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Four poems from XXV POEMS: by Sylvan Lionni.
Published by WRY Press on March 24, 2026.
Copyright © 2026 by Sylvan Lionni.
All rights reserved.
Reproduced by Poetry Daily with permission.
Sylvan Lionni is the author of XXV Poems, published by Wry Press. His work has been included in exhibitions at the Brooklyn Museum, MoMA PS1, and mumok, and is currently on view at the Mercedes-Benz Museum in Stuttgart. Lionni’s work is represented in numerous public, private, and corporate collections, including General Dynamics Corporation, The Daimler Art Collection, Johns Hopkins Children’s Center, and The National Public Art Council in Stockholm, Sweden; and has been reviewed in Artforum, Art in America, and Flash Art, among others. He earned a BFA from the School of Visual Arts, an MFA from Bard College, and is an Associate Professor of Art at the University of Oregon.
XXV Poems collects of series of works by painter Sylvan Lionni begun in 2022, in which he utilizes the form of the quatrain to make a suite of constraint-based minimalist text-pieces. Created entirely from readymade brand name & media logotypes set in various rhyme-scheme permutations, these poems hilariously (& somewhat sickeningly) peer into the detritus of late-stage capitalism. You can think of these “poems” as as a form of negative dialectics perhaps, or even circles that have been hammered into squares; images & words that seem as far removed from “poetry” as you could imagine, yet somehow, against all odds, functioning exactly as such. Like with all true poetry, hopefully every single time you read it you’ll not be sure if you should laugh, or if you should cry.
“A vibrant suite of quatrain daisy chain poems—popular brand name logos depicted verbatim—are all expertly hand-painted in Sylvan’s token hard-edge style. These works consider the math of poetry while mocking the lures that target our desire for corporate consumption.
Taken as a whole, the artist's allegiance to the tenets of American minimalism and post-pop tendencies is unavoidably felt. But one comes away with a new brand of armchair scholarship, as antagonistic toward staid artistic strategies as indebted to them. Sylvan’s on-going expansion of a visual language that’s usage as metaphor is at once universal and indefatigable. It's a confusing proposition being asked not to touch objects in our everyday lives, but Lionni does it with a flippant panache that focuses a lens on the subtle poetry needed to reexamine our beautiful backgrounds.”
—Steven Stewart
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