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!
21 Aug 2015
in calligraphy, collage, conceptual art, mail-art, post-neo, stamps, Trashpo
Tags: calligraphy, collage, conceptual art, correspondence, mail-art, post-neo, trashpo
Mail art by Rebecca Guyver, Figgy Guyver (Suffolk, UK) and Diane Keys (Elgin, Illinois, USA)
Rebecca Guyver’s DKult Doodle Therapy TLPs (Tacky Little Pamphlets) are becoming a phenom in the Eternal Network, especially among trashpoets and Kulters. The contributors’ list is growing and impressive. Even the legendary and enigmatic Meeah Williams (Brooklyn, New York, USA) has contributed to a new edition.
Creation of the doodles is highly collaborative and involves a process similar to the stalwart add-and-pass. Rebecca Guyver kindly sent us this packet of in-process doodles that we are thrilled to be able to share. We also look forward to seeing the completed TLP somewhere down the long & dusty trail. Rebecca Guyver’s note:
And back to the doodles:
The envelope is a wonderful bonus with wonderful colours and, apparently, handmade paper:
And the reverse:
Many thanks to Rebecca Guyver, Figgy Guyver, Diane Keys and others who might have contributed. Dark wall is experimenting with his own DKult Doodle Therapy, which he will pass along:
15 Aug 2015
in collage, conceptual art, haptic poetry, Mail Art NoveauX, mail-art
Tags: collage, conceptual art, correspondence, haptic poetry, mail-art, photography, stamps
Mail art by Erin Young (Innisfil, Ontario, Canada)
A big “Howdy,” a secret MinXus handshake and a wink go out to our new north-of-the border Tenderfoot Erin Young who so kindly sent us this stunning mail art. This is a wonderful abstract piece and roughly post-card-size. Information is included on the reverse side:
Erin Young is wowing the network with the FAB pieces she is mailing. Based on what we see appearing online, she has a wide-ranging talent. This piece that we are so thrilled to add to the archives explores chaos and order. The colors are wonderful and the work has a tactile, haptic dimension as well. For us, the piece does invoke the idea of chaos; but it has the suggestion of underlying unity and structure as well, especially in terms of shape. Here is a related piece that was also enclosed:
This was a very helpful inclusion in terms of understanding the process, and note the finger painting. Erin also included a kind note:
These (above) arrived in an envelope:
And the reverse:
Many thanks to Erin Young!
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.
06 Aug 2015
in anti-art, anti-poetry, collage, conceptual art, concrete poetry, Da Da, found art, mail-art, post-neo, Trashpo, visual poetry
Tags: collage, conceptual art, correspondence, found art, mail-art, post-neo, trashpo
Mail art by Erica Durante (Waldwick, New Jersey, USA)
Erica Durante is an awesome correspondent, especially given her gargantuan responsibilities as President of DKult New Jersey (DKULTJER).
So far this summer she has sent us two pieces we are thrilled to share today. The first (above) is mounted on sturdy cardboard. Eric Durante has ventured squarely into the textual-visual realm (and makes an additional connection to music) with both pieces. There is certainly an emphasis on materiality.
Lately in Trashpo circles, there have been discussions about the influence of Kurt Schwitters. Indeed claims have been made Schwitters is the true “Godfather of Trashpo.” A certain faction of trashpoets see themselves aligned with and pledge allegiance to Schwitters, sometimes disavowing other historical connections. Discussions about the relation of Schwitters to Trashpo are not new. Some time ago we proposed the term “Schwitterspo” be adopted as a subset of Trashpo to accommodate this group of Kurt fans, although DKult can never be DKurt.
We are not suggesting Erica Durante is making a conscious homage to Kurt Schwitters and Schwitterspo in these pieces, yet artists frequently channel ideas that are “in the air.” This great mail art builds upon a rich avant tradition from the 20th century that owes a great deal to Schwitters. Erica Durante brings it into the 21st century and makes it uniquely her own.
An earlier piece received from Erica Durante uses her file card approach but also has the Schwitterspo tonality:
And the reverse:
Thanks as ever to Erica Durante.
05 Aug 2015
in asemic writing, calligraphy, collage, conceptual art, Mail Art NoveauX, mail-art, neoism, post-neo, Trashpo
Tags: asemic writing, asemics, calligraphy, collage, conceptual art, correspondence, mail-art, neo, neoism, post-neo, trashpo
Mail art by Chepin (San Francisco, California, USA)
Chepin’s reputation as a gifted and active correspondence artist precedes – in our awareness – her arrival upon our most humble blog. We were surprised and very glad to receive this wonderful postcard-size piece from her. We are equally excited to share it with Tenderfoots. We are not sure about a horizontal or vertical presentation, but we like this angle best. Her kind notes on the reverse side add some interesting information:
Chepin is a member of the All Things Trashpo group at IUOMA-Ning, which geographically places her in DKULTNOCAL territory. We believe it is possible that this work, then, takes some inspiration from the doodle therapy developed by Diane Keys (Illinois, USA) and Rebecca Guyver (Suffolk, UK). Doodling is prevalent in Trashpo circles these days. Is it possible there was some thought of asemic writing on Chepin’s part? We would not rule it out. The work is at least asemic suggestive.
We will add Chepin’s work as a most original example to the contemporary doodle canon. As for the Great Confusion: That is a term associated with a number of cultural, religious and even political events. We have used it specifically in reference to Neoism. Perhaps Chepin is making that association as well.
Welcome and deepest thanks to Chepin for beautiful and intriguing mail art as well as cryptic and intriguing messages.