The fiction writer and post-modernist Donald Barthelme said there is not progress in art, but motion. Maybe this is what Zawacki has uncovered in his archeological and interdisciplinary pursuits—a foreboding yet beautiful song of the machines’ first blips of autonomous motion, both “sad and hyperreal,” heard because Zawacki listened closely to the camera and videotape, which were already casually set to accelerate, amongst every other gadget, toward an increasingly unknowable future for science fiction writers and poets alike. - Sad & Hyperreal: Tracing Science Fiction Poetry Through Andrew Zawacki’s Videotape
Every era needs its advocates for the ugly, and not merely to contrast with the beautiful, but also to aid a wider search for truth. Today, the abject surges again through poets like Glenum, and the ahistorical, twee collage that has become the basis and bane of young urbanites’ visual framework is offered it’s own salvation atop what begins to feel again like an honest depiction of history—on a mountain of ugliness and violence. - Vile Tide: Abject Art and Lara Glenum’s POP Corpse