This is a fundraiser for our reading series and poetry programming. Sign-up for workshops with Dawn Lundy Martin, Graham Foust, Norma Cole, and Truong Tran.
Workshops are Monday June 14th through Friday June 18th from 10:00am to 12:30pm.
Afternoon panels and readings each day at 2pm.
Click to apply
Showing posts with label summer season. Show all posts
Showing posts with label summer season. Show all posts
Tuesday, March 16, 2010
Sunday, August 2, 2009
August 7th is the next First Friday
Check it out:
Aaron Kunin is the author of Folding Ruler Star: Poems (Fence, 2005), and a
novel, The Mandarin (Fence, 2008). Another collection, The Sore Throat and Other Poems, is forthcoming. He lives in Los Angeles.
Heads Across The Sky is the side project of Zac Stanley of the bay area band, The Parish. For him this is a way to employ songs that don't enjoy the chains of that band. Stanley takes cues from Howe Gelb/Giant Sand, Kurt Vile, Jeffrey Lee Pierce and other artists where reverb, dry throats and big skies converge.
Kevin Killian has written two novels, Shy (1989) and Arctic Summer (1997), a book of memoirs, Bedrooms Have Windows (1990), two books of stories, Little Men (1996) and I Cry Like a Baby (2001) and two books of poetry, Argento Series (2001), and Action Kylie (2008). With Lew Ellingham, Killian has written often on the life and work of the American poet Jack Spicer [1925-65] and with Peter Gizzi has edited My Vocabulary Did This To Me: The Collected Poetry of Jack Spicer (2008) for Wesleyan University Press. For the San Francisco Poets Theater Killian has written thirty plays, including Stone Marmalade (1996, with Leslie Scalapino), The American Objectivists (2001, with Brian Kim Stefans), and Often (also 2001, with Barbara Guest). New projects include Screen Tests, an edition of Killian's film writing, and Impossible Princess, a new fiction collection forthcoming from City Lights Books in 2009. A new novel Spreadeagle will appear in the spring.
Also check out interviews with Kevin Killian and Aaron Kunin on the blog.
Doors open at 7
readings at 7:30
entry by donation
Aaron Kunin is the author of Folding Ruler Star: Poems (Fence, 2005), and anovel, The Mandarin (Fence, 2008). Another collection, The Sore Throat and Other Poems, is forthcoming. He lives in Los Angeles.
Heads Across The Sky is the side project of Zac Stanley of the bay area band, The Parish. For him this is a way to employ songs that don't enjoy the chains of that band. Stanley takes cues from Howe Gelb/Giant Sand, Kurt Vile, Jeffrey Lee Pierce and other artists where reverb, dry throats and big skies converge.
Kevin Killian has written two novels, Shy (1989) and Arctic Summer (1997), a book of memoirs, Bedrooms Have Windows (1990), two books of stories, Little Men (1996) and I Cry Like a Baby (2001) and two books of poetry, Argento Series (2001), and Action Kylie (2008). With Lew Ellingham, Killian has written often on the life and work of the American poet Jack Spicer [1925-65] and with Peter Gizzi has edited My Vocabulary Did This To Me: The Collected Poetry of Jack Spicer (2008) for Wesleyan University Press. For the San Francisco Poets Theater Killian has written thirty plays, including Stone Marmalade (1996, with Leslie Scalapino), The American Objectivists (2001, with Brian Kim Stefans), and Often (also 2001, with Barbara Guest). New projects include Screen Tests, an edition of Killian's film writing, and Impossible Princess, a new fiction collection forthcoming from City Lights Books in 2009. A new novel Spreadeagle will appear in the spring.Also check out interviews with Kevin Killian and Aaron Kunin on the blog.
Doors open at 7
readings at 7:30
entry by donation
Thursday, July 30, 2009
Sarah Rothberg interviews Aaron Kunin
Sarah Rothberg: According to Amazon.com The Mandarin is a novel. Any thoughts about this categorization?
Aaron Kunin: I call it a novel too. I'm very proud of it.
SR: In Folding Ruler Star, you use parenthetical statements, sometimes in ways that break from the dominant syntax of the poem and sometimes in ways that seem as if they could be alternate continuations of the words that precede or follow. In some sense this creates a number of possible poems within each poem (some examples: the poem excluding the parentheticals, only the parentheticals, the whole poem straight through). Can you talk about the implications of the parenthesis in Folding Ruler Star.
AK: The parenthesis is conceived as a fold, a way of marking a division without making a cut. It indicates a relationship between parts, inside and outside. A lot of things could happen inside the parenthesis: a new speaker, an esoteric line of thought, a theatrical aside, a translation into intelligible language, a second poem running underneath and occasionally joining with the first one when it surfaces, and so on.
The parenthesis as a device is specific to these poems, but other poems have ways of doing the same thing. A poem "creates a number of possible poems," as you say very nicely, and reading usually means making some choices.
SR: I read some elements of your poems as silly (for example, in the poem “False Nativity” you write “the desk was/ terrified/ that I might sit on/ my glasses and what/ my bottom would see”). Does silliness play a role in your writing?
AK: Really? Silliness? Okay. There is something I like about that. I like for a poem to have an element that doesn't recur and isn't meaningful, that if it made you laugh you wouldn't be able to remember why afterwards, and that maybe one person in the world would find amusing. My writing might not be the first place to look for that element--I can think of other writers who are better at producing it.
Those lines about the desk are pretty serious. The glasses are on the desk, so in effect the desk is wearing the glasses, and the glasses are doing what they do, correcting the desk's vision. The desk gets a picture of something scary. How awful it would be if I sat on it. It wasn't made for sitting; it's not a chair. (The name for that in engineering, when you use something for a purpose for which it was not designed, is tool abuse.) Then, seated on the desk, I would be wearing the glasses again, but not with the part of me that sees. I guess the word "bottom," and treating it almost as an independent agent rather than part of me, does make it sound silly, and protects against some of the terror.
SR: Some of your poems share titles, which at once delineates them as separate poems, while nominally they are the same. Can you speak to the particular ways in which you see these poems with the same titles relating to each other?
AK: Yes. In Folding Ruler Star, the relationship between the inside and outside of each poem, however you interpret it, is reproduced in the relationship between pairs of poems. Again, two parts of a whole. Writing the poems was sort of like solving an algebra problem, where if you do something on one side of an equation you have to perform exactly the same operation on the other side.
The form of a poem really is a solution to a problem. So you keep finding the form until the problem goes away or the solution stops working. If you get the same answer every time, that helps to confirm that it was the right answer.
SR: You often apply multiple formal constraints, like meter and word-recycling, in your poems. What’s your reasoning when applying these constraints?
AK: I don't view form as constraining. What people mean by formal constraint is not completely wrong: in this world of change, where everything runs away from itself, form freezes things into definite shapes, allowing you to examine them. The phrase is misleading in that form is not really for stasis. It would be better to think of the form that a thing has as a funnel through which materials pass. Form packs things up so that you can move them around.
SR: You’ve been working on the Jack Spicer archives along with Kevin Killian. Has immersing yourself in Spicer’s poetry affected your own?
AK: I sometimes use the words "community" and "society" to mean something slightly odd. That is probably Spicer's influence. He talks about how a poem establishes a community. Poems are not just props for the social bonds that keep people together; they are members of the group. They are a society by themselves. That usage was reinforced for me by later reading (Berger, Arendt, Latour), but I first encountered it in Spicer.
Aaron Kunin is the author of Folding Ruler Star: Poems (Fence, 2005), and a novel, The Mandarin (Fence, 2008). Another collection, The Sore Throat and Other Poems, is forthcoming. He lives in Los Angeles.
Sarah Rothberg makes poetry, fiction, art, music, and the occasional short autobiography in the third person. Her writing can be found in recent issues of Cal Literary Arts Magazine, Berkeley Poetry Review, and hopefully some other places in the near future. Her music is available to listen to at myspace.com/thingspeoplesay and myspace.com/bigweirddutchpeople. Her art cannot be found.
Aaron Kunin: I call it a novel too. I'm very proud of it.
SR: In Folding Ruler Star, you use parenthetical statements, sometimes in ways that break from the dominant syntax of the poem and sometimes in ways that seem as if they could be alternate continuations of the words that precede or follow. In some sense this creates a number of possible poems within each poem (some examples: the poem excluding the parentheticals, only the parentheticals, the whole poem straight through). Can you talk about the implications of the parenthesis in Folding Ruler Star.
AK: The parenthesis is conceived as a fold, a way of marking a division without making a cut. It indicates a relationship between parts, inside and outside. A lot of things could happen inside the parenthesis: a new speaker, an esoteric line of thought, a theatrical aside, a translation into intelligible language, a second poem running underneath and occasionally joining with the first one when it surfaces, and so on.
The parenthesis as a device is specific to these poems, but other poems have ways of doing the same thing. A poem "creates a number of possible poems," as you say very nicely, and reading usually means making some choices.
SR: I read some elements of your poems as silly (for example, in the poem “False Nativity” you write “the desk was/ terrified/ that I might sit on/ my glasses and what/ my bottom would see”). Does silliness play a role in your writing?
AK: Really? Silliness? Okay. There is something I like about that. I like for a poem to have an element that doesn't recur and isn't meaningful, that if it made you laugh you wouldn't be able to remember why afterwards, and that maybe one person in the world would find amusing. My writing might not be the first place to look for that element--I can think of other writers who are better at producing it.
Those lines about the desk are pretty serious. The glasses are on the desk, so in effect the desk is wearing the glasses, and the glasses are doing what they do, correcting the desk's vision. The desk gets a picture of something scary. How awful it would be if I sat on it. It wasn't made for sitting; it's not a chair. (The name for that in engineering, when you use something for a purpose for which it was not designed, is tool abuse.) Then, seated on the desk, I would be wearing the glasses again, but not with the part of me that sees. I guess the word "bottom," and treating it almost as an independent agent rather than part of me, does make it sound silly, and protects against some of the terror.
SR: Some of your poems share titles, which at once delineates them as separate poems, while nominally they are the same. Can you speak to the particular ways in which you see these poems with the same titles relating to each other?
AK: Yes. In Folding Ruler Star, the relationship between the inside and outside of each poem, however you interpret it, is reproduced in the relationship between pairs of poems. Again, two parts of a whole. Writing the poems was sort of like solving an algebra problem, where if you do something on one side of an equation you have to perform exactly the same operation on the other side.
The form of a poem really is a solution to a problem. So you keep finding the form until the problem goes away or the solution stops working. If you get the same answer every time, that helps to confirm that it was the right answer.
SR: You often apply multiple formal constraints, like meter and word-recycling, in your poems. What’s your reasoning when applying these constraints?
AK: I don't view form as constraining. What people mean by formal constraint is not completely wrong: in this world of change, where everything runs away from itself, form freezes things into definite shapes, allowing you to examine them. The phrase is misleading in that form is not really for stasis. It would be better to think of the form that a thing has as a funnel through which materials pass. Form packs things up so that you can move them around.
SR: You’ve been working on the Jack Spicer archives along with Kevin Killian. Has immersing yourself in Spicer’s poetry affected your own?
AK: I sometimes use the words "community" and "society" to mean something slightly odd. That is probably Spicer's influence. He talks about how a poem establishes a community. Poems are not just props for the social bonds that keep people together; they are members of the group. They are a society by themselves. That usage was reinforced for me by later reading (Berger, Arendt, Latour), but I first encountered it in Spicer.
Aaron Kunin is the author of Folding Ruler Star: Poems (Fence, 2005), and a novel, The Mandarin (Fence, 2008). Another collection, The Sore Throat and Other Poems, is forthcoming. He lives in Los Angeles.
Sarah Rothberg makes poetry, fiction, art, music, and the occasional short autobiography in the third person. Her writing can be found in recent issues of Cal Literary Arts Magazine, Berkeley Poetry Review, and hopefully some other places in the near future. Her music is available to listen to at myspace.com/thingspeoplesay and myspace.com/bigweirddutchpeople. Her art cannot be found.
Thursday, July 16, 2009
Fall Sneak Peek and updates
The August reading is coming up with Aaron Kunin and Kevin Killian. Interviews will be up in the next few days, so keep an eye out.
Look forward to the fall list of dates and readers, musicians, and film artists coming soon! Some of these peeps include Brenda Hillman, Gillian Conoley, Truoung Tran & Shannon Tharp.
Also, check out the project Mumolo and Alisa Heinzman have started. Calaveras.
Friday, July 3, 2009
Donna de la Perrière interviews Jane Miller for the July 10th reading
Donna de la Perrière: What role does place play in your work / aesthetic? How has your extended time in the Bay Area over the past few years played out in your work?
Jane Miller: I will say this of place and time -- if one can only imagine, but not remember, one is in danger. In order to be mindful of the past and the future, I usually start by writing in a notebook about what is in view. I move gradually from the sort of description common in prose to more figurative speech, all the while hoping to gather momentum, music, and meanings.
The Bay area, especially Berkeley, is the setting for Midnights, my most recent book. Other locations get added, in a widening circle like a snail. My hope is to locate, to point out in the stuff of this world, other worlds.
DDLP: What do you find especially rewarding and/or challenging about writing prose poems?
JM: The prose poem is an enforcer of the sentence for me. While I welcome visits from fragments, mostly my prose poems are subject-verb-predicate, often accompanied by subordinate clauses, prepositional phrases, asides, interruptions, and an occasional chocolate cake! When a shard occurs, it hopes to be lyrical, surprising, and thrilling. Then the work of discourses and of stories resumes, keeping the text’s emotions in real time.
I guess I think of working at a prose poem as I would work at a good job. I labor over it like a letter to someone I love. I write prose quickly, and also, without realizing, carelessly, so I go back and back. I like going back in art as I like going back to some places; that is, I feel compelled by forces larger than myself: responsibility, commitment, engagement. The prose poem demands a certain adult behavior. It prepares me to return and enjoy the present.
DDLP: What roles have visual arts (painting, in particular) and music played in your work? And how has changed over time?
JM: I’ve had two amateur preoccupations with other arts: I used to paint and now I play the piano. So while all the arts are of a piece and interdependent, these have affected me the most. I think probably by keeping me sufficiently free. By this I mean that while art and music require discipline, I only painted when I was moved to paint and now I only play the piano to experiment. So there you have my young cousins, indulgence and fun!
I try to take them wherever I go, because I don’t have children.
In poetry, I wish not to be over-permissive, nor too protective. I go back and forth on this; sometimes, to ground the reader, I’m overtly autobiographical. Also, I can be abstract and distant. As an aside: I love surrealism because of its special relation to time and place, with a torch in its mouth and a seahorse in its path. In surrealism, do time and place serve to hide or reveal things as they are? Perhaps, as the greatest of literary movements, it serves both.
With the recent death of my mother, I feel that I would like to speak more sparely. Perhaps I may say goodbye to the prose poem, goodbye to surrealism, goodbye to the long line, and goodbye, mother.
Donna de la Perrière is the author of True Crime (Talisman House, 2009). Her poems have appeared in Agni, American Letters and Commentary, Colorado Review, Denver Quarterly, Five Fingers Review, The New England Review and Bread Loaf Quarterly, New American Writing, Parthenon West Review, Volt, and other journals, as well as in Faux Press’s 2006 Bay Poetics anthology. The recipient of a 2009 Fund for Poetry award, she teaches in the MFA and undergraduate creative writing programs at California College of the Arts and San Francisco State University, and curates the Bay Area Poetry Marathon reading series at San Francisco’s The Lab gallery and performance space.
MIDNIGHTS, poetry and prose poems by Jane Miller, is Saturnalia Press artist/poet Collaboration Series, #4, 2008, with visual art contributed by Beverly Pepper and an introduction by C.D. Wright. Miller’s other recent work is the book-length sequence, A Palace of Pearls (Copper Canyon Press, 2005), which received the 2006 Audre Lorde Prize in Poetry. Among earlier collections are Wherever You Lay Your Head; Memory at These Speeds: New and Selected Poems; The Greater Leisures, a National Poetry Series Selection; and August Zero, winner of the Western States Book Award. She has also written Working Time: Essays on Poetry, Culture, and Travel, published in the University of Michigan's Poets on Poetry Series.
Jane Miller: I will say this of place and time -- if one can only imagine, but not remember, one is in danger. In order to be mindful of the past and the future, I usually start by writing in a notebook about what is in view. I move gradually from the sort of description common in prose to more figurative speech, all the while hoping to gather momentum, music, and meanings.
The Bay area, especially Berkeley, is the setting for Midnights, my most recent book. Other locations get added, in a widening circle like a snail. My hope is to locate, to point out in the stuff of this world, other worlds.
DDLP: What do you find especially rewarding and/or challenging about writing prose poems?
JM: The prose poem is an enforcer of the sentence for me. While I welcome visits from fragments, mostly my prose poems are subject-verb-predicate, often accompanied by subordinate clauses, prepositional phrases, asides, interruptions, and an occasional chocolate cake! When a shard occurs, it hopes to be lyrical, surprising, and thrilling. Then the work of discourses and of stories resumes, keeping the text’s emotions in real time.
I guess I think of working at a prose poem as I would work at a good job. I labor over it like a letter to someone I love. I write prose quickly, and also, without realizing, carelessly, so I go back and back. I like going back in art as I like going back to some places; that is, I feel compelled by forces larger than myself: responsibility, commitment, engagement. The prose poem demands a certain adult behavior. It prepares me to return and enjoy the present.
DDLP: What roles have visual arts (painting, in particular) and music played in your work? And how has changed over time?
JM: I’ve had two amateur preoccupations with other arts: I used to paint and now I play the piano. So while all the arts are of a piece and interdependent, these have affected me the most. I think probably by keeping me sufficiently free. By this I mean that while art and music require discipline, I only painted when I was moved to paint and now I only play the piano to experiment. So there you have my young cousins, indulgence and fun!
I try to take them wherever I go, because I don’t have children.
In poetry, I wish not to be over-permissive, nor too protective. I go back and forth on this; sometimes, to ground the reader, I’m overtly autobiographical. Also, I can be abstract and distant. As an aside: I love surrealism because of its special relation to time and place, with a torch in its mouth and a seahorse in its path. In surrealism, do time and place serve to hide or reveal things as they are? Perhaps, as the greatest of literary movements, it serves both.
With the recent death of my mother, I feel that I would like to speak more sparely. Perhaps I may say goodbye to the prose poem, goodbye to surrealism, goodbye to the long line, and goodbye, mother.
Donna de la Perrière is the author of True Crime (Talisman House, 2009). Her poems have appeared in Agni, American Letters and Commentary, Colorado Review, Denver Quarterly, Five Fingers Review, The New England Review and Bread Loaf Quarterly, New American Writing, Parthenon West Review, Volt, and other journals, as well as in Faux Press’s 2006 Bay Poetics anthology. The recipient of a 2009 Fund for Poetry award, she teaches in the MFA and undergraduate creative writing programs at California College of the Arts and San Francisco State University, and curates the Bay Area Poetry Marathon reading series at San Francisco’s The Lab gallery and performance space.
MIDNIGHTS, poetry and prose poems by Jane Miller, is Saturnalia Press artist/poet Collaboration Series, #4, 2008, with visual art contributed by Beverly Pepper and an introduction by C.D. Wright. Miller’s other recent work is the book-length sequence, A Palace of Pearls (Copper Canyon Press, 2005), which received the 2006 Audre Lorde Prize in Poetry. Among earlier collections are Wherever You Lay Your Head; Memory at These Speeds: New and Selected Poems; The Greater Leisures, a National Poetry Series Selection; and August Zero, winner of the Western States Book Award. She has also written Working Time: Essays on Poetry, Culture, and Travel, published in the University of Michigan's Poets on Poetry Series.
Wednesday, July 1, 2009
July 10th! with Valyntina Grenier, Tommy Busch & Jane Miller
Check out readings and Music from:
Valyntina Grenier is a poet and painter living in Oakland Ca. and Tucson Az. She edits backroomlive.wordpress.com and lifelongpress.blogspot.com. You can see her most recent paintings live at Lanesplitter- Temescal in Oakland July 1st - 31st. She also has some poems and images up at wunderkammerpoetry.com
Music from thomas busch and co: "for this collection of songs we drew a lot of inspiration from the aztec people, i spent last winter in south america just backpacking from village to village, it was as much a spiritual journey as it was a physical one" says thomas of his as of yet untitled project. This is clearly evident in the rich soundscapes of mystic chants and tribal beats i witnessed by the band last month at the martinez annual world music festival, Busch says of the bands live performances "i like to become whatever instrument im taking on at the time, guitar, bass, bongos, anything, it becomes an appendage of the self as well as of the spirit"
MIDNIGHTS, poetry and prose poems by Jane Miller, is a Saturnalia Press artist/poet Collaboration Series, #4, 2008, with visual art contributed by Beverly Pepper and an introduction by C.D. Wright. Miller’s other recent work is the book-length sequence, A Palace of Pearls (Copper Canyon Press, 2005), which received the 2006 Audre Lorde Prize in Poetry. Among earlier collections are Wherever You Lay Your Head; Memory at These Speeds: New and Selected Poems; The Greater Leisures, a National Poetry Series Selection; and August Zero, winner of the Western States Book Award. She has also written Working Time: Essays on Poetry, Culture, and Travel, published in the University of Michigan's Poets on Poetry Series.
doors & wine @ 7pm
readings at @ 7:30pm
entry by donations
Valyntina Grenier is a poet and painter living in Oakland Ca. and Tucson Az. She edits backroomlive.wordpress.com and lifelongpress.blogspot.com. You can see her most recent paintings live at Lanesplitter- Temescal in Oakland July 1st - 31st. She also has some poems and images up at wunderkammerpoetry.com
Music from thomas busch and co: "for this collection of songs we drew a lot of inspiration from the aztec people, i spent last winter in south america just backpacking from village to village, it was as much a spiritual journey as it was a physical one" says thomas of his as of yet untitled project. This is clearly evident in the rich soundscapes of mystic chants and tribal beats i witnessed by the band last month at the martinez annual world music festival, Busch says of the bands live performances "i like to become whatever instrument im taking on at the time, guitar, bass, bongos, anything, it becomes an appendage of the self as well as of the spirit"
MIDNIGHTS, poetry and prose poems by Jane Miller, is a Saturnalia Press artist/poet Collaboration Series, #4, 2008, with visual art contributed by Beverly Pepper and an introduction by C.D. Wright. Miller’s other recent work is the book-length sequence, A Palace of Pearls (Copper Canyon Press, 2005), which received the 2006 Audre Lorde Prize in Poetry. Among earlier collections are Wherever You Lay Your Head; Memory at These Speeds: New and Selected Poems; The Greater Leisures, a National Poetry Series Selection; and August Zero, winner of the Western States Book Award. She has also written Working Time: Essays on Poetry, Culture, and Travel, published in the University of Michigan's Poets on Poetry Series.
doors & wine @ 7pm
readings at @ 7:30pm
entry by donations
Tuesday, June 9, 2009
Wednesday, June 3, 2009
Monday, May 18, 2009
June 4th is the Next Reading!
Hi all,
June's reading will be on Thursday, the 4th and July's will be Friday, the 10th. This two month shift is happening because Studio One is experiencing City of Oakland mandated black-outs for the First Fridays of June and July. We will be back to our normal night in August.
Come check the next reading out on the first Thursday---
Mike Young is the author of two forthcoming chapbooks: MC Oroville's Answering Machine (Transmission Press) and Real Sturdy Thing (Stormy Petrel Press). He co-edits NOÖ Journal and Magic Helicopter Press. He is from Oroville, CA and lives in Northampton, MA. Visit him online at http://noojournal.com/blog.
Jake Gillespie is a painter and new media artist originally from Nebraska. He recently moved to Oakland, CA with his wife. He is cofounder of Tugboat Gallery, a nonprofit art gallery in Lincoln, NE. His work has shown in museums and galleries in Omaha, Kansas City, Chicago, Syracuse and is forthcoming in Portland, OR and Oakland, CA.
Geoffrey G. O’Brien is the author of Green and Gray (2007) and The Guns and Flags Project (2002), both from The University of California Press, and coauthor (in collaboration with the poet Jeff Clark) of 2A (Quemadura, 2006). He teaches verse writing and literature in the English Department at UC Berkeley and at San Quentin State Prison.
entry based on donations
thanks to all that donate
we happily accept donations of wine or beer!
doors at 7pm
readings at 730pm
funny, everyone has a black and white photo this month.
June's reading will be on Thursday, the 4th and July's will be Friday, the 10th. This two month shift is happening because Studio One is experiencing City of Oakland mandated black-outs for the First Fridays of June and July. We will be back to our normal night in August.
Come check the next reading out on the first Thursday---
Mike Young is the author of two forthcoming chapbooks: MC Oroville's Answering Machine (Transmission Press) and Real Sturdy Thing (Stormy Petrel Press). He co-edits NOÖ Journal and Magic Helicopter Press. He is from Oroville, CA and lives in Northampton, MA. Visit him online at http://noojournal.com/blog.
Jake Gillespie is a painter and new media artist originally from Nebraska. He recently moved to Oakland, CA with his wife. He is cofounder of Tugboat Gallery, a nonprofit art gallery in Lincoln, NE. His work has shown in museums and galleries in Omaha, Kansas City, Chicago, Syracuse and is forthcoming in Portland, OR and Oakland, CA.
Geoffrey G. O’Brien is the author of Green and Gray (2007) and The Guns and Flags Project (2002), both from The University of California Press, and coauthor (in collaboration with the poet Jeff Clark) of 2A (Quemadura, 2006). He teaches verse writing and literature in the English Department at UC Berkeley and at San Quentin State Prison.
entry based on donations
thanks to all that donate
we happily accept donations of wine or beer!
doors at 7pm
readings at 730pm
funny, everyone has a black and white photo this month.
Wednesday, April 8, 2009
SUMMER SEASON AT STUDIO ONE
You've been waiting for the announcement--here it is--
Check out First Fridays this summer at Studio One.
JUNE 5TH
Mike Young & Geoffrey G. O'Brien
Video from Jake Gillespie
JULY 10TH
V.E. Grenier & Jane Miller
AUGUST 7TH
Aaron Kunin & Kevin Killian. Music from Heads across the sky.
First Friday in July is a holiday weekend and Studio One will be closed. We will have the reading on the tenth instead.
Look out for courtyard readings when the weather permits.
Remember to check out May's reading with Brandon Brown, Farrah Field & video from Nathan Trimboli. Doors open at 7pm.
Also, thanks to Catherine for the wine donation! We love donations of all kinds.
Check out First Fridays this summer at Studio One.
JUNE 5TH
Mike Young & Geoffrey G. O'Brien
Video from Jake Gillespie
JULY 10TH
V.E. Grenier & Jane Miller
AUGUST 7TH
Aaron Kunin & Kevin Killian. Music from Heads across the sky.
First Friday in July is a holiday weekend and Studio One will be closed. We will have the reading on the tenth instead.
Look out for courtyard readings when the weather permits.
Remember to check out May's reading with Brandon Brown, Farrah Field & video from Nathan Trimboli. Doors open at 7pm.
Also, thanks to Catherine for the wine donation! We love donations of all kinds.
Saturday, March 21, 2009
Summer Planning and more
Last night at Studio One was amazing, and some awesome audience members had the great idea of doing an outdoor reading this summer! We have a huge courtyard and big rolling lawns. No joke!
Speaking of summer, I'm putting together the readers now and will announce the final list next month! Some of the names to look forward to: Mike Young, Jane Miller & V.E. Grenier. And video from Jake Gillespie.
more to come...
Also, Studio One was in Oakland Magazine! There is a editorial on the ceramics classes and some details about the glass classes!
Wednesday, July 2, 2008
Summer Season
All readings start at 730pm
wine/entry by donation
Studio One is at 365 45th st Oakland
near MacArthur Bart
wine/entry by donation
Studio One is at 365 45th st Oakland
near MacArthur Bart
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