More, if you dare:
MinXus-Lynxus Who Has The Best Hair Contest – Contestant #13 – tENTATIVELY, a cONVENIENCE (Pittsburgh, Pennsylvania, USA)
01 Mar 2014 2 Comments
23 Feb 2014 Leave a comment
Despite stated intentions to “demolish serious culture” and defy the mechanisms of institutions and academies, Neoism is being historicized and analyzed by the very culprits who were the objects of its most pointed attacks. This is an old story. Need we mention Fluxus? Borderline Grafix brought this article to our attention, and we simultaneously abhor it and find it interesting. Tenderfoots unfamiliar with Neoism and veterans alike might glean some interesting information from this. We both denounce and recommend it:
18 Feb 2014 Leave a comment
MinXus-Lynxus Who Has The Best Hair Contest – Contestant #7 – Karen Eliot (Providence, Rhode Island, USA)
18 Feb 2014 3 Comments
Historic discourse between De Villo Sloan & performance artist tENTATIVELY, a cONVENIENCE (Pittsburgh, Pennsylvania, USA)
18 Feb 2014 Leave a comment
- At 3:57pm on February 16, 2014, tENTATIVELY, a cONVENIENCE said…
I see from my voluminous records that you sent me a “visual poetryesque book” called “Ourang-Outang” & that I sent you a “dop e #5-6 + note on Mad Scientist Radio + Widemouth Catalog” & that you were living in Auburn, AL at the time. By the by, my “Poop & Pee Dog Copyright Violation Ceremony” was NOT a neoist performance (as you state somewhere here) but was part of the 3rd Convention of the Church & Foundation of the SubGenius. I co-organized the Con, in Sept, 1983, & also organized the 7th International Neoist Apartment Festival that followed hot on its heels. Both were in BalTimOre. Monty Cantsin (Istvan Kantor) was in attendance at the Con &, of course, at the APT. The living tongue of the Church of the SubGenius, Saint Janor Hypercleets, lingered on after the Con & also participated in the APT. Otherwise, except for my participation in & organization of both, they were separate events.
At 4:37pm on February 16, 2014, De Villo Sloan said…
Dear tENTATIVELY, a cONVENIENCE,
It is a complete surprise, total pleasure, and a great honor to receive a message from you, albeit a correction concerning my fumbling researches to reconstruct events involving Neoism, Church of the SubGenius, and the disappearance of David Zack, etc.
I stand corrected concerning the facts surrounding the now legendary & notorious dog poop copyright infringement ceremony in Baltimore. In my assessment, this was the most important event of an era. I shall make every effort to rectify the errors that have already appeared in my writing – somehow.
Not to pass the buck, but Stewart Home has muddied the waters on this event in his book “The Assault on Culture,” placing the performance as he has in a critique of Neoism. The relation of the Church of the SubGenius to Neoism has always been a point of confusion for many.
You are, indeed, a meticulous record keeper. The documentation of your performances is an invaluable asset, second only, I think, to Mark Bloch’s archives.
Yes indeed. In the 1980s we corresponded. I too have a record of the exchanges as well as more work by you from the zines in my archives. Alas, I am not as well organized.
It is only these many years after the fact that I have come to understand and appreciate what I had gotten myself mixed up in.
Again, my deepest apologies if I am creating more confusion sorting through events that were part of The Great Confusion.
I hope we can remain “in touch” some way, somehow.
Deepest regards, De Villo Sloan
More about tentatively, a cONVENIENCE
11 Feb 2014 4 Comments
in asemic fiction, asemic poetry, asemic writing, At the Mink Ranch, calligraphy, collage, conceptual art, found art, haptic poetry, mail-art, neoism, object poetry, performance art, post-neo, stamps, Trashpo, visual poetry Tags: asemic fiction, asemic poetry, asemic writing, asemics, at the mink ranch, calligraphy, collage, concept art, conceptual art, correspondence, found art, haptic poetry, mail-art, neo, neoism, object poetry, performance art, post-neo, trashpo, visual poetry
Mail-art by Rebecca Guyver (Suffolk, UK)
Our close friend and brilliant correspondent Miss Becca sent a care package to Dark wall that contains an eclectic mix of DKult (Trashpo) and MinXus mail-art. Dark wall is involved in both efforts and helps prepare the DKULTNY Trashpo Fanzine. Included in the last issue was a Trash-&-Pass, which Miss Becca has returned with marvelous embellishments. You can see the entire piece above. Other than the pics of DK and Dark wall, the work is almost completely composed of Miss Becca’s additions. Material was also stapled to the Trash & Pass, which we have carefully removed and scanned separately. We find the green panel with asemic symbols particularly attractive:
The next scan shows materials that were stapled to or included with the Trash & Pass:
The piece on the left is the “dyed lintpo” mentioned in the top scan. “Lintpo” might require some explanation for Tenderfoots. For a time, the revered visual poet John M. Bennett (JMB) seemed caught in a loop concerning lint. He consistently posted the words “fork lint” in discussions, and lint appeared in his work. JMB is vastly influential – this is an absolute truth – and soon fans, copycats and vispoets seeking new territory were producing lintpo: lint poetry inspired by JMB. The Fork Lint Society was organized. Nowhere is the creation of lintpo more energetic and innovative than among Trashpoets, and Miss Becca has added to the canon with this lint object poem. Sadly, Rancher’s first remark to Dark wall upon seeing the lintpo was: “Dw, why’n Miss Becca send you one of them cat fur balls all stitched up? We got no room for cats in the Bunk House.”
As seems customary these days – and much appreciated – Miss Becca included a (British?) cowboy song book (1930s?!). Some Tenderfoots might not realize the Mink Ranch/cowboy concept is derived from Edward Dorn’s long poem Gunslinger aka Slinger (also see Tom Clark’s excellent biography of Dorn: A World of Difference.) Marvelous text awaiting appropriation:
The package came in a large, wonderfully decorate envelope:
Incredible! The reverse:
Many thanks to correspondent and friend Rebecca Guyver!
MinXus Mail Bag: Issue of SMILE zine by Karen Eliot (1988) from Borderline Grafix (Austin, Texas, USA)
04 Feb 2014 Leave a comment
SMILE zine – Commodity Issue – by Karen Eliot (1988) (cover)
Correspondent Borderline Grafix in Austin, Texas, sent us a most amazing and thoughtful gift, which we are eager to share with you: An issue of Stewart Homes’ SMILE zine from 1988. The issue is attributed to Karen Eliot, a multiple user identity still assumed by mail-artists today. This issue of SMILE was produced when Neoism was still a vital force in the network and beyond.
Issues of SMILE appeared between 1984-89, ending about the time of the notorious Glasgow Festival of Plagiarism. Indeed, this issue is concurrent with Neoism’s plagiarist phase, echoed in the concluding paragraph:
“”We must plagiarize, freely using what is available as our own, not as sole ownership, but available to everyone. We must break down the barriers of false uniqueness by re-inventing our own images, symbols, and means of communication. Plagiarize, for the world is yours.”
(SMILE – 2)
SMILE had a large audience relative to the numerous zines of the era, although actual numbers are impossible to calculate. Production and distribution had characteristics of the add-and-pass. Recipients in some cases dis-assembled and re-assembled issues into editions that contained varying content; readers, in essence, became editors. The open nature of the publication with its denial of copyright encouraged this. This issue is likely one such variant – a part of the totality of all SMILE editions created – given the North Carolina, USA mailing address. The zine network was very large at that time and exceedingly complex to track.
This issue of SMILE is very different from most Neoist zines of the era. Karen Eliot has penned an almost academic article about capitalism, consumer culture, alienation, and feminism. Ultimately, it is a Marxist derived justification for plagiarism by artists and writers as a revolutionary tool. Again, while this Karen Eliot essay is not the norm, complex political, philosophical, economic and aesthetic essays circulated far more frequently in the network at that time than they do today.
This SMILE essay has many similarities to academic writing of that era. The French philosopher Jean Baudrillard (1929-2007) expressed many of these ideas, for instance. So it is possible this work is plagiarized from one or a number of cources. On the other hand, Stewart Home is exceedingly knowledgeable in this area – Situationism for instance – and the text is better written and more lucid than what most academics can produce. Likely Stewart Home – under the Karen Eliot byline – wrote this.
The graphic elements of this SMILE issue are characteristic of the zines of that era, although perhaps a little more polished than the average. It was not uncommon for kids in the 14-year-old-category to produce their own photocopied zines that might include alternative music reviews alongside diatribes such as Karen Eliot’s and adorned with images received through the mail-art: Such were the zines and the era that produced SMILE.
Deepest thanks to Borderline Grafix for this treasure!
MinXus Mail Bag: In which we respond to a missive from Vizma Bruns (Waitpinga, Australia) concerning Miss Carina’s hair
28 Jan 2014 1 Comment
in At the Mink Ranch, collage, conceptual art, found art, mail-art, neoism, post-neo, stamps, Trashpo Tags: at the mink ranch, collage, concept art, conceptual art, correspondence, found art, holism, mail-art, post-neo, stamps, trashpo
Mail-art by Vizma Bruns (Waitpinga, Australia)
Attending to unsettled business this morning, we share with you an envelope of wonderful art from our trusted Australian correspondent, Vizma Bruns. Her missive offers a proposal that bears a response, and we want to share it with all Tenderfoots. Our day is always considerably brightened when we find in our mailbox an envelope bearing the MinXus Waitpinga stamp created by the great E – Ambassador of Utopia (France):
Vizma’s mail-art is very distinctive and, here, shows here preference for Trashpo. This particular mailing is held together with renderings for a MinXus hair manufacturing facility:
Here is the reverse side:
The plan has a marketing component elegantly connected to MinXus’s mission to identify who has the best hair:
The reverse side:
The gift card – referencing the famous, traveling red bag – is very generous. We are touched by Vizma’s reverence and deference for Carina Granlund’s (Petsmo, Findland) hair. This is a visionary proposal. Here at the Mink Ranch, we wish we could provide assistance. Unfortunately, our auxiliary enterprises such as the Mink Ranch Gift Shop, the MinXus-Lynxus School of Beauty & Cosmology and the Alsatian Diner are, as we say, deeply in the red. The proposed waterpark remains a small, icy ditch, as funding has ceased. Furthermore, we are embroiled in a dispute concerning the Saint Empress Marie Antonette brand and its ownership. We are pleased to endorse Vizma Bruns’ plan, if only in spirit.
Our plan for an international “Who Has the Best Hair Contest” might have gone a long way to settle the burning question about who has the best hair. Alas, this project is also stalled.
MinXus-Lynxus has hit a bumpy patch on the dusty trail. Yet Tenderfoots should not despair. The rugged, pioneer spirit that built MinXus-Lynxus gives us resolve to move onward to the promise of the Tangerine Oncoming.
We very much enjoy Vizma Brun’s envelope:
The other side:
Deepest thanks to Vizma for all her wonderful art and for her contributions to the development of the MinXus-Lynxus concept.
07 Jan 2014 Leave a comment
in anti-poetry, asemic poetry, asemic writing, conceptual poetry, concrete poetry, experimental writing, Fluxus, neoism, poetry, post-neo, visual poetry Tags: asemic poetry, asemic writing, conceptual poetry, concrete poetry, correspondence, fluxus, neo, neoism, post-neo, visual poetry
06 Dec 2013 Leave a comment
Wild Billy Haddock stamp sent via Amy Irwen (Rosemont, Minnesota, USA)
Here at the Mink Ranch, we have been Haddock fans for many moons. Haddock, aka Wild Bill Haddock and Wild Billy Haddock, is a veteran mail-artist who is part of the vibrant generation that includes John M. Bennett, Blaster Al Ackerman, David Zack and many notable others. We love Haddock’s work, but we do not know very much about him, other than that we can trace his activity as far back as the 1970s. He is still active and living in Eugene, Oregon, USA.
IUOMA friend Amy Irwen has struck up a correspondence with the venerable Haddock. Learning of our admiration for this mail-art legend, Amy passed along a stamp she received from him:
What a stunning piece to add to the archives! This is a truly thoughtful gift from Amy Irwen! Now that Haddock is on the radar, we will be sure to drop him a line. Again, many thanks, Amy.