Call for Submissions – Issue 6

Event Horizon is a home for literary and graphic arts and this is a call for submissions:

Event Horizon is seeking poetry, fiction, and non-fiction of many varieties.

Event Horizon is calling for graphic arts suitable for a 2D publication:  illustration of any variety, photography and photography of craft work, pictures with stories comprising manga, graphic novels, comics and cartoons.

There is no fee for submitting nor is there payment upon acceptance. Event Horizon is published bi-monthly. The best place to start for any questions is the website and glimpses at back issues.  Target publication date for Issue 6 is November 1.

The website and free pdf downloads can be found at .

All submissions and inquiries should be directed to .

issue 5 logo

“Why Have There Been No Great Women Artists?”

As usual, Hyperallergic opens many doors for me. For example, sycophantic fan though I may be, I didn’t know about some ugly personal peccadilloes of Picasso, i.e. that he was a raving misogynist.  Nor did I know about the movie, Surviving Picasso, (1996) where some of this is explored with mixed success.  In her Hyperallergic article, Ksenia M. Soboleva describes the differential and cynical promotion of simultaneous exhibitions at the Tate Modern – of Picasso and Joan Jonas.  I’ll let her speak for herself on that – see article.

A wonderful Door #2 for me was to another Hyperallergic article, An Illustrated Guide to Linda Nochlin’s “Why Have There Been No Great Women Artists?” by Tiernan Morgan & Lauren Purje.  Linda Nochlin was a feminist art historian who died last year at the age of 86.  I’ve read feminist and other academic essays on the oppression of various  marginalized communities. Deep … thoughtful, very academic essays. I was gratified for this succinct summary of  Nochlin’s  views.

Linda Nochlin’s “Why Have There Been No Great Women Artists?” (1971) is generally considered the first major work of feminist art history. Maura Reilly, a curator, writer, and collaborator of Nochlin’s, described the work as “a dramatic feminist rallying cry.” “This canonical essay precipitated a paradigm shift within the discipline of art history,” Reilly states in her preface to Women Artists: The Linda Nochlin Reader (2015), “and as such her name became inseparable from the phrase, ‘feminist art,’ on a global scale.” 

from Nochlin:

Afterwards, Richard turned to me and said, “Linda, I would love to show women artists, but I can’t find any good ones. Why are there no great women artists?” He actually asked me that question. I went home and thought about this issue for days. It haunted me. It made me think, because, first of all, it implied that there were no great women artists. Second, because it assumed this was a natural condition. It just lit up my mind. [It] stimulated me to do a great deal of further research in a variety of fields in order to “answer” the question and its implications.

By stressing the institutional, rather than the individual, or private, preconditions for achievement or the lack of it in the arts, I have tried to provide a paradigm for the investigations of other areas in the field […] I have suggested that it was indeed institutionally made impossible for women to achieve artistic excellence, or success, on the same footing as men, no matter what the potency of their so-called talent, or genius.

There are no women equivalents for Michelangelo or Rembrandt, Delacroix or Cézanne, Picasso or Matisse, or even in very recent times, for de Kooning or Warhol, any more than there are black American equivalents for the same. If there actually were large numbers of “hidden” great women artists, or if there really should be different standards for women’s art as opposed to men’s — and one can’t have it both ways — then what are feminists fighting for? If women have in fact achieved the same status as men in the arts, then the status quo is fine as it is.

But in actuality, as we all know, things as they are and as they have been, in the arts as in a hundred other areas, are stultifying, oppressive, and discouraging to all those, women among them, who did not have the good fortune to be born white, preferably middle class and above all, male. The fault lies not in our stars, our hormones, our menstrual cycles, or our empty internal spaces, but in our institutions and our education.

Door #3, yet another painting prodigy.

Nochlin’s essay ends with an extended profile of Rosa Bonheur (1822–1899), “one of the most successful and accomplished women painters of all time.” Bonheur specialized in equine and bovine scenes and was awarded numerous accolades, including a first medal at the Paris Salon. 





Another 17th century painting prodigy

Never heard of her.  Michaelina Wautier (also Woutier, 1617-1689) was a Dutch painter – baroque, whose work was only recently attributed to herself rather than to other male artitsts, including her brother, Charles Wautier.  There is a retrospective of her work.  Michaelina: Baroque’s Leading Lady runs at the MAS (Hanzestedenplaats 1 2000 Antwerp, Belgium) until September 2.

Hyperallergic reports:

Only around thirty works have been attributed as autograph, a situation perhaps compounded by Wautier’s marked accomplishment across genres—what few female painters there were at this time were usually confined to decorative floral work—and stylistic similarity to her brother, so that until only very recently Wautier has remained largely unknown in art history.

Michaelina Wautier presents a most curious case of a criminally overlooked talent. Noting the consistent quality shown here, we cannot trace any sign of development or decline. There are no “duds” — even her study pieces are fully worked up to a high finish. With very little to work with, Stighelen and the MAS have drawn upon the mystery to create a compelling tourist attraction, stoking the hope that more works will someday come to light.

self portrait


Montreal Museum of Fine Arts busted by Facebook

MMFA tried to foist a degenerate image on an unsuspecting public.  Cynically, the museum curators thought they could just slide in the tawdry full-frontal poster art, Women at Their Toilette, supposedly to promote their exhibition.  Creeper artist Pablo Picasso exposed the same pornography to a shocked world in 1956 and Montreal Museum of Fine Arts tried to drag it out of the cesspool where it should have stayed. Thankfully, Facebook, with its ever-watchful algorithms, was able to identify the abomination before the ad could be posted.  The moral sanctity of the public has been preserved and the integrity of the US election process … oh wait, that’s something else.

Mature content follows.picasso women

What’s PC for ‘chickenshit’?

Hey Poets:  Been sold out by your publisher?  …cutoff at the knees.   … thrown under the bus.  …hung out to dry.   …betrayed.  Hey, it could happen.  It does happen.  The Nation apologized for publishing a poem by Anders Carlson-Wee entitled How To.

I read the poem.  I’m not sure if it’s blackface to attempt to assume a character.  I’m not sure the writer is ableist if the character uses the word cripple.  That’s beside the point.  One hopes, one assumes, that the poet has already taken responsibility for the poem by writing it and submitting it for publication.  Nor is it germane that the poet himself recanted.   No shortage of weak knees in this story.  The poet can wrestle with himself.  What are the responsibilities of the publisher?

Grace Schulman is the author of seven books of poetry and was the poetry editor at The Nation from 1971 – 2006.  She’s having none of it.  She is in a unique position to list what The Nation could have done, should have done and has done in the past.

It would not be proper for me to comment on the aesthetic merits of Mr. Carlson-Wee’s piece. That’s the job of the magazine’s current poetry editors. But going forward, I’d recommend they follow Henry James’s example. Just as he never apologized for his negative review of Whitman, they had zero reason to regret their decision.

How-To     by Anders Carlson-Wee

If you got hiv, say aids. If you a girl,
say you’re pregnant––nobody gonna lower
themselves to listen for the kick. People
passing fast. Splay your legs, cock a knee
funny. It’s the littlest shames they’re likely
to comprehend. Don’t say homeless, they know
you is. What they don’t know is what opens
a wallet, what stops em from counting
what they drop. If you’re young say younger.
Old say older. If you’re crippled don’t
flaunt it. Let em think they’re good enough
Christians to notice. Don’t say you pray,
say you sin. It’s about who they believe
they is. You hardly even there.

anders carlson-wee

Deathmetal lives

My brother shared a youtube with my sister and me; I’ll just characterize it for the moment as a deathmetal music video.  (bleach03)  I scornfully interjected that it was all derivative – nothing new.  My sister mused and wondered if it would be the answer to her most pressing  question of the moment, how to entertain her two young grandchildren who would be over soon.

The discussion did not end there:

Thrashcore (also known as fastcore) is a fast tempo subgenre of hardcore punk that emerged in the early 1980s. Thrashcore is essentially sped-up hardcore, often using blast beats. Songs can be very brief, and thrashcore is in many ways a less dissonant, less metallic forerunner of grindcore.

A propos to music on Event Horizon:  I think I will have to abandon my debut Offworld feature as a failed and distracting experiment.  Especially since I’ve moved to a bi-monthly format, there are too many other fish to fry, with artists concerned about publication.

I’ll handle music and performance from the same perspective as my 2d-graphic-literary submissions:  I am very interested in your work.  Send it in and I’ll consider it for publication in the most flattering and impactful format I can engineer.