I Never Knew What Time It Was
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In this series of intricately related texts, internationally known poet, critic, and performance artist David Antin explores the experience of time—how it's felt, remembered, and recounted. These free-form talk pieces—sometimes called talk poems or simply talks—began as improvisations at museums, universities, and poetry centers where Antin was invited to come and think out loud. Serious and playful, they move rapidly from keen analysis to powerful storytelling to passages of pure comedy, as they range kaleidoscopically across Antin's experiences: in the New York City of his childhood and youth, the Eastern Europe of family and friends, and the New York and Southern California of his art and literary career. The author's analysis and abrasive comedy have been described as a mix of Lenny Bruce and Ludwig Wittgenstein, his commitment to verbal invention and narrative as a fusion of Mark Twain and Gertrude Stein. Taken together, these pieces provide a rich oral history of and critical context for the evolution of the California art scene from the 1960s onward.
followers who admire him try to remember this it was somewhere during passover at the time he dies and his and they remember and they know who was governor who was the roman governor at the time? have to ﬁgure out how old their rabbi was when he died then they and they ﬁgure out he was either thirty or thirty-three or some other nice number and they count back from this passover which they try to locate by remembering the time of this governor whose name they remember 89 i never
and lots of people are very sensitive to this and unwilling to pay these roaming charges that cost a few cents more even though theyre calling their broker and could lose thousands of dollars if they cant get through but theyre worried about a dollar or two toll thats charged by another group that puts your calls through to the satellite in this area and thats one of the real problems of our moment and so im thinking about this while im coming up and all this is going on and at the same
the frame i was taken by the mention in jorie grahams poem of michelangelo pistoletto because many years ago together a show of post-pop painting back in 1969 i was putting that included a number of artists like estes and alex katz malcolm morley and sylvia sleigh a few pop painters like wesselman and lichtenstein and warhol wanted a pistoletto for the show with and i this was 69 and i was beginning to think that we had to take another look at representation because somehow the frame
what happened to walter? with it the mind is not the brain and the brain is not the but the brain seems to support all the activities of the mind we recognize as taking place recognize and one of the things weve come to is that the inputs of the sensory system strangely dissociated that is to say are very if i notice your green shirt if i notice that you have a green shirt on and youre leaning on your elbow the visual information about your color and shape and location in space are
the bridge toll something like a buck which i remember was and all i have left is ﬁfty cents old new yorker i knew was just enough for the tunnel holland tunnel is a couple of miles further south which as an what happened to walter? last couple of bucks for a little bit of gas but the we could get ﬁfty cents worth of gas that would get us there but we couldnt pay the toll to get through we discuss all this while were coasting down hills and im dragging my foot to slow down at the