The Sienese Shredder
nos 1-4; 2006-2010
The Sienese Shredder #1 has a mango cover with a fox and a clock. Inside, right off the bat, is History and Truth (a commencement address), followed by Gérard de Nerval’s Chantilly (“filled with very old retired servants, walking their limping dogs”), postcard collages by John Ashbery, music by Alan Shockley, the marketing of surrealism, Ron Padgett, Harry Mathews, A Parliament of Refrigerator Magnets, delirious episodes in contemporary art, a poem played out through a lyrical Twister, a Duchampian chess challenge bearing a cupid, Honey’s Metaphoric Energy Transfer, The New Crustacean, and more, ending after over 200 pages with J-K Huysmans, of Against Nature, in Haarlem.
Flip through the next three and find currency collages, mute critics, bughouse poets, Whitman’s glasses, Toilet Rolls, Macintoshages, octopussarian impulses, de Kooning’s last drawing, epitaphs by William Beckford, eyeballs, giant-size mini books, spools by Crumb, and Jesus Christ. These aren’t even the highlights.
Founded and edited by Brice Brown and Trevor Winkfield, The Shredder ran for four issues, 2006-2010. Each issue contained an audio CD. “Contents can include writings by visual artists; art by writers; poets as installation artists; photographers as poets, and the range of contributors moves from the well-known and up-and-coming to the unknown or forgotten,” says the website (which has excerpts and issues for sale).
The complete series is available in our Periodicals archive.
From the UCLA African Arts homepage:
“African Arts presents original research and critical discourse on traditional, contemporary, and popular African arts and expressive cultures. Since 1967, the journal has reflected the dynamism and diversity of several fields of humanistic study, publishing richly illustrated articles in full color, incorporating the most current theory, practice, and intercultural dialogue.”
Utilizing raw materials like straw and palm fronds, the artists represented here display an uninhibited mastery of caricature. They distort the literal human image with a sense of humor and playfulness into an iconic and sometimes frightening archetype.
Our current holdings of African Arts begin in 1976. Here are some selections from the earlier issues: