Switcheroo . Haiku Year in Review . Poetry @ The Betsy . Attic Inspiration . Responses
ABOUT SWITCHEROOSTurnabout is fair play. The best way we can think to repay the pool of artists who have been creating work for Broadsided is to offer them an opportunity to see how writers might respond to their work. In a Switcheroo, we invite writers to submit poetry and prose in response to a piece of visual work created by one of the Broasdided artists. Click below to see former Switcheroos.
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Editors' Note
The Switcheroo is always a surprise for us as editors. First, we wait to see what piece of art the curator will choose. Then we wait to see what literary responses it will evoke. It's out of our hands. We trust in the fates to converge the creative energy of all involved to do something... magical.
This year, Catherine Swanson's poem did just that. Escaping traditional pastoral imagery to ground herself in a truck stop where "the highway rolls its noise on your footsteps," she celebrates the vitality and fierce determination of the under-appreciated weeds. Without directly referencing Ira Joel Haber's visual piece, she channels the bold patterning and insistent brightness of its yellow background, the prominence of its pod.
As with every Broadsided publication, you can read what the artist and author thought of the whole process in our Collaborators' Q&A.
Our thanks go out to all who submitted work to this Switcheroo and to Julie Evanoff, who chose the art that we presented. Read below for Julie's curatorial statement.
We look forward to seeing what art and literature come into conversation in our next Switcheroo.
Liz Bradfield, Sean Hill, and Alexandra Teague
Editors, www.broadsidedpress.org
Notes on Process
All Broadsided artists were invited to submit up to three pieces of work for the Switcheroo. We then asked Julie Evanoff, Broadsided artist and the April, 2010 Switcheroo artist, to review the submissions, choosing one that she thought would be open to literary response and would work in the Broadsided format. She selected Ira Joel Haber's piece.
Of her decision, Evanoff had this to say:
This untitled painting holds my attention with its precarious hovering between the very generalized abstraction of shapes and the very specific delineation of space. My eye wanders between the pod-like object in the front and the yellow root web in the back. The pod refuses to attach to the ground it rests on creating a sense of dislocation that begins to deconstruct the space. This deconstruction of space, first explored in cubist painting, continues to question the presumed pre-existence of unity in our world.
Julie Evanoff
(Julie's bio)
[ Download "The Company of Weeds" (444kb pdf file). Back to the Archives. ]
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