Literature Program

Saturday, April 14, 2007

Co-sponsored/co-presented by:
The University at Buffalo's Poetry Collection, University at Buffalo Humanities Institute, Just Buffalo Literary Center, and New York Council for The Humanities


Presented at:

Legendary American poet Charles Olson taught at UB from 1963-1965, a period incidentally coinciding with the arrival of Lukas Foss at the BPO, the two events together suddenly thrusting Buffalo into the world spotlight as one of the most important centers for both new music and contemporary poetry, a tradition which—along with subsequent equally exciting developments in visual and media arts—continues to this day, nearly half a century later. Olson's relatively brief tenure at UB continues to reverberate in Buffalo. His many contemporaries brought in for readings or teaching gigs—Robert Duncan, Denise Levertov, Ed Dorn, John Wieners, Gregory Corso, Amiri Baraka, et al.—helped create a unique atmosphere in which innovative poetry (like new music, experimental film, and postmodern visual art) could flourish for generations to come. Many of Olson's students and colleagues from Buffalo went on to make important contributions to poetry and scholarship, including Charles Boer, Harvey Brown, George Butterick, Jack Clarke, Albert Glover, Duncan McNaughton, Stephen Rodefer, Fred Wah, and many others. Perhaps even more important, Olson's replacement (and teaching colleague from Black Mountain College), Robert Creeley, who arrived in 1966, kept that spirit alive for 40 years. Creeley's influence led directly to the founding of Just Buffalo in 1975 as a venue to present poetry in the community rather than in the academy, and to the creation of the UB Poetics Program in 1989.

Charles Olson @ Buffalo, the third installment of a national series of Olson gatherings entitled OlsonNow, will highlight Olson's brief but important tenure at UB. Confirmed guests include Anne Waldman, Ammiel Alcalay, Michael Basinski, Robert Bertholf, Michael Kelleher, David Landrey, and Jonathan Skinner. Basinski, Curator of the Poetry Collection at UB, will talk about the Collection's recent acquisition of the papers of the late poet and beloved UB English professor Jack Clarke. The event will also include a screening of Henry Ferrini's film Polis is This: Charles Olson and the Persistence of Place. The filmmaker will be on hand to introduce the film and to answer questions afterward. All are welcome to participate in the discussion that will take place throughout the afternoon. If you would like to make a brief, informal presentation at the event, please contact Mike Kelleher at Sponsored by Just Buffalo, Hallwalls, UB Poetry Collection, & UB Humanities Institute.

OlsonNow 3: Charles Olson@Buffalo is made possible with a major grant to the UB Humanities Institute from the New York Council for the Humanities (NYCH). The New York Council for the Humanities is a state affiliate of the National Endowment for the Humanities. Any views, findings, conclusions, or recommendations expressed in this program are those of the presenters and participants, and do not necessarily represent those of the New York Council for the Humanities or National Endowment for the Humanities. ��

Some publications related to this event:
April, 2007 - 2007

t: 716-854-1694
f: 716-854-1696

Tues.—Fri. 11-6
Sat. 11-2
Sun. & Mon. closed

from Jan. 10, 2020
through Feb. 28, 2020

Sarah Sutton
Knots and Pulses

This exhibition by Ithaca-area artist Sarah Sutton will feature a series of monochromatic oil paintings that combine representational imagery with distortions and abstractions that create scenarios in flux. They are essentially landscape paintings, but Sutton's treatment of the landscape toys with its sense of space and the notion of the built vs. the natural environment.

Katie Bell
Abstract Cabinet

Katie Bell’s exhibition is a site-specific installation conceived of as a one-act drama starring anonymous artifacts. Functioning like a theatrical set, the gallery holds static characters that reference the interior architecture of corporate and commercial spaces. Sculptural objects are often fractured or untethered to a contextual structure. Functioning as a whole, the individual artefacts are a nod to players on a stage, held captive in space and time.