Declarations is a collaboration between a British poet who has spent long periods in Japan and Italy and a New Zealand painter now living in London. Both are versatile creative artists. Peter Robinson is a prolific poet whose Collected Poems 1976–2016 was published by Shearsman Press in 2017. He has also written novels and short stories and several volumes of literary criticism, and in his early years he was a serious amateur painter. Andrew McDonald, who has recently changed pronouns to ‘they’, also has several strings to their bow, working mainly as a painter and performance artist and sometimes as a maker of ceramics and of fashion textiles. They have been friends for twenty years and interested admirers of each other’s work. This is their second collaboration, after the pamphlet Ekphrastic Marriage (Pine Wave Press, 2009).
This article contains two files: an introduction by the artist and a downloadable zine, to print in booklet imposition.
This article contains two files: a visual essay and a sound file.
This photoessay explores the creation of a collaborative book Not Thinking about the Circus at the Circus, a finalist in the ArtSpace Mackay Libris Award and recently acquired by Artspace Mackay fortheir artist book collection. It particularly addresses the social and political uses of creative publishing, creative art/text publishing relationships and collaborative shifts.
Three artefacts thought to belong to Anna Magdalena Bach, soprano singer, harpsichordist (and second wife to Johann Sebastian)—ring, thimble and buckle—are mentioned in the Bach archive in Leipzig. Much uncertainty surrounds them; perhaps they have been ‘lost’, or were destroyed by Allied bombing during the Second World War, or perhaps they didn’t even actually belong to her. The uncertain status of the objects is emblematic of how poorly the knowledge about this ‘creative woman of accomplishment’ has been treated over the centuries, overshadowed by interest in, and information about, her eminent spouse. This has allowed authors to project their own views onto Anna Magdalena, in some instances leading to misrepresentations (Talle 2020), and even misappropriation by the Nazis (Yearsley 2019). However, as poetic biographer, it has also given me rich opportunity to imagine into her life.
Anna Magdalena is one of the research subjects about whom I am writing poetic biographies, a project of restitution seeking to redress the omission of creative women of accomplishment from the historical record. This paper looks at the composition process I employed in writing about her thimble (one poem in a sequence), taking a quote from Susan Howe as its starting point which suggests that archival objects are ‘pre-articulate theatres’ (1985), positioning the archival object, even if missing, as a site for unfolding drama.