/pagecv daily 0.75 2016-03-09 https://emmalearusso.com/editing daily 0.75 2019-02-01 https://emmalearusso.com/about daily 0.75 2026-02-06 https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/2fa2ffd8-567a-4d4e-aff5-f2eb32e5e054/russo+author+photo+2.jpg ABOUT - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/2fa2ffd8-567a-4d4e-aff5-f2eb32e5e054/russo+author+photo+2.jpg ABOUT - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://emmalearusso.com/support daily 0.75 2021-07-07 https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1596319913227-GHQS1ZPDJ7UW4348QC88/dracula+1992+race+sunset.png SUPPORT https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1596319913227-GHQS1ZPDJ7UW4348QC88/dracula+1992+race+sunset.png SUPPORT https://emmalearusso.com/eight daily 0.75 2020-12-27 https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1595639534191-Y23NRM736675BVTJYML1/duras+dark.png 8 https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1595591320617-81KMDIUIPNC7ENJMI5RV/duras+dark.png 8 Marguerite Duras, Agatha and the Limitless Readings, 1981. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1595605997771-IRBNBZ5Q5E14A93YWET7/Screen+Shot+2020-03-29+at+10.46.03+AM.png 8 PRINCE (8th house sun) https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1595607937148-8IAZQGE001EISJ9D3CVD/bob+forrest+society.png 8 from an interview with Bob Forrest, addiction specialist. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1595591320617-81KMDIUIPNC7ENJMI5RV/duras+dark.png 8 Marguerite Duras, Agatha and the Limitless Readings, 1981. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1595605997771-IRBNBZ5Q5E14A93YWET7/Screen+Shot+2020-03-29+at+10.46.03+AM.png 8 PRINCE (8th house sun) https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1595607937148-8IAZQGE001EISJ9D3CVD/bob+forrest+society.png 8 from an interview with Bob Forrest, addiction specialist. https://emmalearusso.com/seven daily 0.75 2020-12-27 https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1595639471131-OPBU8NBD6USCO42A3GZV/dracula+1992+race+sunset.png 7 https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1595559667733-8GR238KOF3NSM4J2NSN9/dracula+1992+race+sunset.png 7 Bram Stoker’s Dracula (1992) https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1609071825953-OZKJD9ZX09HTB5EGPUVU/pasolini+love+bird.png 7 Pasolini, The Hawks and Sparrows, 1966. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1595559667733-8GR238KOF3NSM4J2NSN9/dracula+1992+race+sunset.png 7 Bram Stoker’s Dracula (1992) https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1609071825953-OZKJD9ZX09HTB5EGPUVU/pasolini+love+bird.png 7 Pasolini, The Hawks and Sparrows, 1966. https://emmalearusso.com/four daily 0.75 2020-12-27 https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1595639247221-8DM9ZNWQXCNA2PASFM5A/IMG_5517.jpg 4 https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1603375943738-6TCDM3HP71DGL7XP513C/Jonas+Mekas+Walden+HOME.png 4 Jonas Mekas https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1595591590752-BIOGSHIBERAINZCXXG0Y/IMG_5517.jpg 4 Units of Plexiglass, an edit (2015, Poets House) https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1603375943738-6TCDM3HP71DGL7XP513C/Jonas+Mekas+Walden+HOME.png 4 Jonas Mekas https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1595591590752-BIOGSHIBERAINZCXXG0Y/IMG_5517.jpg 4 Units of Plexiglass, an edit (2015, Poets House) https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1457468223105-26U86WQ3KEHL0PKIW3GC/framed_concrete.jpg 4 FOLDED, 2013. https://emmalearusso.com/five daily 0.75 2020-12-27 https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1457493850967-VB355SWAQZDPSPHJQ7ED/double_scribble.JPG 5 Poets House, 2015. Photo courtesy of CAROUSEL. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1548983391854-UMXKY82AKJAOA1MBJ25O/double_scribble.JPG 5 https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1554907531383-1YRMEJXWRV3XP5SVOA9T/Russo_12.jpg 5 COLLAGE, 2017. https://emmalearusso.com/three daily 0.75 2020-12-27 https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1595591837257-3RTW0CCOEBA503SIO4OL/Screen+Shot+2020-01-16+at+8.01.36+PM.png 3 https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1595591837257-3RTW0CCOEBA503SIO4OL/Screen+Shot+2020-01-16+at+8.01.36+PM.png 3 Springtown, PA. November 2016. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1457493501341-AX3B5HYT3QEMFNSGQBPJ/image-asset.jpeg 3 Units of Plexiglass, an edit. NYC, Poets House, 2015. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1595591837257-3RTW0CCOEBA503SIO4OL/Screen+Shot+2020-01-16+at+8.01.36+PM.png 3 Springtown, PA. November 2016. https://emmalearusso.com/twelve daily 0.75 2020-12-27 https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1595605006298-JTV6RM2Y6X29ZJR8N3PX/duras+body+frontier.png 12 https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1595592150973-0URHWY3BGS06UMXU2EU6/keanu+alone.png 12 Keanu Reeves Interview, 199? https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1595605006298-JTV6RM2Y6X29ZJR8N3PX/duras+body+frontier.png 12 Marguerite Duras, Agatha and the Limitless Readings, 1981. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1595604917261-XI5BXABTI67KMR86QJLB/Bresson+illness+clarity.png 12 Robert Bresson, The Devil, Probably, 1977. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1595592150973-0URHWY3BGS06UMXU2EU6/keanu+alone.png 12 Keanu Reeves Interview, 199? https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1595605006298-JTV6RM2Y6X29ZJR8N3PX/duras+body+frontier.png 12 Marguerite Duras, Agatha and the Limitless Readings, 1981. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1595604917261-XI5BXABTI67KMR86QJLB/Bresson+illness+clarity.png 12 Robert Bresson, The Devil, Probably, 1977. https://emmalearusso.com/start daily 0.75 2020-07-24 https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1595638972623-QV0E14ABK1MRHMXGRPY5/duras+sea+where.png START https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1595607007984-PXZXSL1Z4FBQFPQRDQB9/duras+sea+where.png START https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1595607007984-PXZXSL1Z4FBQFPQRDQB9/duras+sea+where.png START https://emmalearusso.com/online-writings daily 0.75 2022-08-21 https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1676999934778-1PS0W1FSM04YF2JUV2IG/image-asset.png ONLINE WRITING - Freezeframe at In the Mood Magazine (Copy) Freezeframe at In the Mood Magazine There’s an order on the other side too brightly lit to talk about, recall, gone. An anemic red settles gel-like at winter’s base bringing into bas-relief summer’s white heat. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1676999847081-HWH87L4G16Q1GHREMRA7/image-asset.png ONLINE WRITING - Four Poems at Periodicities (Copy) Four Poems at Periodicities i see you at the edge of a rinsed beam https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1672681954848-G04609KBKLQH7D5TNRUH/image-asset.png ONLINE WRITING - Ordinary Parlor in Expat Press (Copy) Ordinary Parlor in Expat Press I’d left the world of cultured people behind For incandescence and whatnot Your astral stern and cranial vault I’m bouncing back to infinity through Though https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1671289708131-U24QNXZIB2EI3H5TYLX6/image-asset.jpeg ONLINE WRITING - Lydia Tár, Metrosexual Metronome in Return (Copy) Lydia Tár, Metrosexual Metronome in Return Finally Tár throws up her arms. Whatever, she tells Max. If you want to avoid Bach, fine. Because, after all, the soul selects her own society. That’s not just a cutting remark about creative vision. It’s the first line of an Emily Dickinson poem. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1669468290452-A9OLBJB8Q4WZ6C004XHK/image-asset.png ONLINE WRITING - SPEAK, DIGITS in RETURN (Copy) SPEAK, DIGITS in RETURN It’s not the whole hand but the fingers – digits – which, true to form, the digital activates: scroll, type, click. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1667812100484-FV33XN7MXXILGLWC9HWK/image-asset.jpeg ONLINE WRITING - VICIOUS CYCLE in RETURN (Copy) VICIOUS CYCLE in RETURN In the Halloween universe, there are two rules: there are no accidents and Michael Myers is very, very hard to kill. Even if something looks like an accident… https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1666207315936-HCNUXHJIR0HBE2872MGH/image-asset.jpeg ONLINE WRITING - IS THIS ALL? in RETURN (Copy) IS THIS ALL? in RETURN Olivia Wilde’s second film Don't Worry Darling suffers from an inability to deal with the past and with people it doesn’t understand with anything other than contempt. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1664984761477-YHZUFI7AJVXKS7E5LMCC/image-asset.png ONLINE WRITING - THE DEVOURING BLONDE in Compact Magazine (Copy) THE DEVOURING BLONDE in Compact Magazine Though many critics insist on reading it as a straight biopic, Blonde, based on the novel of the same title by Joyce Carol Oates, is a horror film about the creation of the image of Marilyn Monroe. Those who scorn the film as “dehumanizing,” “cruel,” or “torture porn” can’t tolerate the ambivalence and ambiguity that Blonde depicts and demands. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1664933108318-1O8NT8UUTZDQTMZMXFZ9/image-asset.png ONLINE WRITING - THE TEXAS CHAINSAW MASSACRE in IN THE MOOD MAGAZINE (Copy) THE TEXAS CHAINSAW MASSACRE in IN THE MOOD MAGAZINE what got stuffed into those minutes emitted in light’s diurnal oil placed in steel container paste-like transgressing the horizon night’s acutest angle slips tube-shaped https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1662486293407-9O3J1OD70WCZ5QZ70QIE/image-asset.png ONLINE WRITING - MYSTICISM AND MAGENTA in Word For Word (Copy) MYSTICISM AND MAGENTA in Word For Word whose literal ecstasy reminds me BOY PEELING FRUIT of Caravaggio in 1592 SUNSET BOULEVARD of Joe Gillis in 1950 afloat scab-like in the gray pool of the aging star whose emissions lit this https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1661785100078-W4AT8JN0XMF5QTFKIDP4/image-asset.png ONLINE WRITING - DIAGRAMMING DESERT ECSTASY: NOTES ON CONFETTI in Columbia Journal (Copy) DIAGRAMMING DESERT ECSTASY: NOTES ON CONFETTI in Columbia Journal Confetti has seven sections and the diagrams compiled here are from the final section which is “set” in the desert, a zone I think of as both pre- and post-cinema where forms come apart and wed in odd and mirage-like plays of light. A site of mystical illumination and terror, a screen of excess sun. Two films appear in this section, both shot in the deserts of California by European directors: Zabriskie Point (1970) and Twentynine Palms (2003) where sun seems to prophesy violence and/or ecstatic fusion while also pointing to cinema as a medium of light. There are wide and God’s eye shots that feel both awe-inspiring and paranoia-inducing, a weirdly wired air buzzing with surveillance and freedom as seen through the eyes of outsiders. […] lovers stare into light and get blotted out, revealing how the exposed eye/I might get dissolved, overwhelmed, and dazzled. Bodies fuse with screens, light, and other bodies. “Love is not consolation,” wrote Simone Weil, “it is light.” https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1661103023782-UZD95TZHW1YJWH1O9VO3/image-asset.png ONLINE WRITING - GASPAR NOÉ'S PERISHABLE CAMERA: ON IRRÉVERSIBLE, GEORGES BATAILLE, AND SIMONE WEIL in Asphalte Magazine (Copy) GASPAR NOÉ'S PERISHABLE CAMERA: ON IRRÉVERSIBLE, GEORGES BATAILLE, AND SIMONE WEIL in Asphalte Magazine Above the green grass, ecstatic, as children play, a different sort of spin begins. We twirl faster and faster, green leaves and white sky, green and white, green and white, all the way. Somewhere. To the beginning. Maybe. A violent pulse of obliterating light before the beginning and after the end. The words TIME DESTROYS ALL THINGS appear against a black background. The credits play backwards. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1653670651010-904SJFWVIJ2NZ2VUBQLR/image-asset.png ONLINE WRITING - FIRE MACHINES: TITANE AND THE PYROTECHNICS OF LOVE in Senses of Cinema (Copy) FIRE MACHINES: TITANE AND THE PYROTECHNICS OF LOVE in Senses of Cinema In the beginning, there’s the sound of metal. A black screen gives way to zoomed-in tentacles, lustrous metallic innards of car or creature. The sound of metal spins, piercing the air. At this proximity, it’s hard to tell sight from sound, metal from muscle. Now a wide shot reveals a road. Now a car. Now a young girl is humming in the backseat, her father at the wheel. Now the car crashes. Now an operating room where, at disorientingly close proximity, an ornate metal plate gets fused, pearlescent and silvery and red, to a head. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1651851077492-DMNHZZNRMW5Y3CRERXRR/image-asset.png ONLINE WRITING - THE MATHEMATICAL CATASTROPHE OF (ANALOG<->DIGITAL) LOVE (Copy) THE MATHEMATICAL CATASTROPHE OF (ANALOG<->DIGITAL) LOVE Near the end of “The Dedication” entry in A Lover’s Discourse, Barthes tells us that the visitor in Pasolini’s Teorema is definitely an angel, as he does not speak but rather “inscribes something within each of those who desire him – he performs what the mathematicians call a catastrophe (the disturbance of one system by another): it is true that this mute figure is an angel.” The silence of the angel engraves, leaves a mark. The silence is what happens. An encounter, a puncture, rippled beginnings of texture. Barthes’s “We are our own demons” entry begins with the assertion that the lover is sometimes possessed by a demon of language. The lover is inhabited – an inflamed vessel who babbles hyperspeak. Love and writing are processes of possession and exorcism – stretching bodies to catastrophic limits (the projectile vomit and spinning head in The Exorcist; the catatonia caused by the angel in Teorema). Babble, convulsion, expulsion, inflammation. One system disturbs another. Love> – > l … o ///*& v← )))) e. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1651851214990-RW7Q3ZRRMPJ3AVU9FAQ8/image-asset.png ONLINE WRITING - HAMLET'S CAMERAS (Copy) HAMLET'S CAMERAS To be in a state of ecstasy is to be driven out of oneself, to (however briefly, thrillingly, fearfully) stand outside of the I. One is here. One is also there, on screen, as an image and gleaming under the raw inexorable light of information and communication. This light, as Byung-Chul Han points out in Transparency Society, is not exactly light, but rather see-through lightless radiation, penetrating and intrusive. Metaphysical light sourced from the sun or divinity creates hierarchy and processual order whereas transparent non-light carries power differently, as in Hamlet 2000 where surveillance cameras, glass houses, and reflective smooth surfaces proliferate. The new violence obliterates light and shadow with see-through mediums, hypermediation gets ecstatic where everyone everywhere is present all the time everyone everywhere present here and now even when they are absent everyone everywhere present…. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1647887059179-O6NLI7QEK9RJXMF8AW1J/image-asset.png ONLINE WRITING - SHELL: A GLIMMERING TEMPORALITY in FLAUNT MAGAZINE (Copy) SHELL: A GLIMMERING TEMPORALITY in FLAUNT MAGAZINE During star death, light pulsates and quivers, expanding before collapsing fantastically. Erlanger’s works remind us that to look at a planet is to view what it’s infused by. Saturn’s famous rings are comprised of glimmering pieces of asteroids, moons, comets, and unknown materials upheaved then reconstituted, clinging and spinning. The planet is the farthest we can see with our naked eyes—a spec of barely-there light. Erlanger’s worlds evoke the limits of sight: very close (snow globe, a world in weird miniature) and very far away (a planet). Sight stretched to its strange ends melts into touch. Pupil is skin, skin is animate porousness unhooked from orbit. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1646170779002-HAPTPXU241EWBA2TO7QV/image-asset.png ONLINE WRITING - TRANSGRESSING THE FRAME in Offscreen (Copy) TRANSGRESSING THE FRAME in Offscreen Static artworks are delivered from fixity and into deranging mobility as they alter the relationship between viewer/viewed, consumer/consumed. A painting that exceeds its frame. A mirrored installation for summoning the dead. A series of killer artworks, porous and mutilating where painting becomes a passionate threshold, mirror, shield, portal. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1644927635631-Q4W5WANZNPCUGE4DF23R/image-asset.png ONLINE WRITING - CINEMA CLOWNS: NOTES ON CARNIVAL, CIRCUS, AND CRYPT at In the Mood Magazine (Copy) CINEMA CLOWNS: NOTES ON CARNIVAL, CIRCUS, AND CRYPT at In the Mood Magazine “Mountains and abysses, such is the relief of the grotesque body; or speaking in architectural terms, towers and subterranean passages,” writes Mikhail Bakhtin in Carnival Ambivalence. The harlequin body, the body at the banquet or feast, disrupts, according to Bakhtin, social hierarchies through exaggeration and excess. A body ever in a state of becoming. A body as passage where passage is light, encryption, daze, trap, shock, deliverance, vivification, spillage… where horror and humor are electric twins spinning transmission, underpass, and drift. This everted body troubles the modern image of a body atomized, individualized, pathologized. A body at a limit: on a high wire, down a drain. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1642781057237-S60XIAKWOI3X9JRDVVZ9/image-asset.png ONLINE WRITING - Blood, Muscle, and Red Paper: My Bloody Valentine's Recording Hearts (Copy) Blood, Muscle, and Red Paper: My Bloody Valentine's Recording Hearts Both love and recording are associated with the form and feel of the heart: a muscle, an image, and a flutter in the chest. To record is to repeat, reiterate, recite, rehearse, know by heart. And the heart (from the Latin cor) is a specific kind of recording device. My Bloody Valentine (dir. George Mihalka, 1981) is a wildly underrated slasher dealing in every way with the heart: its horrors, holidays, memories, ticks, and red paper scribbles. Its capacity for recollection and return. Its bloody, heavy, folded, and candied forms. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1642003963273-TZ8S9OZAKU7FPVRCLPTK/image-asset.png ONLINE WRITING - ON SPIRITUAL CREATURES, ANALOG AND DIGITAL at The Quarterless Review (Copy) ON SPIRITUAL CREATURES, ANALOG AND DIGITAL at The Quarterless Review Material things, says Thomas Aquinas, must have something holding them together other than their parts. A slice of meat THROWN into a field of light to make it loop, enter a body, loop, leave a body, loop, become a body. Angels and other immaterial creatures of organization (like us) are always dying. MOVING in wave disturbances. An energy-carrying medium. An angel, says Aquinas, might be pure form. The distance between wave crests. “Spiritual substance” or the speed of a wave divided by frequency or “divine thing” or when the medium’s wings glow then vanish upon delivery. Delivery. Something speaks. A throw of the die’s knife-edge between there and here along wired-up https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1641320628865-PZMQT3QAYIPU24CYYD93/image-asset.png ONLINE WRITING - NEW POEMS AT TAGVVERK (Copy) NEW POEMS AT TAGVVERK ROBERT GROSSETESTE’S MEDIEVAL THEORY OF LIGHT 13th cen. experimentum some matter is opaquer than other matter mysterium tremendum i miss your light passes through accordingly coupling with matter i miss you tremendously while some matter is opaquer than other you are the opaquest yet at the beginning was a light form without matter maybe some matter is opaquer than other matter mysterium tremendum i miss you 13th century 21st century tremendously The light is leaking. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1639675317419-J5VGGTXLXGUSHXXY8EL8/image-asset.png ONLINE WRITING - CONFETTI, LIQUID PERCEPTION in LA VAGUE JOURNAL (Copy) CONFETTI, LIQUID PERCEPTION in LA VAGUE JOURNAL Thirty-nine minutes in, I begin. Page, ocean, page, ocean, detuned television. In the clinic’s hallway near the other dusk https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1639412037090-CZGC03L7O1G0FAO5BCHS/image-asset.png ONLINE WRITING - WINTER CINEMAS at Black Sun Lit (Copy) WINTER CINEMAS at Black Sun Lit https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1638111816506-PFDGKFD4UYI8GR9NNK2H/image-asset.png ONLINE WRITING - WINTER CINEMA, SIMONE AND SATURN in The Mountain Astrologer Journal (Copy) WINTER CINEMA, SIMONE AND SATURN in The Mountain Astrologer Journal The same but colossal and slivery with blue at night. The thing is to slide the self out of the way, says Weil. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1637681023873-L1XO5ASVLGUKRR2ZJN88/image-asset.png ONLINE WRITING - COSMOLOGIES OF GHOSTING at Many Loops Journal (Copy) COSMOLOGIES OF GHOSTING at Many Loops Journal Bachmann’s Malina weaves a labyrinthine love triangle in a corner of postwar Vienna. The narrator is in love with Ivan and lives with Malina. The first section, “Happy with Ivan,” tells of how the world can feel changed-charged by desire, a name can be a password, a cure for decay, a way to unlock a blocked flow, get devoured, disappear, become multiple. Bachmann writes: “It’s Ivan. Ivan, again and again.” She describes a virus which moves between bodies and locations, love or sickness or lovesickness. Often, she waits. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1637681219766-L0ZEOJDJKZ8ZCII9D8YD/image-asset.png ONLINE WRITING - DERANGEMENT: REVOLTING MEMORIES, DERANGED FORMS, AND LOST HIGHWAY(S) at The Quarterless Review (Copy) DERANGEMENT: REVOLTING MEMORIES, DERANGED FORMS, AND LOST HIGHWAY(S) at The Quarterless Review THE FORM OF THE HEADLIGHT It begins and ends at night, David Bowie’s “I’m Deranged” playing over the Lost Highway, smudges of white headlights emblazoning the road in fast flickers. The yellow line of road disappears under whatever vehicle we’re inside of. Again and again. A mechanism pushes forward and meets itself, affixing the start to the finish. Almost. Lines fall fast out of frame and into pure night. We appear to be rushing forward. Towards what? https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1637681258645-IAX523XQYP2ATZIJJSKH/BERGMAN+hour+of+the+wolf+a+spell.png ONLINE WRITING - TELEPATHIC READINGS AND INFINITE MINUTES in Flaunt Magazine (Copy) TELEPATHIC READINGS AND INFINITE MINUTES in Flaunt Magazine In “Fate and Character,” Walter Benjamin describes what the fortuneteller can teach us about time: “The fortuneteller who uses cards and the seer who reads palms teach us at least that this time can at every moment be made simultaneous with another (not present).” Magical reading breaks then overflows seemingly linear cause and effect chains. Something new gets written as we read. Telepathic, near and far hook-up. It’s a spell, an incantation. Residues of wolf hours and gone pasts make slippery what we thought we could grab. The clock stops. We see this world differently. The Magician, an emergency brake, breaks stuff. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1635083012279-DNK1H25VD031W6TXWXY6/image-asset.png ONLINE WRITING - THE DAZZLING at The Quarterless Review (Copy) THE DAZZLING at The Quarterless Review In the trilogy of books written during World War II, Georges Bataille connects the writings of Nietzsche with those of the Christian mystic Angela of Foligno (1248-1309), whose bodily devotions included washing hands and feet of lepers and then drinking the water, stripping naked in front of the cross, convulsing, and meditating on portions of Christ’s crucified flesh. This unlikely connection, I think, has to do with unmediated experience. The I/eye of the philosopher, dazzled, might become the I/eye of mystic. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1635083611102-SWQ4BLAXDCPOVRQ1VF7E/image-asset.jpeg ONLINE WRITING - SILVER PROCESS at Periodicities Journal (Copy) SILVER PROCESS at Periodicities Journal A past fastens onto metal mouths and the sky tilts as a raccoon runs across the road which my friend lovingly points out before departing for a longstanding appointment with our dealer. My hair dyed propitiously blonde. Atmospheric chemical glint under cardboard stars. We speak into machinic dream. Timed metallic hiss of buses near cluster of orange trees. Lukewarm coffee and floating eye divulge partially this thin glimmer. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1635083246765-OQYDSD8HR9Z299RDE6YD/image-asset.png ONLINE WRITING - UNDIGESTED FRAGMENTS: EROTIC GOO AND ABSENT MESSAGES at The Quarterless Review (Copy) UNDIGESTED FRAGMENTS: EROTIC GOO AND ABSENT MESSAGES at The Quarterless Review In contrast to the “transparent communication,” uniform and flat, that Byung-Chul Han says we’re plagued by these days under digitized neoliberal capitalism, Bataille continues the above thought with an attempt to define an entirely different kind of communication, intimate and excessive, open but not exactly transparent: “The communication of two individuals occurs when they lose themselves in sweet, shared slime...” Selves get lost in a slime reminiscent of Mel Bochner’s gridded textures of colorful vaselines and creams. In an erotic and intimate communication, we can never really attain or grasp the Other, piece of art, text, atmosphere, on and on. We try, we slip. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1635172937916-T22HAKCYSC0CFTP3NYUI/image-asset.png ONLINE WRITING - SILVER SCREENS POEMS at Forever Magazine (Copy) SILVER SCREENS POEMS at Forever Magazine Seen the angels. When other forces move from black and white to technicolor away blows our paper money. You wrap me in your Wings of Desire trench coat. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1661785843983-7SB0CVNCFQBW0M38EKKK/image-asset.png ONLINE WRITING - POETIC ASSEMBLAGES UNDER CONSUMER CAPITALISM: ON KATE DURBIN'S HOARDERS in Tiding House (Copy) POETIC ASSEMBLAGES UNDER CONSUMER CAPITALISM: ON KATE DURBIN'S HOARDERS in Tiding House The camera in Hoarders doesn’t roll back to reveal processes of accretion that the hoarders may have undergone or the factories and conditions under which these objects were produced so that the show itself doesn’t become a critique of capitalism. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1635083913600-CP74OHE1RFXM74D3BX61/Screen+Shot+2021-10-24+at+9.58.07+AM.png ONLINE WRITING - COMPUTER BLUES AND MARS REDS at 3:AM Magazine (Copy) COMPUTER BLUES AND MARS REDS at 3:AM Magazine Grace is a divine phenomenon that Simone Weil wrote about often. She chose to spend a year working in a factory in order to understand the workers’ conditions firsthand. In Gravity and Grace, she writes, “To assume power over is to soil. To possess is to soil.” https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1637680731090-4BYZH59E79D54I5F1WUT/image-asset.png ONLINE WRITING - LANDSCAPES AND VIDEOTAPES at Burnaway Magazine (Copy) LANDSCAPES AND VIDEOTAPES at Burnaway Magazine It’s summer in Baton Rouge, and everything seems to be sweating: 1989. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1661786046428-GMVBW2W3WHBQ4KFWP1BR/image-asset.png ONLINE WRITING - ON MAYSHA MOHAMEDI'S PAINTINGS at Artforum (Copy) ON MAYSHA MOHAMEDI'S PAINTINGS at Artforum In alchemy, the action happens inside the vessel. The container is typically transparent, which allows us to see the grit of transmutation. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1635171789928-OXC7LQGYG664DJXXNNMH/image-asset.jpeg ONLINE WRITING - HONEY IN TEA at Schlag Magazine (Copy) HONEY IN TEA at Schlag Magazine Sugar and lead. Lead is a heavy metal and a poor metal. Druggy summer almost-dusk sun’s made its decision. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1635424279251-F17RWRE33FKAY09A6H8S/jarmusch+stranger+than+paradise+pennsylvania.png ONLINE WRITING - LOVE MOUNTAIN in The Brooklyn Rail (Copy) LOVE MOUNTAIN in The Brooklyn Rail in a lux hotel suite with a new version of you teeth or the moon shining in my face as if we weren’t just on Love Mountain at the edge of Pennsylvania getting quietly https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1635424173079-4XF4HVOJW4EQMS88BAP5/duras+agatha+and+the+limitless.png ONLINE WRITING - 2 POEMS in Granta Magazine (Copy) 2 POEMS in Granta Magazine golden periapts got loosed from her throat sounded like bangles jingling on the wrists of fashionable women reflected back to me many times slim and ultra-glam my captor https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1635171992357-MDVH8MQTJTY0SBWG3IES/Carson-Diary-15.jpg ONLINE WRITING - LOOKING BACK: THE 2010s IN LITERATURE at BOMB Magazine (Copy) LOOKING BACK: THE 2010s IN LITERATURE at BOMB Magazine In the early 2010s, I often dreamt that I was driving into a forest fire, transfixed-terrified by flames’ voracity. The decade opened in California. Then: Pennsylvania, Louisiana, Massachusetts, New York, New Jersey. I began the decade with Anne Carson’s Nox, which gave me the bodily relief of a very heavy book written by a woman after years of being instructed to read big books by dudes. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1635172181196-EDPZ8EY3VSERQO13DUQX/image-asset.jpeg ONLINE WRITING - TWO CALIFORNIA POEMS in Gulf Coast Journal (Copy) TWO CALIFORNIA POEMS in Gulf Coast Journal fizzing over miniature cakes down my throat some octilinear perturbance faux snow seeming to dive at The Grove in illumined flurries like the hair of an animal technically feral https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1635172453632-2M97TA00NGMELA6A60NZ/Screen+Shot+2021-10-25+at+10.32.54+AM.png ONLINE WRITING - ON HILARY PECIS at Artforum (Copy) ON HILARY PECIS at Artforum https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1635423260812-TDKCUKJ3BNV9ODCS5LRO/Screen+Shot+2021-10-28+at+8.14.09+AM.png ONLINE WRITING - TO BE ENGULFED: ON SARAH GERARD'S TRUE LOVE in Los Angeles Review of Books (Copy) TO BE ENGULFED: ON SARAH GERARD'S TRUE LOVE in Los Angeles Review of Books https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1635423452838-M7VSAN6MW3Q30ZKD38HS/Screen+Shot+2021-10-28+at+8.17.11+AM.png ONLINE WRITING - BEFORE I BEGAN: ON THE WISDOM OF NOT KNOWING in Los Angeles Review of Books (Copy) BEFORE I BEGAN: ON THE WISDOM OF NOT KNOWING in Los Angeles Review of Books How much of oneself is defined by the culture that calls one into being? Is it possible to ever feel like “simply ourselves,” after being called into being as a woman, an anorexic, a depressive, a working-class person, and so forth? What if we don’t heed the call? Is it possible to write back into the space “before I began”? The middle space that Cruz describes, a space where she neither has to adhere to social norms nor eschew them, is one of a healing nothingness, of a thoughtful not-knowing. It is the space of poetry. In a class society, attempted adherence to social norms can make us sick, but resistance to those norms makes us sick too, at least according to prevailing definitions. How then, do we define true health, true sickness? https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1635423633624-BTPJLWX2V9A2IWKYCB0M/7.jpg ONLINE WRITING - DARK GOLD in SF MOMA's Open Space (Copy) DARK GOLD in SF MOMA's Open Space “Bring night to your imaginings. Bring the darkest passage of your holy book,” wrote Carolyn Forché in “Prayer.” All month, these lines return to me: winter and its depletion of light. We see the moon more than the sun. Forché composed “Prayer” in Paris when her son was an infant. Of his own birthplace, Rudhyar described nerve-debauch, nerve-storms, and dead beautiful forms. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1635423808248-GB0U6NPL5Y4FCNQYGBFB/211319962-09072016-wolowiec-02-bomb-137.jpg ONLINE WRITING - AUDRA WOLOWIEC BY EMMALEA RUSSO in BOMB Magazine (Copy) AUDRA WOLOWIEC BY EMMALEA RUSSO in BOMB Magazine Wolowiec’s warm-up (2013) also deals with the physicality of the spoken word. Loudspeakers embedded in wooden beams lean against walls in various diagonals. Viewers/listeners have to position themselves close to the beams in order to hear the sounds of performers reciting voice exercises. The act of the warm-up in preparation for a performance is central to Wolowiec’s practice, as she places the unseen, unheard, and often overlooked at the center, creating a new context. The gaps between the conception of a work, the making/rehearsing, and the presentation are left open. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1635426983857-RE8HU1SLPG40E0SIBVJX/phone+take+care.jpg ONLINE WRITING - SKYPE HEALER at The Poetry Foundation (Copy) SKYPE HEALER at The Poetry Foundation upon waking I skyped with a Los Angeles healer in a wooden paneled room and asked why and when asked him to ask the entities to see what arrival pulsed the now and dreary underbelly my laptop on my pillow slanted insidious glare but so silver https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1635427108265-SZN2F3Z9L40LO9JFAQE8/duras+agatha+hallucinatory.png ONLINE WRITING - IN THE COMPARTMENT at Poetry Society of America (Copy) IN THE COMPARTMENT at Poetry Society of America The tumultuous she. The brainwaves looking sharp on the tundra. Especially you who. Were sought after, arranging the archive, going to just store it away or find a method for display. A whale moves in the night ocean. Deeper inside the house, fresh white three-hundred-thread-count sheets. The horizon is an imaginary line. The archive is vertical. The horizon is unchanging. The tides are changing. As in temperament. The body becomes more muscular, then softer. Forms and unforms. Steps between wave and archive. Words drip into water. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1635427224564-LETORNMYV63ZRBP63KC3/blowup1966green.png ONLINE WRITING - excerpt from G in La Vague Journal (Copy) excerpt from G in La Vague Journal The house no doubt overtaken by weeds. WEED QUICKER he says he says but it may look better ruined I say. And in ruin so too my pixels become analog. Line Line Line. | | | What we found on the railroad tracks and took into the house. What we took from one site to another. We cited and are still centering in the mind using I, me, mine. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1635427939387-V21P0VM6FJPS1S5M749P/Screen+Shot+2021-10-28+at+9.32.07+AM.png ONLINE WRITING - ENTERING THE MISCHIEVOUS PORTALS OF MONUMENTAL PAINTINGS in Hyperallergic (Copy) ENTERING THE MISCHIEVOUS PORTALS OF MONUMENTAL PAINTINGS in Hyperallergic On Matt Kleberg’s paintings. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1635427574932-WEAWFS82TWPUGOQ7PGOA/windshield.png ONLINE WRITING - SELECTED ART WRITINGS at Artcritical (Copy) SELECTED ART WRITINGS at Artcritical Online reviews of NYC art shows including works by Bas Jan Ader, Helen Mirra, Tacita Dean, Sophie Calle, Sarah Greenberger Rafferty, Vivienne Griffin, and Davina Semo in Artcritical. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1635428320704-UOK3ZO9LEIJE3CIYIFSV/G_emmalea_russo_cover_small.jpg ONLINE WRITING - SELECTED PRESS AND INTERVIEWS (Copy) SELECTED PRESS AND INTERVIEWS https://emmalearusso.com/two daily 0.75 2020-12-27 https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1595639113869-322OBBS5IB0DJPTEI8OK/IMG_2225.jpg 2 https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1609071422364-AL5397W7A6YNKDMON0KY/ROEG+BAD+TIMING+APARTMENT.png 2 Nicolas Roeg, Bad Timing, 1980. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1595602576437-YN8TTWWUE6QV16AVF6KF/IMG_2225.jpg 2 Cake, New Jersey, 2020. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1609071422364-AL5397W7A6YNKDMON0KY/ROEG+BAD+TIMING+APARTMENT.png 2 Nicolas Roeg, Bad Timing, 1980. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1595602576437-YN8TTWWUE6QV16AVF6KF/IMG_2225.jpg 2 Cake, New Jersey, 2020. https://emmalearusso.com/eleven daily 0.75 2020-12-27 https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1595604671653-PGYLWCKO202M11MJZ35E/Screen+Shot+2020-07-24+at+11.30.41+AM.png 11 https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1609072119166-Q1TKPGJ9PMD14O3AFUIX/antonioni+leclisse+building+people.png 11 Michelangelo Antonioni, L’Eclisse, 1962. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1595604671653-PGYLWCKO202M11MJZ35E/Screen+Shot+2020-07-24+at+11.30.41+AM.png 11 Richard Linklater, Dazed and Confused, 1993. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1595592400594-P23PJSINYLOZ4R3TPMRD/duras+agatha+and+the+limitless.png 11 Marguerite Duras, Agatha and the Limitless Readings, 1981. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1609072119166-Q1TKPGJ9PMD14O3AFUIX/antonioni+leclisse+building+people.png 11 Michelangelo Antonioni, L’Eclisse, 1962. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1595604671653-PGYLWCKO202M11MJZ35E/Screen+Shot+2020-07-24+at+11.30.41+AM.png 11 Richard Linklater, Dazed and Confused, 1993. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1595592400594-P23PJSINYLOZ4R3TPMRD/duras+agatha+and+the+limitless.png 11 Marguerite Duras, Agatha and the Limitless Readings, 1981. https://emmalearusso.com/six daily 0.75 2020-12-27 https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1595639431386-CIKL36IZOC95C0KK6W21/broken+english+not+okay.png 6 https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1595592021426-YXMN1LBNMG7ZOMVZM2FP/broken+english+not+okay.png 6 Zoe Cassavetes, Broken English, 2007. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1595592021426-YXMN1LBNMG7ZOMVZM2FP/broken+english+not+okay.png 6 Zoe Cassavetes, Broken English, 2007. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1462567580298-J965C2X3KZR0DMZDREX2/Wednesday_parallels+.jpg 6 I HAVE THE SENSE THAT YOU CAN CENTER YOURSELF, 2016. https://emmalearusso.com/ten daily 0.75 2020-12-27 https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1595604213701-SOQAW1K3VUV038OZ959S/Screen+Shot+2020-01-24+at+7.39.39+AM.png 10 https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1595695893744-16XYCMNZAOWHJ738EITB/https___bucketeer-e05bbc84-baa3-437e-9518-adb32be77984.s3.amazonaws.com_public_images_e62726ef-28e1-4250-9e39-e04c8bd7b072_809x538.png 10 Anne Collier. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1595604213701-SOQAW1K3VUV038OZ959S/Screen+Shot+2020-01-24+at+7.39.39+AM.png 10 Marcel Broodthaers, The Belgion Lion, 1968. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1595695893744-16XYCMNZAOWHJ738EITB/https___bucketeer-e05bbc84-baa3-437e-9518-adb32be77984.s3.amazonaws.com_public_images_e62726ef-28e1-4250-9e39-e04c8bd7b072_809x538.png 10 Anne Collier. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1595604213701-SOQAW1K3VUV038OZ959S/Screen+Shot+2020-01-24+at+7.39.39+AM.png 10 Marcel Broodthaers, The Belgion Lion, 1968. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1574260044458-79P08KWXRVASYFRF5N3N/Screen+Shot+2019-11-20+at+9.26.12+AM.png 10 Sun, NASA. https://emmalearusso.com/one daily 0.75 2020-12-27 https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1595639085391-RKVNUV8BWF5E2MZZR7M0/IMG_0794.JPG 1 https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1595602328264-5U85HT9PI0T1JJ1B18U9/IMG_0794.JPG 1 Somewhere in the desert, 2013. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1595602224760-1MW91DL4IKS7M1CLR5UX/Screen+Shot+2020-07-24+at+10.50.00+AM.png 1 Hieronymus Bosch, The Garden of Earthly Delights, 1504. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1595602328264-5U85HT9PI0T1JJ1B18U9/IMG_0794.JPG 1 Somewhere in the desert, 2013. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1595602224760-1MW91DL4IKS7M1CLR5UX/Screen+Shot+2020-07-24+at+10.50.00+AM.png 1 Hieronymus Bosch, The Garden of Earthly Delights, 1504. https://emmalearusso.com/nine daily 0.75 2020-12-27 https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1595639592058-FK4FHR1BZXX4CW1G3KK4/IMG_0777.JPG 9 https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1595603992981-MVLUDLJ3FVZ3HVRXX56S/IMG_0777.JPG 9 https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1510872528542-PW3J4L6EN0Y5TTVIVBK9/DSC_0915.jpg 9 THE COAST, INSTALLATION, 2017. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1595603992981-MVLUDLJ3FVZ3HVRXX56S/IMG_0777.JPG 9 https://emmalearusso.com/seen daily 0.75 2020-12-27 https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1609070702701-ADB1MUB3ECADFA3Z392K/GROUND+SCREEN.jpg SEEN Avon-by-the-Sea, NJ. December 2020. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1609070421284-F1X8QKRHGOQ24Z6T8WZI/KIESLOWSKI+VERONIQUE+BALL+2.png SEEN Krzysztof Kieślowski, The Double Life of Veronique, 1991. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1609070508512-OHAOJSWQZYGC3D9WH960/KIESLOWSKI+VERONIQUE+BALL.png SEEN https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1609070528568-LCSJ5G0F98LV0VSGUDGP/KIESLOWSKI+VERONIQUE+BALL+3.png SEEN https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1602702965320-NZ9G1ZNIG1GWZ11CUID8/IMG_4523.jpg SEEN Greenpoint, Brooklyn, 2017. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1602701947622-YH148MR8NDLLD73KP7YI/AKERMAN+NEWS+FROM+HOME+GIVE+HER+SOMETHING.png SEEN Chantal Akerman, News from Home, 1977. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1602701544253-2VPL3CTDZ7HQGUHCUAQD/Screen+Shot+2020-10-14+at+2.48.46+PM.png SEEN Hollis Frampton, (nostalgia) https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1602701654648-48L5EARR77V5KR8QHJQM/HOLLIS+FRAMPTON+SURFACE+TENSION+AMERICAN+ADS.png SEEN Hollis Frampton, Surface Tension, 1968. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1602699349069-0S2NB7HBAAJHLTM20638/BERGMAN+SHAME+no+phone.png SEEN Ingmar Bergman, Shame, 1968. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1602700138860-BNU34OB5EJ0WS1CS30IF/Screen+Shot+2020-10-14+at+2.28.36+PM.png SEEN Lorna Simpson on Five Day Forecast: https://www.youtube.com/watch?v=dNk098ffjLM https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1602700222884-AKYU8AKIU9LXP7IFXDB7/Screen+Shot+2020-10-14+at+2.29.37+PM.png SEEN Lorna Simpson on analog photography and mark-making: https://www.youtube.com/watch?v=dNk098ffjLM https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1602699450069-AE8P9CBS5UT6O5CMTNHF/jarmusch+night+on+earth+clocks.png SEEN Jim Jarmusch, Night on Earth, 1991. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1602701135628-WPR74RQXAHZNPN4PM8BQ/Screen+Shot+2020-10-14+at+2.43.05+PM.png SEEN Barbara Hammer, SANCTUS, 1990. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1602699480941-OM3LKGNGN6RTKSIBSBAN/BIGELOW+THE+LOVELESS+CLOCK.png SEEN Kathryn Bigelow, The Loveless, 1981. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1602699576828-PH13Z4KBM30EV2N7IEX6/wittgenstein+film+roll.png SEEN Derek Jarman, Wittgenstein, 1993. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1602702332987-2ALVIY3RIF3KFN1MK5SX/Screen+Shot+2020-10-14+at+3.02.29+PM.png SEEN Can’t Hardly Wait, Preston Meyers calling Barry Manilow. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1602699738235-91HZZINHX6B4RRK6CEP8/BERGMAN+WILD+STRAWBERRIES+clock+no+hands.png SEEN Ingmar Bergman, Wild Strawberries, 1957. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1602700515593-RWSQNMXPW7KY12IK6GL4/image-asset.png SEEN Ingmar Bergman, Shame, 1968. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1602700732686-6U521GG07E2Q1AKIH6KN/videodrome+hand.png SEEN David Cronenburg, Videodrome, 1983. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1602700830949-PY7G5OW34VTIJRUYQ3X4/BERGMAN+THE+TOUCH+telephone.png SEEN Ingmar Bergman, The Touch, 1971. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1602701010828-NNVAGUM0ETQZT84Q5DF2/Screen+Shot+2020-10-14+at+2.31.55+PM.png SEEN Steven Soderbergh, Sex, Lies, and Videotape, 1989. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1602701063833-RNFXNGDQ5WPRU6K7NGFU/Screen+Shot+2020-10-14+at+2.33.09+PM.png SEEN Steven Soderbergh, Sex, Lies, and Videotape, 1989. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1602701738339-JSED27YK986HFHLNAWYR/Hollis+Frampton+less.png SEEN Hollis Frampton, Less, 1973. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1609070639041-SOK2JXRELLZ4JUMY4NC6/ROEG+BAD+TIMING+CARDS.png SEEN Nicolas Roeg, Bad Timing, 1980. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1609070702701-ADB1MUB3ECADFA3Z392K/GROUND+SCREEN.jpg SEEN Avon-by-the-Sea, NJ. December 2020. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1609070421284-F1X8QKRHGOQ24Z6T8WZI/KIESLOWSKI+VERONIQUE+BALL+2.png SEEN Krzysztof Kieślowski, The Double Life of Veronique, 1991. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1609070508512-OHAOJSWQZYGC3D9WH960/KIESLOWSKI+VERONIQUE+BALL.png SEEN https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1609070528568-LCSJ5G0F98LV0VSGUDGP/KIESLOWSKI+VERONIQUE+BALL+3.png SEEN https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1602702965320-NZ9G1ZNIG1GWZ11CUID8/IMG_4523.jpg SEEN Greenpoint, Brooklyn, 2017. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1602701947622-YH148MR8NDLLD73KP7YI/AKERMAN+NEWS+FROM+HOME+GIVE+HER+SOMETHING.png SEEN Chantal Akerman, News from Home, 1977. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1602701544253-2VPL3CTDZ7HQGUHCUAQD/Screen+Shot+2020-10-14+at+2.48.46+PM.png SEEN Hollis Frampton, (nostalgia) https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1602701654648-48L5EARR77V5KR8QHJQM/HOLLIS+FRAMPTON+SURFACE+TENSION+AMERICAN+ADS.png SEEN Hollis Frampton, Surface Tension, 1968. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1602699349069-0S2NB7HBAAJHLTM20638/BERGMAN+SHAME+no+phone.png SEEN Ingmar Bergman, Shame, 1968. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1602700138860-BNU34OB5EJ0WS1CS30IF/Screen+Shot+2020-10-14+at+2.28.36+PM.png SEEN Lorna Simpson on Five Day Forecast: https://www.youtube.com/watch?v=dNk098ffjLM https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1602700222884-AKYU8AKIU9LXP7IFXDB7/Screen+Shot+2020-10-14+at+2.29.37+PM.png SEEN Lorna Simpson on analog photography and mark-making: https://www.youtube.com/watch?v=dNk098ffjLM https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1602699450069-AE8P9CBS5UT6O5CMTNHF/jarmusch+night+on+earth+clocks.png SEEN Jim Jarmusch, Night on Earth, 1991. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1602701135628-WPR74RQXAHZNPN4PM8BQ/Screen+Shot+2020-10-14+at+2.43.05+PM.png SEEN Barbara Hammer, SANCTUS, 1990. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1602699480941-OM3LKGNGN6RTKSIBSBAN/BIGELOW+THE+LOVELESS+CLOCK.png SEEN Kathryn Bigelow, The Loveless, 1981. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1602699576828-PH13Z4KBM30EV2N7IEX6/wittgenstein+film+roll.png SEEN Derek Jarman, Wittgenstein, 1993. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1602702332987-2ALVIY3RIF3KFN1MK5SX/Screen+Shot+2020-10-14+at+3.02.29+PM.png SEEN Can’t Hardly Wait, Preston Meyers calling Barry Manilow. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1602699738235-91HZZINHX6B4RRK6CEP8/BERGMAN+WILD+STRAWBERRIES+clock+no+hands.png SEEN Ingmar Bergman, Wild Strawberries, 1957. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1602700515593-RWSQNMXPW7KY12IK6GL4/image-asset.png SEEN Ingmar Bergman, Shame, 1968. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1602700732686-6U521GG07E2Q1AKIH6KN/videodrome+hand.png SEEN David Cronenburg, Videodrome, 1983. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1602700830949-PY7G5OW34VTIJRUYQ3X4/BERGMAN+THE+TOUCH+telephone.png SEEN Ingmar Bergman, The Touch, 1971. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1602701010828-NNVAGUM0ETQZT84Q5DF2/Screen+Shot+2020-10-14+at+2.31.55+PM.png SEEN Steven Soderbergh, Sex, Lies, and Videotape, 1989. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1602701063833-RNFXNGDQ5WPRU6K7NGFU/Screen+Shot+2020-10-14+at+2.33.09+PM.png SEEN Steven Soderbergh, Sex, Lies, and Videotape, 1989. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1602701738339-JSED27YK986HFHLNAWYR/Hollis+Frampton+less.png SEEN Hollis Frampton, Less, 1973. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1609070639041-SOK2JXRELLZ4JUMY4NC6/ROEG+BAD+TIMING+CARDS.png SEEN Nicolas Roeg, Bad Timing, 1980. https://emmalearusso.com/test daily 0.75 2021-10-24 https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1635082379962-JYQEYCDRNCL71P6OJNSH/BERGMAN+hour+of+the+wolf+a+spell.png test TELEPATHIC READINGS AND INFINITE MINUTES IN FLAUNT MAGAZINE https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1635082379962-JYQEYCDRNCL71P6OJNSH/BERGMAN+hour+of+the+wolf+a+spell.png test TELEPATHIC READINGS AND INFINITE MINUTES IN FLAUNT MAGAZINE https://emmalearusso.com/press daily 0.75 2025-12-05 https://emmalearusso.com/upcomingclasses daily 0.75 2025-01-07 https://emmalearusso.com/confetti daily 0.75 2022-07-08 https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/a892c421-43c0-4283-9a52-20fb1b2b5e47/Screen+Shot+2022-04-19+at+1.29.34+PM.png CONFETTI - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/315751ac-bf54-48ec-b2e4-976169a2c399/texas+chainsaw+sunset.png CONFETTI - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/4472330b-5eb3-4303-bc36-d511b41d4b56/texas+chainsaw+sunset+1.png CONFETTI - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/6e9f16d1-10ef-4c11-a27d-8a80e9aaa523/texas+chainsaw+massacre+sunset+2.png CONFETTI - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/c1fa99d1-b81c-4aa6-a0b1-22aed18dbe1c/FELLINI+CLOWNS+FINALE+STREAMERS.png CONFETTI - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/59281c21-e401-4fe1-a882-d3fab0a365c0/clowns+confetti+.png CONFETTI - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/bad8f2d0-5dbe-4192-88f8-beda09640d11/pasolini+teorema+weep.png CONFETTI - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/bb0c56dc-49f1-4036-9197-45c2ba9c6415/teorema+tears.png CONFETTI - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/acb8fdba-e457-4f11-8c5a-7149233cf6ec/house+confetti+1.png CONFETTI - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/5105ee16-574e-4189-80d7-f3e7f09ed847/house+confetti+2.png CONFETTI - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/34cb5fb8-4043-4b84-9d41-8e5b427933b6/house+confetti+3.png CONFETTI - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/ff7be0a0-766b-498a-a700-ca07bd9a0f9d/Screen+Shot+2022-04-19+at+1.38.10+PM.png CONFETTI - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/0cb7ae21-dac6-4ac0-9de5-32d573dd8650/Screen+Shot+2022-04-19+at+1.39.46+PM.png CONFETTI - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/004e057f-e4d8-4680-9d86-68328c4d6c51/Screen+Shot+2022-04-19+at+1.40.39+PM.png CONFETTI - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/a57c87fe-a133-458a-9cda-8d1dc1ba0a15/Screen+Shot+2022-04-23+at+9.06.11+AM.png CONFETTI - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/13ee79ad-dc33-4a6e-9ef6-b71c5eb07658/duras+hands+word.png CONFETTI - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/5174eaeb-b867-47e4-9b74-e135c205ae70/FELLINI+CLOWNS+END+SPOTLIGHT.png CONFETTI - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1ef70f00-7da4-4af8-8c01-1ddada05b03a/hellraiser+2+portal.png CONFETTI - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/f13fac12-89dd-49b0-a9d4-3f6bf0c350ec/Screen+Shot+2022-04-19+at+1.46.22+PM.png CONFETTI - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/be7e1da3-5186-4539-8720-45fdeee0fde2/twentynine+palms+lying+down+1.png CONFETTI - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/b5d443ff-27cc-4084-ba22-ec0bc2645b24/twentynine+palms+lying+down+2+light.png CONFETTI - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/40bd3ca5-696a-4f61-9445-01df46e894d1/Screen+Shot+2022-02-18+at+10.41.54+AM.png CONFETTI - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/11b11ff4-d766-48cf-8535-dddcb0df62aa/Screen+Shot+2022-02-18+at+10.42.38+AM.png CONFETTI - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/efc39754-7bb8-43e0-b142-981efc9f76f4/Screen+Shot+2022-02-18+at+10.43.04+AM.png CONFETTI - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/923c7a25-21aa-4c35-be0c-f12d6ab3e421/Screen+Shot+2022-04-19+at+1.51.40+PM.png CONFETTI - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/a892c421-43c0-4283-9a52-20fb1b2b5e47/Screen+Shot+2022-04-19+at+1.29.34+PM.png CONFETTI - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/315751ac-bf54-48ec-b2e4-976169a2c399/texas+chainsaw+sunset.png CONFETTI - Make it stand out Whatever 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story online can make all the difference. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/11b11ff4-d766-48cf-8535-dddcb0df62aa/Screen+Shot+2022-02-18+at+10.42.38+AM.png CONFETTI - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/efc39754-7bb8-43e0-b142-981efc9f76f4/Screen+Shot+2022-02-18+at+10.43.04+AM.png CONFETTI - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/923c7a25-21aa-4c35-be0c-f12d6ab3e421/Screen+Shot+2022-04-19+at+1.51.40+PM.png CONFETTI - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://emmalearusso.com/blog daily 0.75 2022-07-07 https://emmalearusso.com/recent-writing daily 0.75 2026-04-01 https://emmalearusso.com/void-of-courses-the-signs daily 0.75 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out Whatever it is, the way you tell your story online can make all the difference. https://emmalearusso.com/contact daily 0.75 2025-12-03 https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1641553670230-2KTHPZGAF1ON8WPQEY6K/Screen+Shot+2022-01-03+at+5.29.28+AM.png CONTACT - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://emmalearusso.com/book-accelerator daily 0.75 2026-01-06 https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/f4f5cebe-bd5c-4337-a68d-22fea4c5c5eb/Screen+Shot+2023-12-22+at+7.06.09+AM.png ACCELERATOR - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/f4f5cebe-bd5c-4337-a68d-22fea4c5c5eb/Screen+Shot+2023-12-22+at+7.06.09+AM.png ACCELERATOR - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://emmalearusso.com/workshops daily 0.75 2026-03-08 https://emmalearusso.com/faqs daily 0.75 2025-01-05 https://emmalearusso.com/writing daily 0.75 2024-07-02 https://emmalearusso.com/psychocosmos daily 0.75 2025-01-26 https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/f471f13b-ffc7-438d-a579-32254ea56ac7/Screen+Shot+2024-07-19+at+8.52.13+AM.png PSYCHO-COSMOS - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/f471f13b-ffc7-438d-a579-32254ea56ac7/Screen+Shot+2024-07-19+at+8.52.13+AM.png PSYCHO-COSMOS - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://emmalearusso.com/vivienne-a-novel daily 0.75 2026-01-17 https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/e8939172-db94-422f-9b78-759ab40a068a/Vivienne+-+comp+final.jpg VIVIENNE - PURCHASE HERE "One of the year’s most impressive debuts.”—David Gutowski, LargeheartedBoy.com “A skin-crawling drama about three generations of women and their relationships to one another. . . a satirical comedy that is at its core a book of poetry, or literary art.”—Artnet Did Vivienne Volker Kill Wilma Lang? This question has dogged Vivienne ever since Wilma jumped from a window to her death shortly after Volker stole her lover, the visionary artist Hans Bellmer, in the 1970s. Once a famous artist and fashion icon, Volker is now in her eighties and spends her days in religious contemplation in rural Pennsylvania alongside her daughter Velour Bellmer, her granddaughter Vesta Furio, her much younger boyfriend—a garbageman named Lou—and Franz, the family dog. Their quiet lives are disrupted when Vivienne’s work is selected for inclusion in a high-profile retrospective called "Forgotten Women Surrealists" at the prestigious NAT Museum. However, when rumors of her past misdeeds begin to circulate and she is dropped from the show, a gallery curator enters the picture hoping to capitalize on the buzz generated by the controversy, sending the family's tensions, hopes, and dreams to a dizzying peak. Set over the course of a fateful week, Vivienne deftly weaves surreal prose with a Greek chorus of internet comments and text messages, to ask the questions: what is the cost of vision, what is the price of art? What connects creation and procreation, a life and an afterlife? "Stylish, satirical, and inventive, contemporary yet timeless, Vivienne takes place where urgent and unanswerable questions reside, at the intersections of art, love, and the immortal soul. It is surprising, mysterious, and delightful at every turn of the page, an utterly singular story circling the life and legacy of a fascinating and larger-than-life figure.” —Sarah Gerard, author of True Love “Russo is acidly funny . . . a talented enough writer to leave us with her characters, their interiority.”—Ross Barkan “Vivienne is a story of vision and creation; its author is an astrologer and mystic who deftly intertwines the art world with that of the occult.”—Evening House "Vivienne is a dizzying, bold novel told in text messages, open letters by protesters, and vivacious surrealist prose."—Language Arts “Few these days manage to pull off such a playful yet measured balance between the sacred and the profane as well as Fitzgerald did . . . though Emmalea Russo’s latest novel Vivienne does come close.”—Stephen Adubato, Real Clear Books “If you like your fiction offbeat, unpredictable, and a little unhinged, Vivienne is calling your name.”—@booksontherunway “In an instant, one of our finest poets has become one of our finest novelists. Emmalea Russo is—as Leonard Cohen sang—‘All dressed to kill, in rags of light.’”—Bruce Wagner author of Dead Stars "Russo's characters are vivid, alive, post-alive, carnivorous and weird: they contaminate and elevate. Vivienne is a powerful, ambiguous and magical novel that is both a work of art and a serious reflection on the risk of creation itself."—Nina Power, author of What Do Men Want? “Vivienne is a novel of rare vivacity and invention in a literary period not noted for visionary fictions: a vital recreation of the sheer scandal of our surreally real lives, a poet’s novel in the sense in which all novels worth the name should be poets’ novels: a work of poiesis, the inspired formation or manifestation of a new reality.”—John Pistelli, author of Major Arcana “A combustible alchemy of rare beauty and force. Russo’s lyrical prose crackles with vitality, and her story about an artist’s response to philistine attacks against her body of work is a triumph of literary courage and innovation."—Bernard Schweizer, author of Hating God: The Untold Story of Misotheism “An absolutely stunning, deeply compassionate and humorous satire, set against the backdrop of contemporary cultural politics. Russo expertly weaves a story that is both tragic and comic, grounded in deep psychological and philosophical insights. Russo's ability to blend the surreal with the everyday, to infuse humor into serious subject matter, and to navigate the nuances of art and morality in the digital age is nothing short of extraordinary." —Angie Speaks (aka Angie Baba-Ahmed), author of Late Stage Babylon (forthcoming) and cohost of Mystic and the Machine podcast https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/e8939172-db94-422f-9b78-759ab40a068a/Vivienne+-+comp+final.jpg VIVIENNE - PURCHASE HERE "One of the year’s most impressive debuts.”—David Gutowski, LargeheartedBoy.com “A skin-crawling drama about three generations of women and their relationships to one another. . . a satirical comedy that is at its core a book of poetry, or literary art.”—Artnet Did Vivienne Volker Kill Wilma Lang? This question has dogged Vivienne ever since Wilma jumped from a window to her death shortly after Volker stole her lover, the visionary artist Hans Bellmer, in the 1970s. Once a famous artist and fashion icon, Volker is now in her eighties and spends her days in religious contemplation in rural Pennsylvania alongside her daughter Velour Bellmer, her granddaughter Vesta Furio, her much younger boyfriend—a garbageman named Lou—and Franz, the family dog. Their quiet lives are disrupted when Vivienne’s work is selected for inclusion in a high-profile retrospective called "Forgotten Women Surrealists" at the prestigious NAT Museum. However, when rumors of her past misdeeds begin to circulate and she is dropped from the show, a gallery curator enters the picture hoping to capitalize on the buzz generated by the controversy, sending the family's tensions, hopes, and dreams to a dizzying peak. Set over the course of a fateful week, Vivienne deftly weaves surreal prose with a Greek chorus of internet comments and text messages, to ask the questions: what is the cost of vision, what is the price of art? What connects creation and procreation, a life and an afterlife? "Stylish, satirical, and inventive, contemporary yet timeless, Vivienne takes place where urgent and unanswerable questions reside, at the intersections of art, love, and the immortal soul. It is surprising, mysterious, and delightful at every turn of the page, an utterly singular story circling the life and legacy of a fascinating and larger-than-life figure.” —Sarah Gerard, author of True Love “Russo is acidly funny . . . a talented enough writer to leave us with her characters, their interiority.”—Ross Barkan “Vivienne is a story of vision and creation; its author is an astrologer and mystic who deftly intertwines the art world with that of the occult.”—Evening House "Vivienne is a dizzying, bold novel told in text messages, open letters by protesters, and vivacious surrealist prose."—Language Arts “Few these days manage to pull off such a playful yet measured balance between the sacred and the profane as well as Fitzgerald did . . . though Emmalea Russo’s latest novel Vivienne does come close.”—Stephen Adubato, Real Clear Books “If you like your fiction offbeat, unpredictable, and a little unhinged, Vivienne is calling your name.”—@booksontherunway “In an instant, one of our finest poets has become one of our finest novelists. Emmalea Russo is—as Leonard Cohen sang—‘All dressed to kill, in rags of light.’”—Bruce Wagner author of Dead Stars "Russo's characters are vivid, alive, post-alive, carnivorous and weird: they contaminate and elevate. Vivienne is a powerful, ambiguous and magical novel that is both a work of art and a serious reflection on the risk of creation itself."—Nina Power, author of What Do Men Want? “Vivienne is a novel of rare vivacity and invention in a literary period not noted for visionary fictions: a vital recreation of the sheer scandal of our surreally real lives, a poet’s novel in the sense in which all novels worth the name should be poets’ novels: a work of poiesis, the inspired formation or manifestation of a new reality.”—John Pistelli, author of Major Arcana “A combustible alchemy of rare beauty and force. Russo’s lyrical prose crackles with vitality, and her story about an artist’s response to philistine attacks against her body of work is a triumph of literary courage and innovation."—Bernard Schweizer, author of Hating God: The Untold Story of Misotheism “An absolutely stunning, deeply compassionate and humorous satire, set against the backdrop of contemporary cultural politics. Russo expertly weaves a story that is both tragic and comic, grounded in deep psychological and philosophical insights. Russo's ability to blend the surreal with the everyday, to infuse humor into serious subject matter, and to navigate the nuances of art and morality in the digital age is nothing short of extraordinary." —Angie Speaks (aka Angie Baba-Ahmed), author of Late Stage Babylon (forthcoming) and cohost of Mystic and the Machine podcast https://emmalearusso.com/work-with-me daily 0.75 2026-04-01 https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/2645fb38-5c4e-499f-a094-4db4676c8d0a/Screen+Shot+2024-04-02+at+5.04.35+AM.png https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1630087486452-AUFZKX87CXC0Q3687POQ/clouds+emmalea+russo+brooklyn+2017.png https://emmalearusso.com/work-with-me-2 daily 0.75 2024-11-04 https://emmalearusso.com/upcoming daily 1.0 2026-04-01 https://emmalearusso.com/niceorbit daily 0.75 2025-01-10 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https://emmalearusso.com/books-1 daily 0.75 2025-01-10 https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/f772934b-34e6-4180-b0b0-1ccdce236f2e/Screen+Shot+2025-12-19+at+6.52.50+AM.png BOOKS https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1708798700249-MCVP6SU2K5GPIND2L6SF/image-asset.png BOOKS https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1687709182296-OW28HJB8XLTVD6TCK7TT/EMMALEA+RUSSO.png BOOKS https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1657281881907-YSCF3NM3DMMDPQQME2P4/image-asset.png BOOKS https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1635428320704-UOK3ZO9LEIJE3CIYIFSV/image-asset.jpeg BOOKS - G (Futurepoem, 2018) (Copy) G (Futurepoem, 2018) "In a debut of prose poems that approach language by turns as abstract or as deeply representational, interdisciplinary artist and writer Russo chronicles a desire for calm and unattachment in the face of the details of a life—a volatile relationship, the labor of gardening, a “Nervous disorder.” The poems on the right-facing pages feel as if they have fallen from the spaces in the more fragmented poems of the left. As Russo writes, “Some things drop down into what space is cleared for,” before revising this sentiment when she writes later, “What we continue to clear is G.” Readers will likely find the primary pleasures of this book in this tension, as philosophy emerges from fracture and the poems gesture toward but never perform wholeness." —Publishers Weekly https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1641472170916-PNSDFOT73MMAABKHKBKM/image-asset.png BOOKS - Wave Archive (Book*hug Press, 2019) (Copy) Wave Archive (Book*hug Press, 2019) “Few long poems have so completely fit Auden’s description of a successful short one: a clear expression for mixed feelings. 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Mixed genres have rarely sounded so good, or described an idiosyncratic life so well.” — The Yale Review https://emmalearusso.com/art daily 0.75 2025-01-10 https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1628172930524-WN2FYGR071UV2B93DGUZ/door+mirror.png VISUAL https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1628172025230-KBRE7YJQADFTAI9M7WLV/Screen+Shot+2021-08-05+at+8.34.00+AM.png VISUAL https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1495204198263-IJK9Z3RWPH0RBH7VC965/Russo_13.jpg VISUAL - Pauline (Copy) Pauline 2017 digital scan of paper collage 11 in x 14 in https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1457755590349-TTKXQZFHBYBZV77EUV8J/image-asset.jpeg VISUAL - EDITS (COASTLINE) (Copy) EDITS (COASTLINE) 2014 Spring Lake, New Jersey https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1510872431117-JSB0DR5Q36UA5VTJKLOF/DSC_0873.jpg VISUAL https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1604842393844-7L439XB13XU07FETLMU6/boiler_Installation-17.jpg VISUAL https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1494602276583-ZE00M79I1D2RW4DYKWS1/ER_SCAN002.jpg VISUAL https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1628172948846-RZQUGMKQ87MJBJ8YM1T6/rose.png VISUAL https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1628172092414-DG0VJ380J0YOI0KQ1R64/doorknobs.png VISUAL https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1495203793900-Z0MNN566GYTV8PTVPYLC/Russo_12.jpg VISUAL - 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And You Will Be Happy (Copy) And You Will Be Happy 2017 digital scan of paper collage 14 in x 11 in https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1495731080249-S8M568AI8T1I3PBUL4Q2/Russo_35.jpg VISUAL - And You Will Be Connected (Copy) And You Will Be Connected 2017 digital scan of paper collage, pencil, and colored pencil 14 in x 11 in https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1495731242534-QDKVWAHLZDZE5C7WFEJX/Russo_36.jpg VISUAL - Lala III (Copy) Lala III 2017 digital scan of paper collage and colored pencil 14 in x 11 in https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1602682457978-WVQ78ZQ7YEI4DV495E9E/IMG_4610+%281%29.JPG VISUAL https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1628174375753-QHD2KOQOJFGXAA0ZDVD9/clouds+emmalea+russo+brooklyn+2017.png VISUAL - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1602682210663-53IBRUB3S59ZLLKDBANP/FullSizeRender+%285%29.jpg VISUAL https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1602680786371-K1WFHBIYQBP57RSRMV98/IMG_3183.jpg VISUAL https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1602680965155-0LFMIVDZXFDBR2ZH1Q92/amphibious.jpg VISUAL https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1602682145182-Y5FZFMYEQAEYXKJBJX2R/brokengreen.jpg VISUAL https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1602682276607-NC7MWYMMC4I15ONLA6IE/IMG_5306.JPG VISUAL https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1602682190363-EXU6LS7K427L4QE3TUEP/IMG_3825.JPG VISUAL https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1602682253400-S46H9ZXJA9M89PM602JM/IMG_0209+%281%29.JPG VISUAL https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1602682307135-W9FEJVNZ3X8SJB9SARVR/image-asset.jpeg VISUAL https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1602682391670-AHTWVE7RL9TZI7RPG9JQ/IMG_4572.JPG VISUAL https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1602682504430-C1GRXND2QG49W4E03KMA/IMG_4760+%281%29.JPG VISUAL https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1602682522008-I2RRWVLU23RMN6WSR7FA/IMG_4808.JPG VISUAL https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1602682540886-AKLJ2IU1GGK2SEFXB0B0/IMG_4991.JPG VISUAL https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1602682559503-LWG0XIPA7179XEMFLRW7/IMG_4057.JPG VISUAL https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1602682588150-KIYPDJ9IUZNBN2UCC9PE/IMG_4763.JPG VISUAL https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1602682632757-N72ODADQUB13SA04MSZ4/IMG_5500.JPG VISUAL https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1602682655328-RD97X6LCJR0LY4KEHQHH/IMG_5209.JPG VISUAL https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1602682700396-IANVW5HWY4N5TW8GP0FF/IMG_4840+%281%29.JPG VISUAL https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1602682722139-ASI67MAFLJY8GS18NWG5/IMG_5122.JPG VISUAL https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1602682772209-UZJZY2O92H14QR0TB23Q/rock_diamond.JPG VISUAL https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1602682812081-ZW7HV1Q202XUNHQDKJCO/IMG_4268.JPG VISUAL https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1602682839129-11DEDEJPKMV4PGTFRWIM/polaroidwhite.jpg VISUAL https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1628174430437-GCUOP1Z30ORF2D40L8F8/cloud+ground+paper+emmalea+russo+brooklyn+2015.png VISUAL - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1628174635797-LDR88SD7SUETSZYIFBMI/Screen+Shot+2021-08-05+at+10.43.36+AM.png VISUAL - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1628179703166-PD72R0QAY6LCUUFJ0MC8/Screen+Shot+2021-08-05+at+10.51.13+AM.png VISUAL - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://emmalearusso.com/editingwork daily 0.75 2025-01-10 https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1619539068976-LKJ8B5HHLISZN2IW3IKI/image-asset.jpeg EDITING https://emmalearusso.com/they daily 0.75 2025-01-10 https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1619538069370-7NPGB2ZFTP8GSM4691JB/tumblr_inline_pjzzznQSEc1qdmnce_400.jpg THEY https://emmalearusso.com/home-horizon daily 0.75 2025-01-10 https://emmalearusso.com/online-writing-1 daily 0.75 2025-01-10 https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1676999934778-1PS0W1FSM04YF2JUV2IG/image-asset.png ONLINE WRITING - Freezeframe at In the Mood Magazine (Copy) Freezeframe at In the Mood Magazine There’s an order on the other side too brightly lit to talk about, recall, gone. An anemic red settles gel-like at winter’s base bringing into bas-relief summer’s white heat. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1676999847081-HWH87L4G16Q1GHREMRA7/image-asset.png ONLINE WRITING - Four Poems at Periodicities (Copy) Four Poems at Periodicities i see you at the edge of a rinsed beam https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1672681954848-G04609KBKLQH7D5TNRUH/image-asset.png ONLINE WRITING - Ordinary Parlor in Expat Press (Copy) Ordinary Parlor in Expat Press I’d left the world of cultured people behind For incandescence and whatnot Your astral stern and cranial vault I’m bouncing back to infinity through Though https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1671289708131-U24QNXZIB2EI3H5TYLX6/image-asset.jpeg ONLINE WRITING - Lydia Tár, Metrosexual Metronome in Return (Copy) Lydia Tár, Metrosexual Metronome in Return Finally Tár throws up her arms. Whatever, she tells Max. If you want to avoid Bach, fine. Because, after all, the soul selects her own society. That’s not just a cutting remark about creative vision. It’s the first line of an Emily Dickinson poem. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1669468290452-A9OLBJB8Q4WZ6C004XHK/image-asset.png ONLINE WRITING - SPEAK, DIGITS in RETURN (Copy) SPEAK, DIGITS in RETURN It’s not the whole hand but the fingers – digits – which, true to form, the digital activates: scroll, type, click. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1667812100484-FV33XN7MXXILGLWC9HWK/image-asset.jpeg ONLINE WRITING - VICIOUS CYCLE in RETURN (Copy) VICIOUS CYCLE in RETURN In the Halloween universe, there are two rules: there are no accidents and Michael Myers is very, very hard to kill. Even if something looks like an accident… https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1666207315936-HCNUXHJIR0HBE2872MGH/image-asset.jpeg ONLINE WRITING - IS THIS ALL? in RETURN (Copy) IS THIS ALL? in RETURN Olivia Wilde’s second film Don't Worry Darling suffers from an inability to deal with the past and with people it doesn’t understand with anything other than contempt. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1664984761477-YHZUFI7AJVXKS7E5LMCC/image-asset.png ONLINE WRITING - THE DEVOURING BLONDE in Compact Magazine (Copy) THE DEVOURING BLONDE in Compact Magazine Though many critics insist on reading it as a straight biopic, Blonde, based on the novel of the same title by Joyce Carol Oates, is a horror film about the creation of the image of Marilyn Monroe. Those who scorn the film as “dehumanizing,” “cruel,” or “torture porn” can’t tolerate the ambivalence and ambiguity that Blonde depicts and demands. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1664933108318-1O8NT8UUTZDQTMZMXFZ9/image-asset.png ONLINE WRITING - THE TEXAS CHAINSAW MASSACRE in IN THE MOOD MAGAZINE (Copy) THE TEXAS CHAINSAW MASSACRE in IN THE MOOD MAGAZINE what got stuffed into those minutes emitted in light’s diurnal oil placed in steel container paste-like transgressing the horizon night’s acutest angle slips tube-shaped https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1662486293407-9O3J1OD70WCZ5QZ70QIE/image-asset.png ONLINE WRITING - MYSTICISM AND MAGENTA in Word For Word (Copy) MYSTICISM AND MAGENTA in Word For Word whose literal ecstasy reminds me BOY PEELING FRUIT of Caravaggio in 1592 SUNSET BOULEVARD of Joe Gillis in 1950 afloat scab-like in the gray pool of the aging star whose emissions lit this https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1661785100078-W4AT8JN0XMF5QTFKIDP4/image-asset.png ONLINE WRITING - DIAGRAMMING DESERT ECSTASY: NOTES ON CONFETTI in Columbia Journal (Copy) DIAGRAMMING DESERT ECSTASY: NOTES ON CONFETTI in Columbia Journal Confetti has seven sections and the diagrams compiled here are from the final section which is “set” in the desert, a zone I think of as both pre- and post-cinema where forms come apart and wed in odd and mirage-like plays of light. A site of mystical illumination and terror, a screen of excess sun. Two films appear in this section, both shot in the deserts of California by European directors: Zabriskie Point (1970) and Twentynine Palms (2003) where sun seems to prophesy violence and/or ecstatic fusion while also pointing to cinema as a medium of light. There are wide and God’s eye shots that feel both awe-inspiring and paranoia-inducing, a weirdly wired air buzzing with surveillance and freedom as seen through the eyes of outsiders. […] lovers stare into light and get blotted out, revealing how the exposed eye/I might get dissolved, overwhelmed, and dazzled. Bodies fuse with screens, light, and other bodies. “Love is not consolation,” wrote Simone Weil, “it is light.” https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1661103023782-UZD95TZHW1YJWH1O9VO3/image-asset.png ONLINE WRITING - GASPAR NOÉ'S PERISHABLE CAMERA: ON IRRÉVERSIBLE, GEORGES BATAILLE, AND SIMONE WEIL in Asphalte Magazine (Copy) GASPAR NOÉ'S PERISHABLE CAMERA: ON IRRÉVERSIBLE, GEORGES BATAILLE, AND SIMONE WEIL in Asphalte Magazine Above the green grass, ecstatic, as children play, a different sort of spin begins. We twirl faster and faster, green leaves and white sky, green and white, green and white, all the way. Somewhere. To the beginning. Maybe. A violent pulse of obliterating light before the beginning and after the end. The words TIME DESTROYS ALL THINGS appear against a black background. The credits play backwards. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1653670651010-904SJFWVIJ2NZ2VUBQLR/image-asset.png ONLINE WRITING - FIRE MACHINES: TITANE AND THE PYROTECHNICS OF LOVE in Senses of Cinema (Copy) FIRE MACHINES: TITANE AND THE PYROTECHNICS OF LOVE in Senses of Cinema In the beginning, there’s the sound of metal. A black screen gives way to zoomed-in tentacles, lustrous metallic innards of car or creature. The sound of metal spins, piercing the air. At this proximity, it’s hard to tell sight from sound, metal from muscle. Now a wide shot reveals a road. Now a car. Now a young girl is humming in the backseat, her father at the wheel. Now the car crashes. Now an operating room where, at disorientingly close proximity, an ornate metal plate gets fused, pearlescent and silvery and red, to a head. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1651851077492-DMNHZZNRMW5Y3CRERXRR/image-asset.png ONLINE WRITING - THE MATHEMATICAL CATASTROPHE OF (ANALOG<->DIGITAL) LOVE (Copy) THE MATHEMATICAL CATASTROPHE OF (ANALOG<->DIGITAL) LOVE Near the end of “The Dedication” entry in A Lover’s Discourse, Barthes tells us that the visitor in Pasolini’s Teorema is definitely an angel, as he does not speak but rather “inscribes something within each of those who desire him – he performs what the mathematicians call a catastrophe (the disturbance of one system by another): it is true that this mute figure is an angel.” The silence of the angel engraves, leaves a mark. The silence is what happens. An encounter, a puncture, rippled beginnings of texture. Barthes’s “We are our own demons” entry begins with the assertion that the lover is sometimes possessed by a demon of language. The lover is inhabited – an inflamed vessel who babbles hyperspeak. Love and writing are processes of possession and exorcism – stretching bodies to catastrophic limits (the projectile vomit and spinning head in The Exorcist; the catatonia caused by the angel in Teorema). Babble, convulsion, expulsion, inflammation. One system disturbs another. Love> – > l … o ///*& v← )))) e. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1651851214990-RW7Q3ZRRMPJ3AVU9FAQ8/image-asset.png ONLINE WRITING - HAMLET'S CAMERAS (Copy) HAMLET'S CAMERAS To be in a state of ecstasy is to be driven out of oneself, to (however briefly, thrillingly, fearfully) stand outside of the I. One is here. One is also there, on screen, as an image and gleaming under the raw inexorable light of information and communication. This light, as Byung-Chul Han points out in Transparency Society, is not exactly light, but rather see-through lightless radiation, penetrating and intrusive. Metaphysical light sourced from the sun or divinity creates hierarchy and processual order whereas transparent non-light carries power differently, as in Hamlet 2000 where surveillance cameras, glass houses, and reflective smooth surfaces proliferate. The new violence obliterates light and shadow with see-through mediums, hypermediation gets ecstatic where everyone everywhere is present all the time everyone everywhere present here and now even when they are absent everyone everywhere present…. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1647887059179-O6NLI7QEK9RJXMF8AW1J/image-asset.png ONLINE WRITING - SHELL: A GLIMMERING TEMPORALITY in FLAUNT MAGAZINE (Copy) SHELL: A GLIMMERING TEMPORALITY in FLAUNT MAGAZINE During star death, light pulsates and quivers, expanding before collapsing fantastically. Erlanger’s works remind us that to look at a planet is to view what it’s infused by. Saturn’s famous rings are comprised of glimmering pieces of asteroids, moons, comets, and unknown materials upheaved then reconstituted, clinging and spinning. The planet is the farthest we can see with our naked eyes—a spec of barely-there light. Erlanger’s worlds evoke the limits of sight: very close (snow globe, a world in weird miniature) and very far away (a planet). Sight stretched to its strange ends melts into touch. Pupil is skin, skin is animate porousness unhooked from orbit. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1646170779002-HAPTPXU241EWBA2TO7QV/image-asset.png ONLINE WRITING - TRANSGRESSING THE FRAME in Offscreen (Copy) TRANSGRESSING THE FRAME in Offscreen Static artworks are delivered from fixity and into deranging mobility as they alter the relationship between viewer/viewed, consumer/consumed. A painting that exceeds its frame. A mirrored installation for summoning the dead. A series of killer artworks, porous and mutilating where painting becomes a passionate threshold, mirror, shield, portal. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1644927635631-Q4W5WANZNPCUGE4DF23R/image-asset.png ONLINE WRITING - CINEMA CLOWNS: NOTES ON CARNIVAL, CIRCUS, AND CRYPT at In the Mood Magazine (Copy) CINEMA CLOWNS: NOTES ON CARNIVAL, CIRCUS, AND CRYPT at In the Mood Magazine “Mountains and abysses, such is the relief of the grotesque body; or speaking in architectural terms, towers and subterranean passages,” writes Mikhail Bakhtin in Carnival Ambivalence. The harlequin body, the body at the banquet or feast, disrupts, according to Bakhtin, social hierarchies through exaggeration and excess. A body ever in a state of becoming. A body as passage where passage is light, encryption, daze, trap, shock, deliverance, vivification, spillage… where horror and humor are electric twins spinning transmission, underpass, and drift. This everted body troubles the modern image of a body atomized, individualized, pathologized. A body at a limit: on a high wire, down a drain. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1642781057237-S60XIAKWOI3X9JRDVVZ9/image-asset.png ONLINE WRITING - Blood, Muscle, and Red Paper: My Bloody Valentine's Recording Hearts (Copy) Blood, Muscle, and Red Paper: My Bloody Valentine's Recording Hearts Both love and recording are associated with the form and feel of the heart: a muscle, an image, and a flutter in the chest. To record is to repeat, reiterate, recite, rehearse, know by heart. And the heart (from the Latin cor) is a specific kind of recording device. My Bloody Valentine (dir. George Mihalka, 1981) is a wildly underrated slasher dealing in every way with the heart: its horrors, holidays, memories, ticks, and red paper scribbles. Its capacity for recollection and return. Its bloody, heavy, folded, and candied forms. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1642003963273-TZ8S9OZAKU7FPVRCLPTK/image-asset.png ONLINE WRITING - ON SPIRITUAL CREATURES, ANALOG AND DIGITAL at The Quarterless Review (Copy) ON SPIRITUAL CREATURES, ANALOG AND DIGITAL at The Quarterless Review Material things, says Thomas Aquinas, must have something holding them together other than their parts. A slice of meat THROWN into a field of light to make it loop, enter a body, loop, leave a body, loop, become a body. Angels and other immaterial creatures of organization (like us) are always dying. MOVING in wave disturbances. An energy-carrying medium. An angel, says Aquinas, might be pure form. The distance between wave crests. “Spiritual substance” or the speed of a wave divided by frequency or “divine thing” or when the medium’s wings glow then vanish upon delivery. Delivery. Something speaks. A throw of the die’s knife-edge between there and here along wired-up https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1641320628865-PZMQT3QAYIPU24CYYD93/image-asset.png ONLINE WRITING - NEW POEMS AT TAGVVERK (Copy) NEW POEMS AT TAGVVERK ROBERT GROSSETESTE’S MEDIEVAL THEORY OF LIGHT 13th cen. experimentum some matter is opaquer than other matter mysterium tremendum i miss your light passes through accordingly coupling with matter i miss you tremendously while some matter is opaquer than other you are the opaquest yet at the beginning was a light form without matter maybe some matter is opaquer than other matter mysterium tremendum i miss you 13th century 21st century tremendously The light is leaking. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1639675317419-J5VGGTXLXGUSHXXY8EL8/image-asset.png ONLINE WRITING - CONFETTI, LIQUID PERCEPTION in LA VAGUE JOURNAL (Copy) CONFETTI, LIQUID PERCEPTION in LA VAGUE JOURNAL Thirty-nine minutes in, I begin. Page, ocean, page, ocean, detuned television. In the clinic’s hallway near the other dusk https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1639412037090-CZGC03L7O1G0FAO5BCHS/image-asset.png ONLINE WRITING - WINTER CINEMAS at Black Sun Lit (Copy) WINTER CINEMAS at Black Sun Lit https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1638111816506-PFDGKFD4UYI8GR9NNK2H/image-asset.png ONLINE WRITING - WINTER CINEMA, SIMONE AND SATURN in The Mountain Astrologer Journal (Copy) WINTER CINEMA, SIMONE AND SATURN in The Mountain Astrologer Journal The same but colossal and slivery with blue at night. The thing is to slide the self out of the way, says Weil. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1637681023873-L1XO5ASVLGUKRR2ZJN88/image-asset.png ONLINE WRITING - COSMOLOGIES OF GHOSTING at Many Loops Journal (Copy) COSMOLOGIES OF GHOSTING at Many Loops Journal Bachmann’s Malina weaves a labyrinthine love triangle in a corner of postwar Vienna. The narrator is in love with Ivan and lives with Malina. The first section, “Happy with Ivan,” tells of how the world can feel changed-charged by desire, a name can be a password, a cure for decay, a way to unlock a blocked flow, get devoured, disappear, become multiple. Bachmann writes: “It’s Ivan. Ivan, again and again.” She describes a virus which moves between bodies and locations, love or sickness or lovesickness. Often, she waits. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1637681219766-L0ZEOJDJKZ8ZCII9D8YD/image-asset.png ONLINE WRITING - DERANGEMENT: REVOLTING MEMORIES, DERANGED FORMS, AND LOST HIGHWAY(S) at The Quarterless Review (Copy) DERANGEMENT: REVOLTING MEMORIES, DERANGED FORMS, AND LOST HIGHWAY(S) at The Quarterless Review THE FORM OF THE HEADLIGHT It begins and ends at night, David Bowie’s “I’m Deranged” playing over the Lost Highway, smudges of white headlights emblazoning the road in fast flickers. The yellow line of road disappears under whatever vehicle we’re inside of. Again and again. A mechanism pushes forward and meets itself, affixing the start to the finish. Almost. Lines fall fast out of frame and into pure night. We appear to be rushing forward. Towards what? https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1637681258645-IAX523XQYP2ATZIJJSKH/BERGMAN+hour+of+the+wolf+a+spell.png ONLINE WRITING - TELEPATHIC READINGS AND INFINITE MINUTES in Flaunt Magazine (Copy) TELEPATHIC READINGS AND INFINITE MINUTES in Flaunt Magazine In “Fate and Character,” Walter Benjamin describes what the fortuneteller can teach us about time: “The fortuneteller who uses cards and the seer who reads palms teach us at least that this time can at every moment be made simultaneous with another (not present).” Magical reading breaks then overflows seemingly linear cause and effect chains. Something new gets written as we read. Telepathic, near and far hook-up. It’s a spell, an incantation. Residues of wolf hours and gone pasts make slippery what we thought we could grab. The clock stops. We see this world differently. The Magician, an emergency brake, breaks stuff. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1635083012279-DNK1H25VD031W6TXWXY6/image-asset.png ONLINE WRITING - THE DAZZLING at The Quarterless Review (Copy) THE DAZZLING at The Quarterless Review In the trilogy of books written during World War II, Georges Bataille connects the writings of Nietzsche with those of the Christian mystic Angela of Foligno (1248-1309), whose bodily devotions included washing hands and feet of lepers and then drinking the water, stripping naked in front of the cross, convulsing, and meditating on portions of Christ’s crucified flesh. This unlikely connection, I think, has to do with unmediated experience. The I/eye of the philosopher, dazzled, might become the I/eye of mystic. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1635083611102-SWQ4BLAXDCPOVRQ1VF7E/image-asset.jpeg ONLINE WRITING - SILVER PROCESS at Periodicities Journal (Copy) SILVER PROCESS at Periodicities Journal A past fastens onto metal mouths and the sky tilts as a raccoon runs across the road which my friend lovingly points out before departing for a longstanding appointment with our dealer. My hair dyed propitiously blonde. Atmospheric chemical glint under cardboard stars. We speak into machinic dream. Timed metallic hiss of buses near cluster of orange trees. Lukewarm coffee and floating eye divulge partially this thin glimmer. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1635083246765-OQYDSD8HR9Z299RDE6YD/image-asset.png ONLINE WRITING - UNDIGESTED FRAGMENTS: EROTIC GOO AND ABSENT MESSAGES at The Quarterless Review (Copy) UNDIGESTED FRAGMENTS: EROTIC GOO AND ABSENT MESSAGES at The Quarterless Review In contrast to the “transparent communication,” uniform and flat, that Byung-Chul Han says we’re plagued by these days under digitized neoliberal capitalism, Bataille continues the above thought with an attempt to define an entirely different kind of communication, intimate and excessive, open but not exactly transparent: “The communication of two individuals occurs when they lose themselves in sweet, shared slime...” Selves get lost in a slime reminiscent of Mel Bochner’s gridded textures of colorful vaselines and creams. In an erotic and intimate communication, we can never really attain or grasp the Other, piece of art, text, atmosphere, on and on. We try, we slip. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1635172937916-T22HAKCYSC0CFTP3NYUI/image-asset.png ONLINE WRITING - SILVER SCREENS POEMS at Forever Magazine (Copy) SILVER SCREENS POEMS at Forever Magazine Seen the angels. When other forces move from black and white to technicolor away blows our paper money. You wrap me in your Wings of Desire trench coat. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1661785843983-7SB0CVNCFQBW0M38EKKK/image-asset.png ONLINE WRITING - POETIC ASSEMBLAGES UNDER CONSUMER CAPITALISM: ON KATE DURBIN'S HOARDERS in Tiding House (Copy) POETIC ASSEMBLAGES UNDER CONSUMER CAPITALISM: ON KATE DURBIN'S HOARDERS in Tiding House The camera in Hoarders doesn’t roll back to reveal processes of accretion that the hoarders may have undergone or the factories and conditions under which these objects were produced so that the show itself doesn’t become a critique of capitalism. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1635083913600-CP74OHE1RFXM74D3BX61/Screen+Shot+2021-10-24+at+9.58.07+AM.png ONLINE WRITING - COMPUTER BLUES AND MARS REDS at 3:AM Magazine (Copy) COMPUTER BLUES AND MARS REDS at 3:AM Magazine Grace is a divine phenomenon that Simone Weil wrote about often. She chose to spend a year working in a factory in order to understand the workers’ conditions firsthand. In Gravity and Grace, she writes, “To assume power over is to soil. To possess is to soil.” https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1637680731090-4BYZH59E79D54I5F1WUT/image-asset.png ONLINE WRITING - LANDSCAPES AND VIDEOTAPES at Burnaway Magazine (Copy) LANDSCAPES AND VIDEOTAPES at Burnaway Magazine It’s summer in Baton Rouge, and everything seems to be sweating: 1989. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1661786046428-GMVBW2W3WHBQ4KFWP1BR/image-asset.png ONLINE WRITING - ON MAYSHA MOHAMEDI'S PAINTINGS at Artforum (Copy) ON MAYSHA MOHAMEDI'S PAINTINGS at Artforum In alchemy, the action happens inside the vessel. The container is typically transparent, which allows us to see the grit of transmutation. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1635171789928-OXC7LQGYG664DJXXNNMH/image-asset.jpeg ONLINE WRITING - HONEY IN TEA at Schlag Magazine (Copy) HONEY IN TEA at Schlag Magazine Sugar and lead. Lead is a heavy metal and a poor metal. Druggy summer almost-dusk sun’s made its decision. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1635424279251-F17RWRE33FKAY09A6H8S/jarmusch+stranger+than+paradise+pennsylvania.png ONLINE WRITING - LOVE MOUNTAIN in The Brooklyn Rail (Copy) LOVE MOUNTAIN in The Brooklyn Rail in a lux hotel suite with a new version of you teeth or the moon shining in my face as if we weren’t just on Love Mountain at the edge of Pennsylvania getting quietly https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1635424173079-4XF4HVOJW4EQMS88BAP5/duras+agatha+and+the+limitless.png ONLINE WRITING - 2 POEMS in Granta Magazine (Copy) 2 POEMS in Granta Magazine golden periapts got loosed from her throat sounded like bangles jingling on the wrists of fashionable women reflected back to me many times slim and ultra-glam my captor https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1635171992357-MDVH8MQTJTY0SBWG3IES/Carson-Diary-15.jpg ONLINE WRITING - LOOKING BACK: THE 2010s IN LITERATURE at BOMB Magazine (Copy) LOOKING BACK: THE 2010s IN LITERATURE at BOMB Magazine In the early 2010s, I often dreamt that I was driving into a forest fire, transfixed-terrified by flames’ voracity. The decade opened in California. Then: Pennsylvania, Louisiana, Massachusetts, New York, New Jersey. I began the decade with Anne Carson’s Nox, which gave me the bodily relief of a very heavy book written by a woman after years of being instructed to read big books by dudes. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1635172181196-EDPZ8EY3VSERQO13DUQX/image-asset.jpeg ONLINE WRITING - TWO CALIFORNIA POEMS in Gulf Coast Journal (Copy) TWO CALIFORNIA POEMS in Gulf Coast Journal fizzing over miniature cakes down my throat some octilinear perturbance faux snow seeming to dive at The Grove in illumined flurries like the hair of an animal technically feral https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1635172453632-2M97TA00NGMELA6A60NZ/Screen+Shot+2021-10-25+at+10.32.54+AM.png ONLINE WRITING - ON HILARY PECIS at Artforum (Copy) ON HILARY PECIS at Artforum https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1635423260812-TDKCUKJ3BNV9ODCS5LRO/Screen+Shot+2021-10-28+at+8.14.09+AM.png ONLINE WRITING - TO BE ENGULFED: ON SARAH GERARD'S TRUE LOVE in Los Angeles Review of Books (Copy) TO BE ENGULFED: ON SARAH GERARD'S TRUE LOVE in Los Angeles Review of Books https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1635423452838-M7VSAN6MW3Q30ZKD38HS/Screen+Shot+2021-10-28+at+8.17.11+AM.png ONLINE WRITING - BEFORE I BEGAN: ON THE WISDOM OF NOT KNOWING in Los Angeles Review of Books (Copy) BEFORE I BEGAN: ON THE WISDOM OF NOT KNOWING in Los Angeles Review of Books How much of oneself is defined by the culture that calls one into being? Is it possible to ever feel like “simply ourselves,” after being called into being as a woman, an anorexic, a depressive, a working-class person, and so forth? What if we don’t heed the call? Is it possible to write back into the space “before I began”? The middle space that Cruz describes, a space where she neither has to adhere to social norms nor eschew them, is one of a healing nothingness, of a thoughtful not-knowing. It is the space of poetry. In a class society, attempted adherence to social norms can make us sick, but resistance to those norms makes us sick too, at least according to prevailing definitions. How then, do we define true health, true sickness? https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1635423633624-BTPJLWX2V9A2IWKYCB0M/7.jpg ONLINE WRITING - DARK GOLD in SF MOMA's Open Space (Copy) DARK GOLD in SF MOMA's Open Space “Bring night to your imaginings. Bring the darkest passage of your holy book,” wrote Carolyn Forché in “Prayer.” All month, these lines return to me: winter and its depletion of light. We see the moon more than the sun. Forché composed “Prayer” in Paris when her son was an infant. Of his own birthplace, Rudhyar described nerve-debauch, nerve-storms, and dead beautiful forms. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1635423808248-GB0U6NPL5Y4FCNQYGBFB/211319962-09072016-wolowiec-02-bomb-137.jpg ONLINE WRITING - AUDRA WOLOWIEC BY EMMALEA RUSSO in BOMB Magazine (Copy) AUDRA WOLOWIEC BY EMMALEA RUSSO in BOMB Magazine Wolowiec’s warm-up (2013) also deals with the physicality of the spoken word. Loudspeakers embedded in wooden beams lean against walls in various diagonals. Viewers/listeners have to position themselves close to the beams in order to hear the sounds of performers reciting voice exercises. The act of the warm-up in preparation for a performance is central to Wolowiec’s practice, as she places the unseen, unheard, and often overlooked at the center, creating a new context. The gaps between the conception of a work, the making/rehearsing, and the presentation are left open. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1635426983857-RE8HU1SLPG40E0SIBVJX/phone+take+care.jpg ONLINE WRITING - SKYPE HEALER at The Poetry Foundation (Copy) SKYPE HEALER at The Poetry Foundation upon waking I skyped with a Los Angeles healer in a wooden paneled room and asked why and when asked him to ask the entities to see what arrival pulsed the now and dreary underbelly my laptop on my pillow slanted insidious glare but so silver https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1635427108265-SZN2F3Z9L40LO9JFAQE8/duras+agatha+hallucinatory.png ONLINE WRITING - IN THE COMPARTMENT at Poetry Society of America (Copy) IN THE COMPARTMENT at Poetry Society of America The tumultuous she. The brainwaves looking sharp on the tundra. Especially you who. Were sought after, arranging the archive, going to just store it away or find a method for display. A whale moves in the night ocean. Deeper inside the house, fresh white three-hundred-thread-count sheets. The horizon is an imaginary line. The archive is vertical. The horizon is unchanging. The tides are changing. As in temperament. The body becomes more muscular, then softer. Forms and unforms. Steps between wave and archive. Words drip into water. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1635427224564-LETORNMYV63ZRBP63KC3/blowup1966green.png ONLINE WRITING - excerpt from G in La Vague Journal (Copy) excerpt from G in La Vague Journal The house no doubt overtaken by weeds. WEED QUICKER he says he says but it may look better ruined I say. And in ruin so too my pixels become analog. Line Line Line. | | | What we found on the railroad tracks and took into the house. What we took from one site to another. We cited and are still centering in the mind using I, me, mine. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1635427939387-V21P0VM6FJPS1S5M749P/Screen+Shot+2021-10-28+at+9.32.07+AM.png ONLINE WRITING - ENTERING THE MISCHIEVOUS PORTALS OF MONUMENTAL PAINTINGS in Hyperallergic (Copy) ENTERING THE MISCHIEVOUS PORTALS OF MONUMENTAL PAINTINGS in Hyperallergic On Matt Kleberg’s paintings. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1635427574932-WEAWFS82TWPUGOQ7PGOA/windshield.png ONLINE WRITING - SELECTED ART WRITINGS at Artcritical (Copy) SELECTED ART WRITINGS at Artcritical Online reviews of NYC art shows including works by Bas Jan Ader, Helen Mirra, Tacita Dean, Sophie Calle, Sarah Greenberger Rafferty, Vivienne Griffin, and Davina Semo in Artcritical. https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1635428320704-UOK3ZO9LEIJE3CIYIFSV/G_emmalea_russo_cover_small.jpg ONLINE WRITING - SELECTED PRESS AND INTERVIEWS (Copy) SELECTED PRESS AND INTERVIEWS https://emmalearusso.com/astrology-and-tarot daily 0.75 2025-01-10 https://emmalearusso.com/emmalearusso daily 0.75 2025-01-10 https://emmalearusso.com/neptune daily 0.75 2025-11-10 https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/0fad0102-aac2-4d85-a095-9c4720adc1ec/Screen+Shot+2025-03-22+at+1.08.49+PM.png https://emmalearusso.com/member-site-homepage-1 daily 0.75 2025-08-24 https://images.squarespace-cdn.com/content/v1/5ec321c2af33de48734cc929/1618497259178-6XJGK9GR6YAVBQL5L519/20140301_Trade-151_012-2.jpg Member Site Homepage 1 https://images.squarespace-cdn.com/content/v1/5ec321c2af33de48734cc929/1607694583486-2PQT0LQ193RL7MCB6DX4/20140228_Trade+151_0046.jpg Member Site Homepage 1 https://images.squarespace-cdn.com/content/v1/5ec321c2af33de48734cc929/1607694644871-IC85FNH781UNZSZEGHDR/Aro+Ha_0428.jpg Member Site Homepage 1 https://images.squarespace-cdn.com/content/v1/5ec321c2af33de48734cc929/b0e76259-0a2d-4652-af34-d25143b6cd3c/02_CIRCLE_SHOT_3_0307_04_QC.jpeg https://images.squarespace-cdn.com/content/v1/5ec321c2af33de48734cc929/7981a6b2-6661-493c-b9dc-654a4b537c39/04_CIRCLE_SHOT_4_0422_03_QC.jpeg https://images.squarespace-cdn.com/content/v1/5ec321c2af33de48734cc929/27dca807-da34-43e7-a1ab-58f117dc7aca/01_CIRCLE_SHOT_6_0199_06a_QC.jpg https://images.squarespace-cdn.com/content/v1/5ec321c2af33de48734cc929/1dd36f65-c5db-447f-aa01-66161cdcde0c/Aro+Ha_0010.jpg https://emmalearusso.com/the-dream-work-2026 daily 0.75 2026-02-06 https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/16f44ced-f4c2-4f36-be6f-dd84c0d53d50/Screen+Shot+2025-10-05+at+12.05.41+PM.png https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/96ab22c6-0227-47dd-89ea-c231325a8d14/Screen+Shot+2025-09-30+at+10.15.36+AM.png https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/cc645bab-0cff-4e03-97e1-fb7ea9f1c915/BERGMAN+WILD+STRAWBERRIES+clock+no+hands.png https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/56144eff-5a9b-4eae-b0f7-b886f11046b4/Screen+Shot+2025-09-30+at+10.03.27+AM.png https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/0561158e-9ee4-4c69-9bad-68b3773f137a/Screen+Shot+2025-10-05+at+12.01.44+PM.png https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/04e3eb00-9c0f-433a-b19a-1fff0261cd64/Screen+Shot+2025-10-05+at+12.20.24+PM.png https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/55790d6a-bac4-4db8-9b5b-0b40906efbf0/Screen+Shot+2025-10-05+at+12.22.45+PM.png https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/2a9c8183-a627-4745-94e0-c74eee3dd44a/Screen+Shot+2025-10-05+at+10.04.05+AM.png https://emmalearusso.com/creative-consults daily 0.75 2025-12-06 https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/a22a7747-3f2b-44cf-b48a-4203f18aa92f/31900372438_2374b3584a_b.jpg https://emmalearusso.com/the-moon-papers-a-novel daily 0.75 2026-01-17 https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/4900892a-c2d0-4176-94ae-1d2b34064a29/Screen+Shot+2026-01-17+at+11.07.59+AM.png https://emmalearusso.com/kerosene daily 0.75 2026-04-01 https://emmalearusso.com/kerosene-contact daily 0.75 2026-04-01 https://emmalearusso.com/past-classes daily 0.75 2021-03-20 https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/1603139091222-2760URM6ECRWM4ENIUVG/IMG_4610%2B%25281%2529.jpg PAST https://emmalearusso.com/past-classes/p/supernatural-knowledge-a-simone-weil-weekend-workshop monthly 0.5 2025-04-19 https://images.squarespace-cdn.com/content/v1/56df30871bbee066a4465703/d519f8df-1be1-4b93-ad99-c79ef724a079/Screen+Shot+2023-12-20+at+10.24.31+AM.png PAST - 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