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What is the drawing in this ekphrastic poem?

What is the drawing in this ekphrastic poem?

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I'm trying to identify the drawing (an unfinished sketch for a painting?) described in this Donald Justice poem. Possibly an African in upper-class dress, with a horse and second person who's portrait has not been included.

Anonymous Drawing

A delicate young Negro stands
With the reins of a horse clutched loosely in his hands;
So delicate, indeed, that we wonder if he can hold the spirited creature beside him
Until the master shall arrive to ride him.
Already the animal's nostrils widen with rage or fear.
But if we imagine him snorting, about to rear,
This boy, who should know about such things better than we,
Only stands smiling, passive and ornamental, in a fantastic livery
Of ruffles and puffed breeches,
Watching the artist, apparently, as he sketches.
Meanwhile the petty lord who must have paid
For the artist's trip up from Perugia, for the horse, for the boy, for everything here, in fact, has been delayed,
Kept too long by his steward, perhaps, discussing
Some business concerning the estate, or fussing
Over the details of his impeccable toilet
With a manservant whose opinion is that any alteration at all would spoil it.
However fast he should come hurrying now
Over this vast greensward, mopping his brow
Clear of the sweat of the fine Renaissance morning, it would be too late:
The artist will have had his revenge for being made to wait,
A revenge not only necessary but right and clever-
Simply to leave him out of the scene forever.

I took the subject to be a stableboy or (less likely) jockey. Black jockeys are a pretty common theme in southern American pop art, often intended, as Wikipedia tactfully put it, "to evoke an Old South or equestrian ambiance". A less tactful person might point out the evocation of a certain hierarchal social order, including a particularly graphic depiction of exactly who is on the bottom*.

Justice himself was born and raised in Florida, where he would have had plenty of opportunity to be exposed to this flavor of American pop art. However, if I'm interpreting him right, (which by my history with poetry seems unlikely), he seems to be taking a subversive view of it.

Because of that, and the name of the poem, I suspect the particular work of art itself was some manner of pop art, and not considered by the author to be of enough consequence to call out by name.

* - Tact on such matters has never really been my strongest suit.

Sounds like a renaissance type painting with a young black page boy. It was a fashion in Europe for wealthy people to have an exotic young manservant. A number of paintings of the era show young black boys dressed up in fashionable attire.

Perugia is in Italy though a quick glance at the only artist I could find from there yielded no negro page boy results.

The puffed breeches are more likely to be 16th/17th century fashion than jodhpurs and the ruffles suggest an earlier fashion too.

The Dutch Zwarte Piet costume would be a convenient image to see what is being described.

What is the drawing in this ekphrastic poem? - History

The relation of the verbal to the painted image has preoccupied thinkers since antiquity, and that kind of staying power suggests it is a worthwhile conundrum to wrestle with…

A Poem Prompt from Robert B. Shaw, A Poem from Susan Tepper

I have a longstanding interest in ekphrastic poetry, and although I’m sure it isn’t a very original assignment, some of the best student poems I’ve seen over the years have been responses to works of art. And some of the best classes I’ve had were those in which we set the poems side by side with the paintings, photographs, or sculptures that provoked them. The relation of the verbal to the painted image has preoccupied thinkers since antiquity, and that kind of staying power suggests it is a worthwhile conundrum to wrestle with.

Editor’s Note: “Ekphrasis,” as Shaw points out, is an age-old tradition of engagement with the visual arts. In poems that employ ekphrasis (Greek for “description”) the writer reflects on a work of art — painting, sculpture, drawing, or other forms. Homer’s description of Achilles’ shield in The Illiad is often cited as a key ancient example. Two famous modern examples are “Musée des Beaux Arts” by W. H. Auden and “Landscape with the Fall of Icarus” by William Carlos Williams. Here are four contemporary poems of this type, all of which can be found online: “Migration” by Lyrae Van Clief-Stefanon, “Four Premonitions” by Terrance Hayes, “This Way Out” by Terri Witek, and “Soldiers Washing (1927)” by Ricardo Pau-Llosa. See as well an example below by WTP writer Susan Tepper.

Robert B. Shaw is the author, most recently, of A Late Spring, and After (Pinyon Publishing, 2016). Among his previous six collections are Aromatics, a co-winner of The Poets’ Prize, and Solving for X. He is also the author of Blank Verse: A Guide to Its History and Use, for which he received the Robert Fitzgerald Award. He recently retired from his position as the Emily Dickinson Professor of English at Mount Holyoke College, Massachusetts, where he taught for thirty-three years.

His interview with Sara London can be found here.

His poem “Enigmas of Weeding,” from WTP Vol. VI #6, can be found here.

An Ekphrastic Poem

By Susan Tepper
Painting by Digby Beaumont

Dusk, Digby Beaumont, 2019. Acrylic on canvas board, 10” x 12”

After hell we stop worrying

entirely. Get on our knees

split the rocks with bare hands

tongues lighting the fires.

We sleep with no blankets.

Travelling centuries along

crowning dark water. Would

The sky has encrypted blood

on ripe land across two seas.

Susan Tepper has been a writer for twenty years and is the author of nine published books. An award-winning author, Tepper has been nominated eighteen times for the Pushcart Prize, has received a Pulitzer Prize nomination for the novel ‘What May Have Been’ (currently being adapted for the stage), Second Place Winner in Story/South Million Writers Award, 7th Place Winner in the Francis Ford Coppola sponsored Zoetrope Contest for the Novel (2003), Best Story of 17 Years of Vestal Review, a nomination for NPR’s Selected Shorts Series, and other honors. Additionally, Tepper has been an editor at Wilderness House Literary Review and Istanbul Literary Review. FIZZ her reading series at KGB Bar, NYC, ran for a decade, and showcased the talents of our literary stars as well as many first time authors.

Digby Beaumont’s work as an artist has developed over the past few years. His main interest has been in portrait and figure painting. Emotion is central to his approach. He aims to convey his innermost feelings about the subject and, in turn, to produce an emotional response in the viewer.

We invite you to peruse our “Art Central” website page, and the many artworks presented in WTP’s magazine—or head out to a gallery or museum—and have a go at this word-and-image tango!

Notes on Ekphrasis

Ekphrasis (also spelled "ecphrasis") is a direct transcription from the Greek ek, "out of," and phrasis, "speech" or "expression." It's often been translated simply as "description," and seems originally to have been used as a rhetorical term designating a passage in prose or poetry that describes something. More narrowly, it could designate a passage providing a short speech attributed to a mute work of visual art. In recent decades, the use of the term has been limited, first, to visual description and then even more specifically to the description of a real or imagined work of visual art.

The use of visual description in poetry is a huge subject, and a good treatment of the topic is found in Carol T. Christ's study The Finer Optic. Descriptions, in poems, of works of music, cinema, or choreography might also qualify as instances of ekphrasis. But these notes will be concerned only with descriptions of works of visual art in a poem, not with description in general, or with description of other kinds of art.

Horace, in his Epistles, writes a verse letter to his friend Pisos, the opening lines of which develop the metaphor of painting as a means of criticizing arbitrary combinations of incompatible components in a poem. (This is the third letter of Book II of the Epistles.) Beginning at line 361, in a passage that includes the phrase ut pictura poesis ("like a picture, poetry," or "poetry is like a painting") Horace makes a comparison between the two arts. These lines are often cited as the foundational text establishing a connection between visual and verbal art. But note that Horace describes no particular painting he refers abstractly to various aspects of the art of painting purely as a metaphor to get at the good or bad qualities a poem may exhibit.

The earliest and best known example of ekphrasis is the long description of the shield made by Hephaistos and given to Achilles by his mother Thetis. (The passage is found in Book 18 of the Iliad.) Low-relief sculpture embossed in metal on the surface of the shield is described in elaborate detail. Hephaistos's subjects include constellations, pastures, dancing, and great cities. In fact, visual notation is so extensive that critics have commented that no actual shield in the real world would be able to contain the disparate elements mentioned.

So then Homer has imagined a work of art that could not, materially, exist. The immaterial nature of verbal art allows him to do this. The effect on the reader of his description is multi-faceted. On one hand, it tends to move the narrative farther away from ordinary plausibility. On the other, it provides a dreamlike expansion of the subject at hand and allows the poet to make oblique comments on the Iliad's main narrative.

Similar to Homer's description of Achilles's shield, though briefer, is the description in Book I of Virgil's Aeneid, beginning at line 450, of the carvings on the wall of the temple Aeneas visits when he first comes to Carthage. Depicted are scenes from the Trojan War, which alert the exiled hero to the fact that the story of the Trojan War and his part in it are already legendary.

Another notable instance of ekphrasis occurs in Canto X of Dante's Purgatorio, where the pilgrim poet describes low relief sculptures in white marble carved on the side of the mountain of Purgatory, next to its upward track. These carvings depict Biblical and classical examples of the virtue of humility: the Annunciation, David dancing before the Ark of the Covenant, and the Roman Emperor Trajan addressing the mother of a soldier who has been killed.

Purgatorio in Dante consists of an upwardly spiraling climb around a mountain, and it may well be Trajan's column in Rome that provided him with the visual form for it. That monument is covered with low relief sculptures of scenes from the Dacian War, and, scene by scene, like frames in a comic strip, they rise upward in helical fashion from bottom to top. In Canto X, Dante not only describes the encounter between Trajan and the bereaved mother, he gives us their dialogue and then refers to it as esto visibleparlare, "this visible speaking." In other words, something magical has occurred: a work of visual art has somehow managed to convey an exchange of speech.

Another classic instance of ekphrasis occurs in Book III of Spenser's The Faerie Queene, which is concerned with the virtue of chastity. Britomart comes to the house of sorcerer Busyrane, where she sees tapestries depicting Jove's amorous exploits, a contrary example of the virtue being dealt with.

In the two English-language cases where a poet was also a painter, ekphrastic poems were actually conceived as accompaniments to an actual painting (or vice versa). Blake's "The Tyger," "The Clod and the Pebble," and "Holy Thursday," for example, were first printed underneath or alongside Blake's graphic rendering of the poem's subject. What have been called Blake's "composite works" also influenced Dante Gabriel Rossetti, who provided verse equivalents to several of his paintings, the texts often inscribed below the picture or within it. Usually, but not always, the execution of the painting came first, as in "The Girlhood of Mary Virgin." With "The Blessed Damozel," the poem preceded the painting.

In the twentieth century many poets produced ekphrastic poems, and the vast majority of these concern actual, not imaginary works of art. Consider, for example, Rilke's "Archaic Torso of Apollo" Marianne Moore's "No Swan so Fine" and "Nine Peaches" Wallace Stevens's "Angel Between Two Paysans" William Carlos Williams's Pictures from Breughel John Berryman's "Hunters in the Snow" Randall Jarrell's "Knight, Death and the Devil" W. H. Auden's "The Shield of Achilles," and Elizabeth Bishop's "Large Bad Picture" and "Poem." In recent times there have been a large number of examples, in fact, several anthologies of ekphrastic poems have been assembled, sometimes commissioned by museums whose collections are featured.

Some ekphrastic poems describe photographs, and these may be art photographs or else ordinary snapshots, the latter often depicting members of the poet's family. A disadvantage of using family snapshots is that the original image may not embody sufficient artistry to provide the stuff of interesting commentary nor is that image available to the reader for comparison with the text. Enormous skill is needed in order to convey visual information of this kind, along with the passions and emotional nuances that pictures from childhood arouse in the author. So there is a risk that only a small part of the authors' feelings will actually be accessible to the reader through the intermediary of words alone. Still, some poets have had success writing this kind of poem, for example, Adrienne Rich in "Snapshots of a Daughter-in-Law" and Greg Williamson's "Double Exposures."

Actually, a poem about an obscure painting is also at a disadvantage. Where the original image is well known, we can compare it to the poet's version of what it contains and the poet's departures from the original, or inaccurate interpretations of it, are sometimes revealing. Without the original image, though, we are forced to trust the poet's description as being accurate, and we are unable to know where it is not. Meanwhile, the compositional task is much more difficult in such cases since the text of the poem has to convey all the relevant visual information, while still qualifying as poetry. On the other hand, if the subject is, say, Leonardo's Mona Lisa, or any other very famous work of art, there's no need to give a detailed description the audience already knows what's in the painting.

A disadvantage, though, of using very great works of visual art as a subject for ekphrasis is that the comparison between the original and the poem about it may prove too unfavorable. Readers may wonder why they should bother reading a moderately effective poem when they could instead look at the great painting it was based on. If the poem doesn't contain something more than was already available to the audience, it will strike the reader as superfluous, the secondary product of someone too dependent on the earlier, greater work.

The reader may also wonder why the description wasn't done in prose rather than in lines of poetry. All art historians and critics agree that complete and accurate verbal descriptions of visual art are very hard to achieve, even in prose. When the expectations associated with good poetry are part of the goal as well, we see that writing a good ekphrastic poem is a formidable task indeed. The aim of drafting a text entirely adequate to its source, giving a verbal equivalent to every detail in the subject work, is probably too lofty. A more realistic goal is to give a partial account of the work.

Once the ambition of producing a complete and accurate description is put aside, a poem can provide new aspects for a work of visual art. It can provide a special angle of approach not usually brought to bear on the original. For example, in a banqueting scene, the poem might, instead of describing the revelers, focus on the dogs, cats, and pet birds given free rein in the scene.

More generally, a poem can add the overall resources of verbality, with descriptions developed through surprising metaphors, apt commentary cast in lines with unusual diction and crisp rhythm—perhaps even calling on the techniques of traditional prosody. And then, the poet may devise conversations between figures in the painting or group sculpture and give these the quality of poetry. Finally, the poem may actually treat more than one painting at a time, in a kind of verbal collage or double-exposure.

Perhaps the most effective contemporary poems dealing with visual art are those where the authors include themselves in the poem, recounting the background circumstances that led to a viewing of the painting or sculpture in question or what memories or associations or emotions it stirs in them or how they might wish the work to be different from what it is. The center of attention in this kind of poem isn't solely the pre-existing work but instead is dual, sharing the autobiographical focus found in the majority of contemporary lyric poems written in English.

Poems like these unite ekphrasis with the autobiographical tradition, which is equally ancient and probably more important than ekphrasis alone. After all, the autobiographical tradition can cite figures such as Ovid, Dante, Ben Jonson, Donne, George Herbert, Pope, Wordsworth, Coleridge, Byron, Keats, Whitman, Dickinson, Eliot, Akhmatova, Williams, Crane, Lowell, Roethke, Bishop, Berryman, Larkin, Walcott, Merrill, Adrienne Rich, and Seamus Heaney. Of course you can argue that an ekphrastic poem providing no information at all about the author may still convey autobiographical content indirectly, in the form of "voice," tone, level of diction, and the kind and frequency of judgments made in the course of presentation. In "Archaic Torso of Apollo," Rilke gives us no precise autobiographical facts about himself nevertheless, we get a strong sense of the author's character and prospects from his presentation of the subject, in particular, when he imagines the torso saying to him, "You must change your life."

Meanwhile, more directly autobiographical ekphrastic poems, like Lowell's "For the Union Dead," Bishop's "Poem," John Ashbery's "Self-Portrait in a Convex Mirror," Charles Wright's "Homage to Claude Lorraine," or the present author's "Seeing All the Vermeers," locate the act of viewing visual art in a particular place and time, giving it a personal and perhaps even an historical context. The result is then not merely a verbal "photocopy" of the original painting, sculpture, or photograph, but instead a grounded instance of seeing, shaped by forces outside the artwork. In such poems, description of the original work remains partial, but authors add to it aspects drawn from their own experience—the facts, reflections, and feelings that arise at the confluence of a work of visual art and the life of the poet.

Let’s Write an Ekphrastic Poem!

Learn about ekphrastic poetry and use our free printable worksheet to write an ekphrastic poem of your own!

What is an Ekphrastic Poem?

An ekphrastic poem is a poem inspired by a work of art. Ekphrastic poems help give words to the feelings inspired by works of art and can amplify the meaning of the artwork. The poem can tell the story of the scene in a painting, express the feelings of the poet as he or she looks at a piece of art, or evencontain an imagined dialogue between subjects in the artwork or between the artist and his or her creation.

Here’s an example of the poem Two Monkeys by Brueghel, inspired by the painting of the same name.

How to Write an Ekphrastic Poem:

  1. Find a painting or sculpture that interests you. You can view the collections of The Metropolitan Museum of Art and the Tate online.
  2. As you look at the artwork, pay attention to how it makes you feel. Take notes about any sensory impressions it gives you or memories it triggers.
  3. Ideas for writing your poem:
  • Write about the scene you see in the artwork.
  • Think about what the subjects did after the painting. Did they move from that spot? Where did they go?
  • Write a conversation between the characters in the piece.
  • Write about your experience of looking at the artwork.
  • Write as a character in the artwork speaking to the viewer.
  • Compare the artwork to something else.
  • Imagine a story about the creation of the artwork, or write in the voice of the artist.

4. Ready to write your own ekphrastic poem? Use our printable to help guide you through the process of creating your own masterpiece!

We’d love to see your poems! Send your completed poem to us or post it in the comments to the ekphrastic poetry post on our Facebook page and we’ll feature them on our website.

Every Day is Earth Day: Ekphrastic Challenge, Day 23

Inspired by all three images

There’s magic held in ordinary things–
the robin’s song, the light it brings
in rosy dawn, when the world is silent
save its song,

a remnant of the ancient tunes—
the ones that drift from stars and moon
to rest in Grandma’s smile and hands–
both soft and strong

their movement deft, her knowledge a gift
a time-shifting swift,
a songbird that sings–
you belong,

words not needed, as with doggy grins and kitty purrs
the soft whinny of a favorite horse—all stir
the magic of this wondrous world
as light around a shadow long–

so, watch, listen, see—it floats, rests, soars on wings,
this quiet, splendid magic of ordinary things.

For Paul Brookes’ Ekphrastic Challenge, Day 23. Each of these challenge poems is written the day before it’s posted, so this one was actually written on Earth Day. Both of my grandmothers died when I was very young, but my daughters have had strong relationships with theirs. My mother died last April at age 97, but my husband’s mother is younger and going strong. You can read the other poems here.

Poets have used art as inspiration for centuries. John Keats' "Ode on a Grecian Urn" is one famous example, but even ancient poets such as Homer have turned to artwork as a source of stimulation for their writing. Honor Moorman notes: "William Blake said that poetry and art are 'ways to converse with paradise' (Farrell 6). In the Phaedrus, Plato observes that when paintings and poems are put together, they 'seem to talk to you as if they were intelligent' (qtd. in Foster and Prevallet xv). Georgia Heard calls language 'the poet's paint' (65), and many other writers and artists have commented on the parallels between these two modes of expression." (46-47) In Heart to Heart: New Poems Inspired by Twentieth-Century American Art, Jan Greenberg explains her belief in "the power of art to inspire language" (4). She notes that "What the poet sees in art and puts into words can transform an image . . . extending what is often an immediate response into something more lasting and reflective." (4). This lesson allows students to harness the power of visual images to inspire their own poetry.

Further Reading


Modern poets often base their ekphrases on real works of art—works that you can see in life or look up on the internet.

A good example is Victoria Chang’s “Edward Hopper Study: Hotel Room.” The title alerts us to the fact that the poem attends to a work by the painter Edward Hopper.


The New Mothers by Sally Mann

In response to The New Mothers by Sally Mann

We knew then how the world worked.
When you got married, you had a baby.
Or when you had a baby, you got married
we weren’t quite sure which had to come first
but we knew they always went together,
like bread and butter.
Fathers go to work while Mothers clean and cook
and drink coffee with dark-haired men
at the kitchen table, men
in linen shirts that smell of shaving cream
who give you a dime
for a movie ticket if you show them
how you can do a cartwheel.
Fathers come home late sometimes:
if they sleep on the living room sofa
it means pancakes for breakfast in the morning.
Cars only run if you put gas in them,
but sometimes men come to take them
and you have to walk everywhere instead.
And sometimes men come and lock
your door, but there will be a new door,
a different house,
sooner or later.
God is in the big brick church
with the crying woman on the front,
but he only listens if you eat the wafer first.
We had it all worked out, then. SOURCE: maiermuseum.org

The poem American Gothic, inspired by the painting of the same name.

Ideas for writing an ekphrastic poem

-Write about the scene you see in the artwork.

-Think about what the subjects did after the painting. Did they move from that spot?

-Write a conversation between characters in the piece.

-Write about your experience of looking at the artwork.

-Write as a character in the artwork speaking to the viewer.

-Compare the artwork to something else.

-Imagine a story about the creation of the artwork, or write in the voice of the artist.

The Scream, Edvard Munch, 1893.

Poems inspired by Romani People (SOURCE: gypsirepresent.wordpress.com

Write a poem about a piece of visual art. Your poem can respond to any aspect of the artwork– maybe you want to recreate the color scheme and mood of the painting, or maybe you want to create an extended metaphor using the artwork’s symbols.

Consider how culture, rituals, politics, and beliefs play in the piece too. Analyze the artwork you’ve selected using the elements and principles of art and specific examples. Read the artwork like you would a poem. You can also use this your analysis to discuss what you want to write your poem about and why. Make sure to include an image of the artwork you’ve chosen, the title and the artist’s name, and a link to the work.

The artwork that you choose to analyze in your response is the same artwork that you’ll use to write your ekphrastic poem. Likewise, the artist’s name and the work’s title should appear in your poem’s title or subtitle so the reader understands the context and references.To get you started on analysis, consider this: what are the patterns? How does the artist use artistic elements and principles? What are their effects? What does the paining depict? What are the symbols used?

“I am enough of an artist to draw freely upon my imagination. Imagination is more important than knowledge. Knowledge is limited. Imagination encircles the world.”Albert Einstein

Writing the Ekphrastic Poem: Transforming the Visual into Words with Philip F. Clark via Zoom

The art of the ekphrastic poem — inspired by painting, photography, cinema, and sculpture —has a long and important history, from such great poets such as Lord Byron, Shelley, Keats, William Carlos Williams, Wislawa Symborksa, Elizabeth Bishop, Molly Peacock, and A.E.Stallings. It continues to be a thriving poetic genre, a collaboration of two arts. In this workshop, we will study some of the best examples of ekphrastic poetry and the art that inspires it. We will discuss the creative process of making ekphrastic poetry, and create a series of finished poems written by the attendees, to workshop and share with each other. In addition, we will discuss opportunities in print and online publishing venues for your ekphrastic poems. The workshop is open to attendees at all levels of experience, especially to those coming to it for the first time.

Registration for this 4hour class is $124. Please register at:

This class will be held on Zoom. Login instructions will arrive via email as soon as you register to whatever email address you use to register. Please check your spam or promotions folder and save the zoom link. Please email [email protected] with any questions.

Please note: The Altman Persons of Color Scholarships are free and given on a first come, first served basis. Please notify us right away if your plans change and you cannot attend the class. We will then reopen the slot so another student may register. Thank you in advance for this consideration. NB: Please do not register for more than one scholarship class every other month. Thank you.

Philip F. Clark is the author of the poetry collection The Carnival of Affection (Sibling Rivalry Press 2017). Since 2015 he has taught at City College, New York, where he received his MFA in Creative Writing in 2016. His poems and essays have been published in Tiferet Journal, Marsh Hawk Press, Queensbound Poets, (Re) An Ideas Journal, and Vox Populi, among other publications. He is a Poetry Editor of The Night Heron Barks, and A&U Magazine. He has been featured as a reader for the ‘Phosphorescence’ Poetry Reading Series, sponsored by the Emily Dickinson Museum.

4-Hour Schedule:

12:30-1 Introduction, Meet and Greet each other.

1 – 1:15 – Definition of Ekphrastic Poetry sharing of visual images and examples of ekphrastic poems inspired by them. (Share file resources to students, which they can use after the workshop).

POWER OF THE POETS 2 Ekphrastic Poetry Contest

Manuel Mathieu, Resilience – a Landscape of Desire, 2020. Fabric, ink, and dust on canvas, 80 x 110 in. Courtesy the artist. Installation view: World Discovered Under Other Skies, The Power Plant, Toronto, 2020. Photo: Toni Hafkenscheid.

The Power Plant and the Toronto International Festival of Authors (TIFA) are excited to co-present POWER OF THE POETS 2, an ekphrastic poetry contest!

Ekphrastic poetry is poetry written about a work of art, often striving to connect what we see with feelings, memories and other insights. Well-known examples include Ode on a Grecian Urnby John Keats and Landscape with the Fall of Icarus by William Carlos Williams.

In celebration of April as National Poetry Month, we invite YOU to write your own ekphrastic poem, inspired by one of The Power Plant’s Fall 2020 exhibitions:

• Howie Tsui: From swelling shadows, we draw our bows
• Manuel Mathieu: World Discovered Under Other Skies
• Nathan Eugene Carson: Cut from the same cloth

To view the exhibitions online, including links to audio of the wall texts and Slow Looking tour stops, please click HERE.

Submissions are due via the form below by 11:59 PM on Friday, April 30, 2021 and will be pre-judged by Roland Gulliver, Director of TIFA, then judged by Elder Duke Redbird. Winners and Honourable Mentions will receive prize packs from TIFA and The Power Plant!

Watch the video: Ekphrastic Poetry: Writing Poetry About Art (July 2022).


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