মঙ্গলবার, ৩০ অক্টোবর, ২০১৮

Paul Zelevansky






Six vimeo links to animations by Paul Zelevansky. 


1. GOOD THINGS COME TO THOSE THAT WAIT:
https://vimeo.com/195319165

2. THE ORIGINAL MYTH:
https://vimeo.com/57074263

3. WEATHER:
https://vimeo.com/59755290

4. AN ACTIVE LINE ON A WALK, MOVING FREELY, WITHOUT GOAL:
https://vimeo.com/59920776

5. THE MOST PRIMITIVE STRUCTURAL RHYTHM:
https://vimeo.com/59920772

6. SWALLOWS:
https://vimeo.com/60919810 




Paul Zelevansky 


is an artist and writer living in Pittsburgh, PA. His work includes animation, video, artists books, theoretical writing, performance, graphic design and teaching. He has an EdD in art education from Columbia University Teachers’ College, and has published widely on the use of text and image, the internet, popular culture and educational and aesthetic theory. His website, GREAT BLANKNESS (www.greatblankness.com), advances a form of visual metaphysics, as fragments of words, images, video, and sampled sound and music interact and combine to form new narratives. He has published several visual novels (artists books) including THE BOOK OF TAKES, THE CASE FOR THE BURIAL OF ANCESTORS trilogy, THE SHADOW ARCHITECTURE AT THE CROSSROADS ANNUAL, and MONKEY & MAN. His visual primer 24 IDEAS ABOUT PICTURES, develops a phenomenological approach to visual thinking that integrates theory and practice. Finally his video project, MISTER ROGERS FOR ADULTS--based on the work of Fred Rogers--explores the power of ethical thinking in a media context. All of this work is ultimately in the service of epistemological and philosophical ends: How do we know what we know, and why do we believe what we believe?

"While I have some detailed descriptions about particular animations, no one has written in general terms about the animations and videos. But I have written quite a bit about the working of language and image, so here’s a short section from a book of visual/verbal essays I’m putting together called SOMETHING IS ALSO SOMETHING ELSE. In any event, my conceptual approach and thinking is the same whether on the page or the screen:

'I’d like to help you out. Which way did you come in?'
(Henny Youngman)

"...My project has been to start with a basic epistemological problem--how do we know what we know?--and to use pictures, symbols, texts, and commonplace things as both evidence and the raw material for the research. Since much of my work as an artist and writer has involved the interpretation and manipulation of symbols and pictures, it embraces art, semiotics, visual culture, and design. Most importantly, this involves using images to dramatically enact ideas on the page, and in turn asking the reader or viewer to self-consciously reflect on how this unfolds. Like a text, a picture is the product of a communicative language, incorporating accepted meanings and prescribed uses, as well as unorthodox associations and interpretations. Made up of lines, shapes, colors, tones, and iconography, pictures can be read in terms of the formal compositional choices made by those who produce them, but also understood in their relationship to other pictures. Therefore images are not solely representative examples of their type and function, but appeals to active visual thinking: graphic calls in anticipation of a response.

"When a picture is presented as an example of, or commentary on, reality, it takes its stand in a particular medium or form. It is a portrait, a sketch, a diagram, a cartoon, a photograph, and so on. This list does not begin to describe the type and style of portrait or sketch, no less the circumstances in which it is framed and justified. Where I often begin is to take apart the graphic style and form and then pass it through questions like: Why would someone make this? How does its history, context, and use affect its reach into everyday life? How does it express its concerns and expectations? How do we respond? Finally, why should anyone invest in the exchange?"

Karl Young












Karl Young 

died in September, 2017, after years of ill health, several major operations and many bed-ridden months. He remained high spirited and productive despite harsh challenges. He volunteered to take the poetry magazine Kaldron digital in 1996 in order to extend its reach and continue its policy of trying to publish quality works. It went on-line Bastille Day, 1997, signifying independence from all schools and isms. 

His skillful writing and critical eye added many critical writings on visual poetry in the Kaldron pages. http://www.thing.net/~grist/l&d/kaldron.htm

Karl helped edit the book that has inspired this blogsite -- a history of text art and visual poetry, by karl kempton. An essay by Karl Young is also to be found elsewhere on the blog.





Detail: Tian-Wen Single Bird




Works exhibited here reflect a very small sample of his visually eloquent Chinese translations. He constantly returned to the Chinese over the decades adding to this domain of many domains of exploration, treasure-find and visual rendering. Make some investment time to peruse his web site and home-page to discover visual text art and lexical poetry works based on the Middle East, Mesoamerica, Japanese, more Chinese, and Anglo-Saxon. The below quote from our friend, Harry Polkinhorn, provides a suggestion of Karl’s range of interests and works.


Young's work as a poet, book artist, critic, and publisher (Membrane Press) have kept him long in the forefront of developments in the vast small-press network. Production experiments in typography, layout, support, and overall book design have enabled him to explore graphic/physical potentialities of the book medium. These have varied, for example, from his paper screenfold, calligraphy-like renderings of Wang Wei and Tu Fu, entitled Clouds Over Fortjade, to his performance book for The Four Horsemen, with pages made of unfinished two-by-fours. As I have indicated above, such experiments cannot easily be dismissed, since as Benjamin has said, ". . . it as magical experiments with words, not as artistic babbling, that we must understand the passionate phonetic and graphical transformational games that have run through the whole literature of the avant-garde. . ." and ". . . nowhere do these two metaphor and image collide so drastically and so irreconcilably as in politics."  Adorno concurs: ". . . creative artists are compelled by force of circumstance to experiment," and "art today is virtually impossible unless it is engaged in experimentation." It is precisely in the nexus comprised of extreme graphic and oral disjunction that the avant-garde's critical challenge of politics resides. http://www.thing.net/~grist/l&d/hpsp12.htm


In Karl’s own words: Some Volumes of Poetry: 

A Retrospective of Publication Work by Karl Young http://www.bigbridge.org/young/ky-intro.htm

http://www.thing.net/~grist/ld/young/ky-bio.htm

On Karl Young by Jerome Rothenberg

https://jacket2.org/commentary/karl-young-toward-ideal-anthology-part-one https://jacket2.org/commentary/karl-young-toward-ideal-anthology-reflections-light-and-dust-web-anthology-part-two

Karl Kempton





বৃহস্পতিবার, ৪ অক্টোবর, ২০১৮

Helen White










Note on Helen White

“[Helen White's] obsession is of the text as human object. Her pieces often include human bodies and interactions with texts, some evidence of the physical human presence. She understands the power of text as a human creation but also how the text is so completely human that it takes on human characteristics, that it has significance only in human contexts.”

(Geof Huth: 'Obsession and the visual poet' in Last Vispo, Fantagraphics, 2012)











Dawn Waldrope













Above: 2 x Alchemical Equations
Charting changes in reality
Below: To the Earth




Dawn Nelson Wardrope

is a concrete poet, collage artist and mail artist. Dawn is the author of Remnants of the Red Ribbon sec and Fisherwoman. Work published in magazines such as Angry old men, Experiment-0, Sonic Boom (cover artist) Utsanga, Otoliths, Renegade and Timeglasset 6. Her work is widely seen on Facebook. Redfoxpress recently published Fisherwoman. Her
newest chapbook, The penman, a serious writer, has just been published by Simulacrum.

A sequence of Dawn's works illustrate the book that has inspired this blogsite -- a history of text art and visual poetry, by karl kempton.









statement

"I am very much an intuitive. I feel the colours and images very deeply. I feel and know where everything must go, every dot, every letter, every line. When I work I sense the childhood feelings that were unknowingly abandoned but now have been wonderfully reclaimed. The work I do is for my pure pleasure and hopefully other people will enjoy it also. I believe in beauty and in moving hearts, my own included, into mystery..."





Dante Velloni











Dante Velloni

Hello, Karl Kempton.

By invitation from our friend Hugo Pontes of Brasil I send my works that articulate with the written word that I develop during my career of Artist.

Some works are part of the multi-media universe, others are graffiti inspired paintings made by ordinary people on Brazilian money notes.

Some others have a profane and erotic content.

I hope they are up to your expectation.

I will be at your disposal.

Thanks


Dante Velloni











Graduated from the Faculty of Fine Arts of São Paulo - Brazil
Master of Architecture and Urbanism - USP - São Paulo
Professor at the University of Ribeirão Preto – Brazil

Artistic Experience

Parallel to his work in painting, engraving and sculpture, started from his youth, he developed works in Analogue and Digital Visual Poetry - Multimeios (xérox-art, photography, video-art, art-post, stamp, K7 tape).

Main individual and collective exhibitions

Marcantonio Gallery Vilaça / House of Brazil of Brussels
Casa do Brasil Gallery of Madrid
Gallery Museum of Brazilian Art-FAAP-RP - Ribeirão Preto
Museum of Contemporary Art - Ribeirão Preto - Brazil
University Museum of Contemporary Art - Uberlândia
Galleria d'Arte Cardano - Pavia - Italy
Centro Cultural Infraero - São Paulo International Airport
Galleria degli Eventi dell`IBRIT - Milan - Italy
Brasilia Cultural Space - National Congress - Brasilia
Art Gallery of the Embassy of Brazil - Rome - Italy
L'Oeil de la Photographie Magazine - France
Marcelo Guarnieri Gallery - Ribeirão Preto - Brazil
Photobition - Photography Exhibition Online
São Paulo Cultural Center - SP
Pinacoteca do Estado - São Paulo
5th Brazil / Japan Exhibition - Moriti Okada Foundation - Tokyo

















Nico Vassilakis

















































Nico Vassilakis

wrestles letters to free them of their word scrum then captures them in mid emancipated dalliance before they return to formulate into the next word. Many of his results can be found online and on his website Staring Poetics 


Nico's visual work has been exhibited in vispo shows around the world. His latest book, Alphabet Noir (c_L books), is a collection of texts regarding visual poetry. A book, In The Breast Pocket Of A Fine Overcast Day, is forthcoming from Deadly Chaps Press. Nico was vispo editor for COLDFRONT magazine. Nico, along with Crag Hill, also co-edited The Last Vispo Anthology (Fantagraphics 2012). He lives in New York City with his wife and children.





Kathup Tsering














Above: Yak Elegy, Search
Below: Rhythm of Hearts, Walk




Kathup Tsering


Tibetan Kings used symbolic language to rule the kingdom -- a symbolic language that is also visual art.  Archaeologists discovered many such symbolic rock carvings in Tibet.

The oldest Tibetan inscriptions date from 7th to 8th century CE in what is called the dbu can (which translates into "with a head") script,which also appeared on manuscripts from around 11th CE and remained until the modern day in the form of printed Tibetan text.

Tibetan visual poetry is not clearly recorded in Tibetan traditional literature and has an uncertain role in modern Tibetan poetry. But Tibetan calligraphy is reappearing in Tibetan classic literature. Especially in traditional religious texts.

In Tibetan traditional Thangka painting, we can use the words of a mantra to create images. I also try to create images with linguistic materials. 









I try to create a visual image in letters, with colors and without colors. Also I use marks, the beginning of text: it is called getter-ma or rediscovered text. Therefore I rediscover visual poetry.

I use three languages (Tibetan,English and Chinese) to make a common visuality of feeling -- beyond linguistic borders. Visual poetry globalises the expression and communication of poetry.

Being a Tibetan, of course, Buddhist philosophy is involved in my work -"Visual hand". I try to connect body and mind. The Tibetan syllable "ah" in the center of hand means I visualize and mediate on "ah" in the center my body as well in center of my visual poetry .

Beyond visuality, I search for my words. I used Tibetan word "aTsol" or search self,  searching word, searching for an image beyond colors. This is the best way to read self: within selfishness and selflessness. In my visual poetry, searching self is like using a microscope to search the world for poetry.

The Tibetan tragedy is my own tragedy. When I write "walk" in Tibetan, in that moment the image of foot appears in my mind. In my vision, many Tibetans escaped from Tibetan to India across the Himalaya mountains.





Ibrahim Abu Touq















Andrew Topel
















Above/below. Selections from two series: comix & music of the spheres




Andrew Topel


is editor & publisher of avantacular press, specializing in visual poetry & other-stream writing. He edited RENEGADE - an anthology of international visual poetry and language arts. He resides in Florida with his two daily blessings - his wonderful wife Crystal & daughter Miriam.



Carol Stetser










 One Wor(l)d

Visual poetry is a global language. When you look at vispo and ignore the name under the images, it is impossible to ascertain the gender, age, race, or nationality of the artist who created the work. This is a major attraction for me. With the vagaries of translation of traditional poetry, you can only truly appreciate the richness of a poet's words in your native language. Such a limitation does not exist with visual poetry. You have the ability to communicate with anyone in the world without intermediaries. This is a liberating experience.

The goal of the visual poet is to create a universal language accessible to anyone. In this respect it is similar to the philosophy expounded by Kandinsky in his book, Concerning the Spiritual in Art. The painters of non-objective "abstract" art wanted to free their art from representation and regionalism - and succeeded. For the visual poet "the word" and "letters" are sacred; these are the raw materials which we use to create a visionary art.

It is the role of the visual poet to sift through the barrage of words and images that bombard us every day and bring some order to the onslaught confronting us in print and in cyberspace. Information overload is now a global problem and visual poets from around the world are working to creatively channel this excess into meaningful form.

Some of us prefer to use scissors, glue, and paper to create collages from printed materials. Others use rubber stamps, typewriters, traditional printing techniques, or paint on paper. Sculptors add a third dimension. Many younger artists created dazzling and complicated designs online using computers. But, the aim is the same regardless of medium.

In the 30 years I've been making visual poetry, I have been primarily interested in the layering of languages and symbols. The awareness of past history underscoring the present and influencing the future is represented by layers of text and iconography. Our essence, our DNA, is an amalgamation of all who preceded us, as is our language. For me, visual poetry is an examination of time and memory represented by the letters and texts and images surrounding us in our daily lives. Visual Poetry is a celebration if our remarkable ability to speak, to write, to think, to communicate with language. It is my passion.

Carol Stetser














Salah Shaheen
















Salah Shaheen

Jordanian artist living in Dubai since 2005

“Everything around you can be turned into a tool to be used in your art. Starting from any regular materials like wood, cloth, sponge or paint brushes, to digital techniques. For a decade now, I have used both... drawing and painting with a regular brush and different materials, then scanning the work digitally and editing, using applications like Photoshop, Painter and Sketch Tools..."


Salah Shaheen interviewed:

http://fact-magazine.com/index.php/2015/07/16/art-interview-salah-shaheen/