Twenty-one Years After
Poems by Erin Currier
Paperback: 5.50x8.50” (216x140 mm) / 72 Pages
Erin Currier is an established visual artist living and working in Santa
Fe, New Mexico. Her art is exhibited and collected internationally and has
been featured in four books: The Art of Erin Currier, Carnet d’Asie , Carnet
d’Amerika, and Last Sketches.
Twenty-one Years After, is a tribute to her love for Anthony Hassett, the
nonconformist American poet and visual artist who shared her life for
These poems were written in the months following Anthony’s death at
dawn on February 17, 2017.
Last Sketches, 2016-2017
Format: 5.50x8.50 - 216x140 mm
130 pages / Full Color
“A poignant testimony, an image of absolute love.”
The diary or journal can rise to the level of an art form. Such is the case with artist Erin Currier’s Last Sketches, drawings of her partner, the artist, poet, and activist Anthony Hassett, that she drew every day of the final months of his life, brought short by a terminal illness in February of 2017.
The sketches show Anthony in quiet moments, often seated, occupied with his daily routines of writing, working in his studio, taking breakfast with Erin, cushioning their chihuahua Noche, taking in the sun. Erin’s drawings display a sureness in rendering the subject borne of the artist’s command of the medium and her intimacy with the sitter. The daily progression of portraits gradually convey the artist’s infinite care for her subject, a solicitude that manifests itself in the later portraits through the subtle depiction of Anthony’s diminishing physical state.
Yet this poignant visual narrative does not prepare the viewer for the last drawing, done after Anthony’s passing, at sunrise on February 17, 2017, cradled in Erin’s arms. His body rests upon the bed he shared with Erin, beneath a blanket now become a gentle pall strewn with shells, eight roses as its head. Familiar, cherished items encircle the bed—a small wood box, a red lamp, slippers—keeping watch, plaintive symbols of loss, unwilling sentinels of sorrow.
Dr. Richard Tobin, Taos, New Mexico. 2017
Carnet d'AmeriKa 2004-2005
Pages: 136 - Full Color
Tuned to Latin America’s rawest frequencies — that of marginalized people —, and echoing through Erin Currier’s acute gaze, this travel diary is pregnant with the fascination of discovery. The period of Erin’s journey could not have been more fortuitous: Argentina in 2004-2005 was at a historic turning point, when democracy was restored. Walking through the streets, Erin observes, questions, reads the newspapers, analyzes, and reflects in her diary, experiments that have allowed her to live the spirit that pulses in every corner, and which transmits the hope and joy of those who dare to keep dreaming.
Carnet d'Asie 2005
Pages: 122 - Color
Price: $ 19,99
Part portraiture, part collage constructed of disinherited consumer “waste” collected in forty countries, part sociopolitical archive, but wholly humanist, Currier’s work has been featured in numerous solo shows, including a major exhibition at the Bolivarian Republic of Venezuela Embassy in Washington, DC. Her work is exhibited and collected internationally. She lives and works in Santa Fe, New Mexico.
Here is the facsimile of one of her travel notebooks.
The Paintings of Erin Currier
Pages: 166- Color
Format: 8 x 10" - 203 x 254 mm
Retail Price: US $49.99
I have come to view Erin’s work in the context of Walter Benjamin’s Angel of History. Paraphrasing Benjamin, the angel’s face is turned toward the past. Where we see events unfolding, she sees a single catastrophe which keeps piling up wreckage in front of her feet. She would like to awaken the dead, and make whole what has been destroyed. But a storm that is blowing in from Paradise gets caught in her wings with such a force that the angel can no longer close them as she is propelled into the future to which her back is turned. The pile of debris before her grows skyward. This storm is what we call progress. But as Erin’s Angel of History is blown backwards into the future, she witnesses the refuse of the ages piling up both as a catastrophe and as an opportunity to educate humanity, and like an political alchemist she makes art out of it; she enfleshes dignity and hope with this refuse, a refuse that, at times, appears in Erin’s hands to have more life-enhancing power than the pulsations of living flesh.
Professor Peter McLaren
Within what Hegel described as the “immeasurable realm” of individual works of art, the conditions and subjects that motivate Erin Currier’s remarkable portraiture have special significance. In a linkage that is not merely theory or proposal, herwork continues a tradition of visual story-telling that exhumes from globalized society not only the visages of activists and warriors of social justice but also the dignified, humble, and internally powerful ordinary people around the world who struggle to break free from the bonds of economic, racial, gender, and sexual servitude. Currier’s increasingly engaged art work continues the tradition of Diego Rivera and the great social-realist muralists of Latin America, as well as the intensely personal philosophical conscience found in the works of insurrectionary cultural critics like Walter Benjamin and Herbert Marcuse. For Currier, whether marooned in the high-rise housing of mega-city outskirts or squatting in low-income settlements, the world’s laborers and migrants personify the mad toll humanity pays for its immersion in the predatory dystopia of materialism, injustice, and waste.