“I am working to capture the play of presence and absence, the haunting that fascinates us, even long before we ask, ‘What happened here?’”
Catie Rosemurgy’s (b. 1969) wry and sharply imagined poems investigate the layered natures of identity, history, and narrative. The author of two collections of poetry published by Graywolf Press, The Stranger Manual (2010) and My Favorite Apocalypse (2001), Rosemurgy’s current work-in-progress explores the back story of a fictional town called Gold River. The world of Gold River is a cross between historical research and fantasy, modeled after formerly bustling shipping and lumber towns of the Upper Midwest, which peaked in the late 19th century and have experienced steep declines since. The new collection, tentatively titled, “The Small Museum of Our Burning,” is influenced by great American historic novels, and seeks to deconstruct and challenge the narrative structures of such works, while blurring the boundaries between prose and poetry. “The nature of storytelling is my subject matter,” Rosemurgy says. “I want to write a book that’s hard to classify, a book that calls out to many different kinds of books as kindred spirits.”
Rosemurgy earned her MFA in poetry at the University of Alabama and has been the recipient of a Rona Jaffe Award for Emerging Female Artists as well as a fellowship from the National Endowment for the Arts. She currently teaches at The College of New Jersey. She participated in the Center’s 2013 iteration of No Idea is Too Ridiculous, for which she developed a new digital interactive poetry project with programmer and poet Noah Schoenholtz.
Lee is the publisher at Corollary Press and author of the poetry collections Underground National, That Gorgeous Feeling, and Solar Maximum, forthcoming from Futurepoem Press.
Originally created with Center support for the 2012 FringeArts Festival, Georgia Tech Arts now presents Thaddeus Phillips’ Red-Eye to Havre de Grace at the Ferst Center for the Arts.
Headlong Dance Theater produced Improvisation Lab, an interdisciplinary movement project that involved choreographer Miguel Gutierrez and Dan Rothenberg of Pig Iron Theatre Company.
“I have never had a shortage of ideas for creating music,” says 2007 Pew Fellow Jamey Robinson.
Playwright and 2008 Pew Fellow J. Rufus Caleb strives to create theater experiences that are “as visceral as they are intellectual.”
Pew Fellow Raphael Xavier takes his Center-supported autobiographical dance, The Unofficial Guide to Audience Watching Performance, to Chicago.
Sally Berger is a film and media curator, lecturer, and writer, and serves as assistant curator of the department of film at The Museum of Modern Art.
This month in Fellows Friday news: King Britt is named a 2014 SPACES resident at the Village of Arts & Humanities, Marshall Allen celebrates Sun Ra’s 100th Birthday, and much more.
In 2001, saxophonist and Pew Fellow Bobby Zankel founded the Warriors of the Wonderful Sound, a big band to perform his compositions and arrangements.
Susan Bernofsky is an author and German-language literature translator. She directs the literary translation program in the School of the Arts MFA Writing Program at Columbia University.
The Pew Center for Arts & Heritage (the Center) today announced 53 grants in support of the Philadelphia region’s cultural organizations and artists. The 2016 awards total more than $10 million and provide funding for 12 new Pew Fellowships, 36 Project grants, and 5 Advancement grants.
In 1996 the Center awarded Pew Fellowships to 12 Philadelphia-based artists, and grants to 28 dance and theater organizations in the greater Philadelphia region.