Notes and works cited for “Forms of Attachment: Ekphrasis as Hybrid Form in the Collaborations of Barbara Guest with Mary Abbot and Fay Lansner”
Notes
[1] Henri Matisse, Goldfish, 1912, oil on canvas, 146 x 97 cm (Pushkin Museum of Art, Moscow)
[2] Henri Matisse, The Rose Marble Table, 1917, oil on canvas, 146 x 97 cm, (Museum of Modern Art, New York)
[3] Guest, Barbara. Meditations: The Assorted Prose of Barbara Guest. 1st ed, Wesleyan University Press, 2025, pp. 47-48
[4] Ibid.
[5] Ibid.
[6] Guest, Barbara. “The Rose Marble Table” in Fair Realism. Sun & Moon Press, 1995, pp. 32.
[7] Ibid.
[8] Guest, Meditations, pp. 46
[9] Mitchell, William John Thomas. Picture Theory: Essays on Verbal and Visual Representation. University of Chicago, 1994, pp. 156
[10] Guest, Barbara. Forces of Imagination: Writing on Writing. Berkeley, California, Kelsey Street Press, 2003, pp. 30
[11] Ibid., pp. 29
[12] Ibid., pp. 31
[13] Ibid., pp. 28-29
[14] Ibid., pp. 30
[15] Ibid., pp. 30
[16] Ibid., pp. 29-30
[17] Ibid., pp. 30
[18] Ibid., 30-31
[19] Guest, Barbara, and Hadley Haden Guest. The Collected Poems of Barbara Guest. Wesleyan University Press, 2016, pp. 121
[20] Altieri, Charlie. ‘Barbara Guest and the Boys at the Cedar Bar: Some Painterly Uses of Language,’ in Chicago Review, summer 2008, vol. 53/54, issue 4/1/2, pp. 82–7.
[21] Ibid.
[22] Ibid., 82
[23] Guest, Barbara. Dürer in the Window: Reflexions on Art. New York, Roof Books, 2003, pp. 9.
[24] Mary Abbott, Honey or Wine?, 1970, gouache, acrylic, graphite, conte crayon and collage on paper, Smithsonian American Art Museum, Gift of Ira Morris, 1971.262
[25] Guest, Barbara, and Hadley Haden Guest. The Collected Poems of Barbara Guest. Wesleyan University Press, 2008, pp. 451.
[26] Guest, Meditations, “Introduction” by Joseph Shafer, pp. xxvi
[27] Ibid.
[28] Ibid.
[29] Guest, Barbara. Seeking Air. 1st Sun & Moon Press ed, Sun & Moon Press, 1997, pp. 11
[30] Mitchell, Picture Theory, pp. 113
[31] Ibid., pp. 117
[32] Guest, Fair Realism, pp. 87-90
[33] “Herbolarium et Materia Medica,” Biblioteca Statale di Lucca (Lucca, Italy), Copyright photos: Ziereis Facsimiles
[34] Thank you to Erica Lansner, Fay Lansner’s daughter, who provided images of these works, which were exhibited in Metamorphosis at Poets House in 2016, along with other collaborations between Lansner and Guest.
[35] Drucker, Johanna. Figuring the Word: Essays on Books, Writing, and Visual Poetics. Granary Books, 1998, pp. 64.
[36] Guest, “The Vuillard of Us: James Schuyler” in Meditations, pp. 76
Works Cited
Charles Altieri, “Barbara Guest and the Boys at the Cedar Bar: Some Painterly Uses of Language,” in Chicago Review, summer 2008, vol. 53/54, issue 4/1/2, pp. 82–7.
—. Painterly Abstraction in Modernist American Poetry: The Contemporaneity of Modernism. Cambridge University Press, 1995.
Johanna Drucker, Figuring the Word: Essays on Books, Writing, and Visual Poetics. Granary Books, 1998.
Alexandra J. Gold, The Collaborative Artist’s Book: Evolving Ideas in Contemporary Poetry and Art. University of Iowa Press, 2023.
Barbara Guest and Hadley Haden Guest, The Collected Poems of Barbara Guest. Wesleyan University Press, 2016.
Barbara Guest, Dürer in the Window: Reflexions on Art. New York, Roof Books, 2003.
—. Fair Realism. Sun & Moon Press, 1995
—. Forces of Imagination: Writing on Writing. Berkeley, California, Kelsey Street Press, 2003.
—. Meditations: The Assorted Prose of Barbara Guest. 1st ed, Wesleyan University Press, 2025.
—. Seeking Air. 1st Sun & Moon Press ed, Sun & Moon Press, 1997.
B.H Friedman, School of New York: Some Younger Artists. New York, Grove Press, 1959.
Sara Lundquist, “Another Poet Among Painters: Barbara Guest with Grace Hartigan and Mary Abbott”, pp. 253–64, in Terence Diggory, The Scenes of My Selves: New Work on New York School Poets. Orono, Maine, The National Poetry Foundation, 2001.
— ‘Reverence and Resistance: Barbara Guest, Ekphrasis, and the Female Gaze,’ in Contemporary Literature, XXXVIII, 2, 1997.
J.D. McClatchy, editor. Poets on Painters: Essays on the Art of Painting by Twentieth-Century Poets. Univ. of California Press, 1988.
William John Thomas Mitchell, Picture Theory: Essays on Verbal and Visual Representation. University of Chicago, 1994.
Marjorie Perloff, Frank O’Hara: Poet among Painters; with a New Introduction. University of Chicago Press, 1998.
Jenni Quilter, et al. The New York School Painters & Poets: Neon in Daylight. Edited by Allison Power, 1. publ, Rizzoli, 2014.
Caroline Williamson, ‘Working methods: Painting, poetry and the difficulty of Barbara Guest,’ in Jacket 2, 2008.
Charles Altieri, “Barbara Guest and the Boys at the Cedar Bar: Some Painterly Uses of Language,” in Chicago Review, summer 2008, vol. 53/54, issue 4/1/2, pp. 82–7.
—. Painterly Abstraction in Modernist American Poetry: The Contemporaneity of Modernism. Cambridge University Press, 1995.
Johanna Drucker, Figuring the Word: Essays on Books, Writing, and Visual Poetics. Granary Books, 1998.
Alexandra J. Gold, The Collaborative Artist’s Book: Evolving Ideas in Contemporary Poetry and Art. University of Iowa Press, 2023.
Barbara Guest and Hadley Haden Guest, The Collected Poems of Barbara Guest. Wesleyan University Press, 2016.
Barbara Guest, Dürer in the Window: Reflexions on Art. New York, Roof Books, 2003.
—. Fair Realism. Sun & Moon Press, 1995
—. Forces of Imagination: Writing on Writing. Berkeley, California, Kelsey Street Press, 2003.
—. Meditations: The Assorted Prose of Barbara Guest. 1st ed, Wesleyan University Press, 2025.
—. Seeking Air. 1st Sun & Moon Press ed, Sun & Moon Press, 1997.
B.H Friedman, School of New York: Some Younger Artists. New York, Grove Press, 1959.
Sara Lundquist, “Another Poet Among Painters: Barbara Guest with Grace Hartigan and Mary Abbott”, pp. 253–64, in Terence Diggory, The Scenes of My Selves: New Work on New York School Poets. Orono, Maine, The National Poetry Foundation, 2001.
— ‘Reverence and Resistance: Barbara Guest, Ekphrasis, and the Female Gaze,’ in Contemporary Literature, XXXVIII, 2, 1997.
J.D. McClatchy, editor. Poets on Painters: Essays on the Art of Painting by Twentieth-Century Poets. Univ. of California Press, 1988.
William John Thomas Mitchell, Picture Theory: Essays on Verbal and Visual Representation. University of Chicago, 1994.
Marjorie Perloff, Frank O’Hara: Poet among Painters; with a New Introduction. University of Chicago Press, 1998.
Jenni Quilter, et al. The New York School Painters & Poets: Neon in Daylight. Edited by Allison Power, 1. publ, Rizzoli, 2014.
Caroline Williamson, ‘Working methods: Painting, poetry and the difficulty of Barbara Guest,’ in Jacket 2, 2008.
