Limited quantity available. Signed copy.
The book addresses the act of looking, and the experience of going to museums. This collaboration was the result of how the two authors were affected by the closure of museums and cultural spaces during the COVID pandemic—the artists, in essence, created a new “museum” of their own.
Robert Revere’s photographs show cultural spaces from around the world, and people reacting to those spaces. Taken during the six-year period leading up to the travel lockdown, they depict museums in Greece, Qatar, Portugal, Dubai, Mexico, Canada, and the U.S. Many of the images were made during his overseas assignments as a foreign service officer. During the pandemic, Revere was able to edit and reprint this series, and combine them in new ways.
Kim Roberts Miekle’s contribution is a connected series of fourteen prose poems that borrows from the tradition of sonnet crowns, in which the final phrase of one section becomes the opening phrase in the succeeding section. Roberts was drawn to this form first due to pure linguistic pun: “crown” in Italian is “corona.” The poem examines art works by John Constable, Louise Nevelson, Martin Johnson Heade, Frederic Edwin Church, and Sandro Botticelli, juxtaposed with COVID charts and an embrace of what we call “ugly.”
Limited quantity available. Signed copy.
The book addresses the act of looking, and the experience of going to museums. This collaboration was the result of how the two authors were affected by the closure of museums and cultural spaces during the COVID pandemic—the artists, in essence, created a new “museum” of their own.
Robert Revere’s photographs show cultural spaces from around the world, and people reacting to those spaces. Taken during the six-year period leading up to the travel lockdown, they depict museums in Greece, Qatar, Portugal, Dubai, Mexico, Canada, and the U.S. Many of the images were made during his overseas assignments as a foreign service officer. During the pandemic, Revere was able to edit and reprint this series, and combine them in new ways.
Kim Roberts Miekle’s contribution is a connected series of fourteen prose poems that borrows from the tradition of sonnet crowns, in which the final phrase of one section becomes the opening phrase in the succeeding section. Roberts was drawn to this form first due to pure linguistic pun: “crown” in Italian is “corona.” The poem examines art works by John Constable, Louise Nevelson, Martin Johnson Heade, Frederic Edwin Church, and Sandro Botticelli, juxtaposed with COVID charts and an embrace of what we call “ugly.”
