Pussywillow: A Journal of Conditions
Felipe Ehrenberg
1973
Pussywillow: A Journal of Conditions
Pussywillow: A Journal of Conditions
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Just like Cecilia Vicuña’s “Sabor a mí”, Felipe Ehrenberg’s book was published in the immediate aftermath of the Pinochet coup in Chile. Despite its title, the publication has little to do with the early-spring tree, ...
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Pussywillow: A Journal of Conditions
Felipe Ehrenberg
1973
Devon: Beau Geste Press
Unpaginated [64 pages]
22.2 × 15.3 cm

Just like Cecilia Vicuña’s “Sabor a mí”, Felipe Ehrenberg’s book was published in the immediate aftermath of the Pinochet coup in Chile. Despite its title, the publication has little to do with the early-spring tree, except perhaps metaphorically. We learn from the book’s colophon that the project was originally intended for publication by Unity Press, California, as a sort of homage to its founder, the countercultural writer Stephen Levine, “but something must have happened and the project wasn’t undertaken.”


 


Ehrenberg himself describes this gathering of findings, clippings, journal entries, newspaper scraps, and erotic imagery as “a wild shot in the dark”. This ambiguity follows the reader through the pages of a fragmentary “journal of conditions.” The political, social, cultural, corporeal, and personal interweave across its pages, marking the crystallization of an embodied poetics of graphic matter linked to radical social objectives. Guided by Ehrenberg’s handwritten motto at the beginning of the publication (“Tell me what you collect and I’ll tell you who you are, who we are”), this elliptical publication becomes an act of introspection, bringing together materials collected by the artist over the course of two years.

Devon: Beau Geste Press
Unpaginated [64 pages]
22.2 × 15.3 cm

Just like Cecilia Vicuña’s “Sabor a mí”, Felipe Ehrenberg’s book was published in the immediate aftermath of the Pinochet coup in Chile. Despite its title, the publication has little to do with the early-spring tree, except perhaps metaphorically. We learn from the book’s colophon that the project was originally intended for publication by Unity Press, California, as a sort of homage to its founder, the countercultural writer Stephen Levine, “but something must have happened and the project wasn’t undertaken.”

 

Ehrenberg himself describes this gathering of findings, clippings, journal entries, newspaper scraps, and erotic imagery as “a wild shot in the dark”. This ambiguity follows the reader through the pages of a fragmentary “journal of conditions.” The political, social, cultural, corporeal, and personal interweave across its pages, marking the crystallization of an embodied poetics of graphic matter linked to radical social objectives. Guided by Ehrenberg’s handwritten motto at the beginning of the publication (“Tell me what you collect and I’ll tell you who you are, who we are”), this elliptical publication becomes an act of introspection, bringing together materials collected by the artist over the course of two years.

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Just like Cecilia Vicuña’s “Sabor a mí”, Felipe Ehrenberg’s book was published in the immediate aftermath of the Pinochet coup in Chile. Despite its title, the publication has little to do with the early-spring tree, except perhaps metaphorically. We learn from the book’s colophon that the project was originally intended for publication by Unity Press, California, as a sort of homage to its founder, the countercultural writer Stephen Levine, “but something must have happened and the project wasn’t undertaken.”

 

Ehrenberg himself describes this gathering of findings, clippings, journal entries, newspaper scraps, and erotic imagery as “a wild shot in the dark”. This ambiguity follows the reader through the pages of a fragmentary “journal of conditions.” The political, social, cultural, corporeal, and personal interweave across its pages, marking the crystallization of an embodied poetics of graphic matter linked to radical social objectives. Guided by Ehrenberg’s handwritten motto at the beginning of the publication (“Tell me what you collect and I’ll tell you who you are, who we are”), this elliptical publication becomes an act of introspection, bringing together materials collected by the artist over the course of two years.

Devon: Beau Geste Press
Unpaginated [64 pages]
22.2 × 15.3 cm

Just like Cecilia Vicuña’s “Sabor a mí”, Felipe Ehrenberg’s book was published in the immediate aftermath of the Pinochet coup in Chile. Despite its title, the publication has little to do with the early-spring tree, except perhaps metaphorically. We learn from the book’s colophon that the project was originally intended for publication by Unity Press, California, as a sort of homage to its founder, the countercultural writer Stephen Levine, “but something must have happened and the project wasn’t undertaken.”

 

Ehrenberg himself describes this gathering of findings, clippings, journal entries, newspaper scraps, and erotic imagery as “a wild shot in the dark”. This ambiguity follows the reader through the pages of a fragmentary “journal of conditions.” The political, social, cultural, corporeal, and personal interweave across its pages, marking the crystallization of an embodied poetics of graphic matter linked to radical social objectives. Guided by Ehrenberg’s handwritten motto at the beginning of the publication (“Tell me what you collect and I’ll tell you who you are, who we are”), this elliptical publication becomes an act of introspection, bringing together materials collected by the artist over the course of two years.

MORE BOOKS

Just like Cecilia Vicuña’s “Sabor a mí”, Felipe Ehrenberg’s book was published in the immediate aftermath of the Pinochet coup in Chile. Despite its title, the publication has little to do with the early-spring tree, except perhaps metaphorically. We learn from the book’s colophon that the project was originally intended for publication by Unity Press, California, as a sort of homage to its founder, the countercultural writer Stephen Levine, “but something must have happened and the project wasn’t undertaken.”

 

Ehrenberg himself describes this gathering of findings, clippings, journal entries, newspaper scraps, and erotic imagery as “a wild shot in the dark”. This ambiguity follows the reader through the pages of a fragmentary “journal of conditions.” The political, social, cultural, corporeal, and personal interweave across its pages, marking the crystallization of an embodied poetics of graphic matter linked to radical social objectives. Guided by Ehrenberg’s handwritten motto at the beginning of the publication (“Tell me what you collect and I’ll tell you who you are, who we are”), this elliptical publication becomes an act of introspection, bringing together materials collected by the artist over the course of two years.

MORE BOOKS