27 Aug 2015
in anti-art, anti-poetry, asemic poetry, asemic writing, calligraphy, collage, conceptual art, conceptual poetry, concrete poetry, events, experimental writing, found art, haptic poetry, mail-art, mail-art calls, object poetry, performance art, poetry, post-neo, Trashpo, visual poetry
Tags: asemic poetry, asemic writing, asemics, calligraphy, collage, concept art, conceptual art, conceptual poetry, conceptual writing, concrete poetry, correspondence, experimental writing, found art, haptic poetry, mail-art, object poetry, performance art, post-neo, trashpo, visual poetry
Mail art by Jim Leftwich and Evan Damerow (Roanoke, Virginia, USA)
This summer we received two large packages of mail art from visual poet Jim Leftwich in Roanoke, the first of which (chronologically) we are documenting in this blog. The vast majority of the pieces are collaborations between Jim Leftwich and Evan Damerow. (The exception is one very interesting asemic work at the end.) According to Facebook, Evan Damerow resides in New Zealand. His work was unknown to us before the arrival of this missive.
While Jim Leftwich seems to us inclined toward the prolific naturally, we attribute some of this outpouring of work this summer to the 2015 Marginal Arts Festival. The event seems to have been a great success and a perusal of the documentation will be rewarding to Tenderfoots, no doubt:
The Anti-Brain Rot mail art call and exhibition also accompanied the festival, which occurred in July (2015). Here is some partial documentation of the entries via C. Mehrl Bennett (Columbus, Ohio, USA):
Unless otherwise indicated, all the pieces shown here are Jim Leftwich-Evan Damerow collabs.
These Leftwich-Damerow collabs hold specific interest to the trashpoets and D-Kulters in the network (many of whom are rabid followers of our humble blog), as Jim Leftwich is acknowledged as having created some of the earliest Trashpo (2005). These pieces (the current work shown here) use found material, have the organic structure so recognizable in most Trashpo and also show the anti-art stance and the On the Road spontaneity of Trashpo composition.
Trashpo is a form of visual poetry. (Many current practitioners are either unaware of or disregard this fact). The pieces documented here make abundant and innovative use of text, text-image associations and juxtapositions, cut up, disruption, asemics and other approaches that are related to poetry and the poetic as well as the tenets of Trashpo rather than mere collage. In short, they are excellent examples. The work transcends Trashpo in many ways yet still offers insights into Trashpo theory and practice for the working trashpoet.
A bonus in the package was the piece below: “Spirit Writing” by Jim Leftwich (1997), a piece of historical significance because it was made so early in the context of the current thriving and burgeoning asemic movement. Jim Leftwich, however, and as many know, has reservations concerning the use of the term “asemic” and having his own work labeled as asemic writing. So we encourage Tenderfoots to consider the perspective of visual poetry here, although we believe the tide of history is very likely to identify Jim Leftwich as an asemic writer (among other designations):
A closer look:
Many thanks to Jim Leftwich and Evan Damerow!
23 Aug 2015
in anti-poetry, asemic poetry, asemic writing, books, calligraphy, conceptual poetry, experimental writing, mail-art, poetry, visual poetry
Tags: asemic poetry, asemic writing, asemics, calligraphy, conceptual poetry, conceptual writing, correspondence, experimental writing, mail-art, visual poetry
Mail art by Jason Motsch (Conneaut Lake, Pennsylvania, USA)
The Tacky Little Pamphlet (TLP), a mail art staple, is an ideal vehicle for asemic writing projects. Certainly prize examples can be found in the massive body of John M. Bennett’s (Ohio, USA) work, among others. Now Jason Motsch has made another contribution to the genre with this wonderful piece he sent us. The opening scan is the cover. The pages are approximately 2 X 3 inches, and he faithfully follows the “official” TLP folding pattern. Here are the inside pages:
This is a very free form, calligraphy-based asemic writing, somewhat traditional compared to current, exotic methods for generating symbols.
This asemic TLP by Jason Motsch, as with most asemics that travel through the mail art network, is actually asemic-vispo hybrid work. The colorful triangles provide a useful continuity and anchors for the organic, apparently spontaneous writing.
And the back cover:
The TLP provides a brief yet sustained asemic cycle. As language is suggested, so is the structure of a lyric poetry cycle. We find the work interesting and engaging. Here is the envelope:
And the reverse:
Many thanks to Jason Motsch for sending more excellent asemic writing and vispo!
13 Aug 2015
in anti-art, collage, conceptual art, conceptual poetry, found art, haptic poetry, mail-art, Trashpo
Tags: collage, conceptual art, conceptual poetry, conceptual writing, correspondence, found art, mail-art, trashpo, visual poetry
Mail art by Joey Patrickt (Oakland, California, USA)
Joey Patrickt sent us this highly conceptual, textual-visual work that raises questions about meaning and randomness, among other issues. Our approach is to see the various pieces posted here as a single, unified artwork. The puzzle stands at the center.
The pieces in the envelope reveal his keen sense of humor and irony as well as his ability to construct systems and structures. Initially, we appreciated Joey Patrickt’s ability to create self-contained, postcard-style pieces that have instant appeal in the network. But as this and other pieces we have received from him indicate, he has formidable talent as a conceptualist who can put together a compelling package.
The majority of the material is cut from old publications:
And the reverse:
Joey Patrickt references “POSTURBAN,” but this mail art conjures the postmodern. The work focuses on the process of weaving materials together into structures and designs. These objects can express meaning but also have both spiritual and utilitarian functions. Also included is a piece about floors:
Absurdity is working here, as is Joey Patrickt’s ongoing critique of consumer culture. Are vinyl floors and oriental carpets being purposely placed in relation to each other? The unaltered page has the quality of Trashpo mailings, which often contain this kind of unadorned found material. The purpose is ambiguous. and this piece of mail art retains ambiguity. The recipient can view such inclusions as finished art or use it in a new piece or simply pass it along. Here is the reverse side:
“POSTURBAN WILDLIFE AT NIGHT” is, in our estimation, an exceptionally done piece of mail art in the conceptual art strain. We can make the case that it is a thoughtfully constructed system intended to make a point about process and meaning. Yet a tension exists where the tropes that establish its meaning threaten to collapse into an envelope of nothing but old magazine clippings and a plastic puzzle. Many people must view it that way. And it is precisely the “shadow of doubt” that gives the work its true strength. We are compelled to consider what is and is not art. We are compelled to consider the relation of constructs to reality. We can glimpse – perhaps just for a moment – a place where art and life are a unified whole. Many thanks, again, to Joey Patrickt!.
07 Aug 2015
in anti-art, anti-poetry, calligraphy, collage, conceptual art, conceptual poetry, Fluxus, mail-art, mail-art calls, poetry, stamps, Trashpo
Tags: calligraphy, collage, conceptual art, conceptual poetry, conceptual writing, correspondence, mail-art, poetry, stamps, trashpo
Mail art by Ruud Janssen (Breda, Netherlands)
This Richard Canardesque card we received from Ruud Janssen is very thought provoking in terms of some of the Eternal Networkers whose work we follow closely. Specifically, Diane Keys (Elgin, Illinois, USA) has founded the Museum of Bad Mail Art (MOBMA), which is very popular and consistently attracts work. Moan Lisa is currently inhabiting the Maria Marisot identity (Iowa City, Iowa, USA). Moan-Maria has a particular genius for founding movements and issuing mail art calls that generate widespread interest and responses. One of them is Bad Poetry:
We greatly appreciate more DKULTN and Trashpo stamps, and Trashpo is relevant to the current discussion. But back to the main topic: We have kept some distance from both the Bad Poetry and Bad Mail Art calls because we are perplexed about defining what is “good” and what is “bad” in the context of mail art, especially when anti-art and found art are factored in. We are not against Bad Poetry or MOBMA; we are just confused. Ruud Janssen’s card suggests to us that we are not the only ones trying to define “bad poetry.” Is it good bad poetry? Is it bad good poetry? We do not know. We do know we are pleased to receive a great deal of poetry from Moan-Maria. But is it good? Is it bad?
Mail art by Maria Morisot (Iowa City, Iowa, USA)
Mail art (plasticized) by Moan Lisa-Maria Morisot (Iowa City, Iowa, USA)
We can offer no insight in terms of helping to identify bad art or bad poetry. Perhaps the insinuation of the question is what is important. We will, however, conclude with the insights of Richard Canard that often address these issues:
Mail art by Richard Canard (Carbondale, Illinois, USA)
Many thanks to Ruud Janssen, Maria Morisot, Moan Lisa and Richard Canard.
29 Jul 2015
in anti-art, anti-poetry, asemic writing, collage, conceptual art, conceptual poetry, concrete poetry, Da Da, experimental writing, mail-art, poetry, visual poetry
Tags: asemic writing, asemics, collage, conceptual art, conceptual poetry, conceptual writing, concrete poetry, correspondence, experimental writing, mail-art, object poetry, visual poetry
Mail art by Juan Lopez de Ael (Vitoria-Gasteiz, Pais Vasco, Spain)
In the last year, we have become familiar with visual poetry by Juan Lopez de Ael and admire it very much. He is, in our estimation, a master of the cut-up. So we are absolutely thrilled to have received this postcard-size piece, which is an original composition, not a copy. Like many visual poets and text-centered artists, Juan Lopez de Ael is an active participant in the Eternal Network.
In the work of Juan Lopez, we see an affinity to William S. Burroughs’ cut-ups and thus earlier DaDa prototypes. But Juan Lopez de Ael also departs from Burroughs significantly. The work of Juan Lopez is less linear and more dependent on the concept of defamiliarization. We see strong affinities to concrete poetry and those poets who focus on the materiality of language. Juan Lopez uses much material that comes from the mass media, and his work can be viewed as an interrogation of this public discourse and its visual manipulations (fonts in particular).
One should not overlook the recombinant and transformative nature of visual poetry by Juan Lopez de Ael. These literal deconstructions result in explorations of alternative syntax, the non-linear and the creation of whole new symbols. The result is more than base distortion. In the context of the current interest in asemic writing, the work of Juan Lopez de Ael deserves consideration.
Deepest thanks to Juan Lopez de Ael for being so thoughtful and sending an original work!
19 Jul 2015
in anti-art, asemic writing, collage, conceptual art, conceptual poetry, Fluxus, Mail Art NoveauX, mail-art, visual poetry
Tags: asemic writing, asemics, conceptual art, conceptual poetry, conceptual writing, fluxus, mail-art, visual poetry
Mail art by David Stafford (Santa Fe, New Mexico, USA)
Actually it is not a journal; it is a large postcard-size piece from David Stafford that looks like a journal cover. We are thrilled to receive mail from David. We learned through the grapevine he made a trip to New York City not long ago. Perhaps that excursion inspired him to make this commentary on the condition of the (post-) avant. From his perspective, the future is not bright. We tend to agree that most of the current tepid avant posturing we see seems like a eulogy delivered by an Assistant Professor of Medieval Studies at a poorly attended funeral.
If we wrote that David Stafford is the unquestionable reigning king of mail art satire, we might offend the sensibilities of egalitarian networkers who do not believe such value judgments should be uttered or proposed. FLUMMOX – A JOURNAL OF EXTINCTION addresses numerous publications, both online and off, that present what some call “intermedia” work, along with theoretical commentary. The overlaid letters on the image strongly suggest, of course, visual poetry aka vispo. Flummox contains the word “flux,” so David Stafford has made a sweeping inventory ranging from vispo to Fluxus. These various iterations of the post-avant are currently fashionable in and outside the Eternal Network. Too bad he did not work Oulipo in there – that one is especially trendy! While Fluxus is part of history, it is certainly enjoying a revival.
As if FLUMMOX – A JOURNAL OF EXTINCTION were not enough, the reverse side has David Stafford’s wonderful drawing and more humor:
David Stafford always provides perspective, a dash of common sense and gales of laughter. As ever, many thanks!