Nance Van Winckel

This Before That
This Before That
The Meteoric Life
The Meteoric Life
The Storied Place of the Story
The Storied Place of the Story
Just Snip the End
Just Snip the End
Nance Van Winckel’s ninth poetry collection, The Many Beds of Martha Washington, appears July, 2021 with the Pacific Northwest Poetry Series. She’s also published five books of fiction and is the recipient of two NEA fellowships, the Washington State Book Award, a Paterson Fiction Prize, Poetry Society of America’s Gordon Barber Poetry Award, a Christopher Isherwood Fellowship, and three Pushcart Prizes. She teaches in Vermont College’s MFA in Writing Program and lives in Spokane, Washington.

Janis Butler Holm & Gina Osterloh

Apples and Bananas

Artists’ Statements
 
Gina Osterloh: Through the simple gesture of trying to grasp, “Apples and Bananas” is a play on the futility of gender categories, critiquing the absurdity of our gendered expectations. The video is a response to Richard Serra’s 3-minute 30-second film “Hand Catching Lead” (1968), which has a grasping hand–in profile, palm facing camera–repeatedly missing, catching, dropping a piece of scrap lead.
 
Janis Butler Holm: Gina Osterloh’s “Apples and Bananas” brought home to me that what we perceive to be natural–so natural that we readily consume it–is in fact a weighted ideology, designed to reinforce dominant binaries even as we fail to align with them.
 
Gina Osterloh’s photography, video, and performance art address symbolic themes and formal elements such as the void, the orifice, and the grid–and encourage a heightened awareness of color, repetitive pattern, and repeated actions. Osterloh’s work is represented by Silverlens (Manila) and Higher Pictures (New York).
 
Janis Butler Holm has served as Associate Editor for Wide Angle, the film journal, and currently works as a writer and editor in sunny Los Angeles. Her prose, poems, and performance pieces have appeared in small-press, national, and international magazines, including Posit. Her plays have been produced in the U.S., Canada, and the U.K.
 
Bassist/composer/producer Joël Dilley’s original music is heard in TV, film, web, and ambient settings worldwide, including HBO, Discovery Channel, Food Network, and more. His website is www.joeldilley.com.
 
Award-winning songwriter Bett Butler’s poetry and short fiction have appeared in Weave, Feathertale, Voices de la Luna, Amp, and Fabula Argentea. Her website is www.bettbutler.com.

 

Kristin LaFollette

The Accident (2017)
The Accident (2017)
like a cell of your skin (2019)
like a cell of your skin (2019)
Old Bones (2019)
Old Bones (2019)
Kristin LaFollette is a writer, artist, and photographer and is the author of the chapbook, Body Parts (GFT Press, 2018). She is a professor at the University of Southern Indiana and serves as the Art Editor at Mud Season Review. You can visit her on Twitter at @k_lafollette03 or on her website at kristinlafollette.com.

Erica Baum

—click on any image to enlarge—

positInkSpash131210.small

Artist’s Statement

My photographic work utilizes found language and imagery. As an undergraduate I studied Anthropology and I look at my source materials, books, blackboards, card catalogues, player piano rolls, sewing patterns etc. as potent artifacts that can yield poetic information reflecting the circulation and dissemination of information and material in our shared popular culture. I’m thinking about structures and systems and how a playful engagement can yield insights as well as generate new meanings.

Transposing the tradition of street photography, I navigate intuitively framing and partially decontextualizing my subject matter harnessing moments that suggest meanings beyond their original situations.

What interests me are the juxtapositions and sense of history derived from the words themselves even without knowing everything. I want to give you a sense of a particular environment but not in its entirety. The view is oblique and re-contextualized. In this close up immersive situation the viewer can retain a level of awareness, just enough to inform but also to allow a different visual and semantic experience to take hold. The source is familiar and recognizable but the experience is new. It is that tension between something that we recognize, that we routinely encounter and the fact that we can look at it in a different way that creates a strangeness, a difference in which exist multiple possibilities.

While respecting the constraints of a given subject, the page sequence of a book or the reference system of a library, the work suggests a visual meta-language, mixing history and humor to display the disparate, often unheard cacophony of voices present within cultural structures.

Reflecting intimate and direct encounters with familiar actions and objects – opening a card catalogue drawer, opening a book, folding a page – the viewer is reminded that meaningful visual surprise surrounds us if one pays attention.

Erica Baum is well known for her varied photographic series capturing text and image in found printed material, from paperback books to library indexes. She received her MFA from Yale University in 1994 and her BA in Anthropology from Barnard in 1984.

Recent museum exhibitions include Making Knowing: Craft in Art, 1950–2019, Whitney Museum of American Art, New York; Face à face, frac île‐de‐france, Villetaneuse, France; Anna Atkins Refracted: Contemporary Works, The New York Public Library, New York; The Swindle: Art Between Seeing and Believing, Albright‐Knox Art Gallery, Buffalo; Lever le voile, Frac île‐de‐france, Paris; The Arcades: Contemporary Art and Walter Benjamin, The Jewish Museum, New York; Photo-Poetics: An Anthology, Kunsthalle Berlin and Solomon R. Guggenheim Museum; and Reconstructions: Recent Photographs and Video from the Met Collection, The Metropolitan Museum of Art, New York. Recent solo and two‐person exhibitions include A METHOD OF A CLOAK, Square is the Chatter, Galerie Markus Lüttgen, Düsseldorf; A METHOD OF A CLOAK, Klemm’s, Berlin; A Long Dress, Bureau, New York; Naked Eye Nature Morte, Galerie Crevecoeur, Paris, France; AAa:Quien, Erica Baum & Libby Rothfeld, Bureau, New York; The Following Information, Bureau, New York; and Stanzas, Galerie Crevecoeur, Paris. Selected biennials include: AGORA 4th Athens Biennale, Athens, 2013 and the 30th Bienal de São Paulo: The Imminence of Poetics, São Paulo, Brazil, 2012.

Her work is held in the collections of the Whitney Museum of American Art, New York; Solomon R. Guggenheim Museum, New York; The Metropolitan Museum of Art, New York; MAMCO, Geneva; Albright‐ Knox Art Gallery, Buffalo, New York; Centre National des Arts Plastiques, Paris; FRAC Ile de France, Paris; and Yale University Art Gallery, New Haven and others.

 

Rick Pieto

Glitch Poems

if my window
past blue arcs
scah 99
drop 3
The Glitch Poems are in the tradition of visual poetry. Each glitch poem contains, at its core, several traditional poems. These conventional poems are improperly mixed and conveyed with – some intentional, some random – visual symbols, numbers and letters. This inappropriate incorporation of visual and literary elements create a text that is poetic but also a site where noise and interference scramble the reliability of the traditional poetic text and its meanings. Furthermore each poem is printed numerous times creating surfaces that produce a density that denigrates the integrity and clarity of the stand-alone traditional poem. Each glitch poem – with its mixture of words, symbols and letters – creates a powerful graphic statement that at the same time hinders the typical act of reading by creating a seemingly illegible surface that sets up innumerable texts that appear as our eyes glance over the page combining words, phrases and graphic symbols into fortuitous new poems.
Rick Pieto is a visual poet and writer living in the Silver Spring, Maryland area. His visual poetry has been exhibited at Rhizome DC and Pyramid Atlantic Art Center, and published in Foliate Oak Literary Magazine, fields, Midway Journal, 805: Lit + Art and Minetta Review. His poetry has been published in The Big Windows Review and Smoky Blue Literary and Arts Magazine. He received a PhD in media ecology from New York University and has taught at Georgetown University and the University of Baltimore.

Ryan Mihaly

Excerpts from “B-Flat Clarinet Fingering Chart”

[G♯/A♭] [Sarcasm]

ryan mihaly

[C] [A split second]

ryan mihaly

[D♯/E♭] [Vision: chaos of birds]

ryan mihaly

[G] [Vision: peace]

ryan mihaly

Currently based in Greenville, SC, Ryan Mihaly is a business manager at a farm-friendly grocery/cafe, a music teacher, a collage artist, and a poet. His work has appeared in 3:AM Magazine, The Adirondack Review, DIAGRAM, Opossum, Asymptote, The Massachusetts Review, and in Ilan Stavans’ anthology On Self-Translation: Meditations on Language. After completing his MFA at Naropa University in 2018, where he was an Anne Waldman / Anselm Hollo fellow, he attended artist residencies in Ireland, Macedonia, and Slovakia, where some of these pieces were written.

hiromi suzuki

Eternal Relations

forest —–> 森 / Forest
river —–> 川 / River
rain —–> 雨 / Rain
umbrella —–> 傘 / Umbrella
town —–> 町 / Town
bird —–> 鳥 / Bird
people —–> 人 / People
tree —–> 木 / Tree
The Japanese language is comprised of Kanji, Hiragana, Katakana. Kanji are also Chinese characters, and the same Kanji may have different meanings, shapes, and pronunciations in Chinese and Japanese. In Eternal Relations, I use their Japanese versions. In a sense, Kanji are hieroglyphs. By using Kanji, we can draw every natural phenomenon and mental scene with one letter. It is itself visual poetry. In Japanese culture, the short poem known as haiku evokes nature and daily life. In the same way, by using kanji, I evoke the eternal loop between nature and time, their ‘eternal relations.’
hiromi suzuki is a poet and artist living in Tokyo, Japan. She is the author of Ms. cried, 77 poems by hiromi suzuki (kisaragi publishing, 2013), logbook (Hesterglock Press, 2018) and INVISIBLE SCENERY (Low Frequency Press, 2018). Her works are published internationally in Otoliths, BlazeVOX, Empty Mirror, Hotel, Burning House Press, DATABLEED, MOONCHILD MAGAZINE, talking about strawberries all of the time, Mookychick, Coldfront, RIC Journal, 3:AM Magazine, The Cerurove, A) GLIMPSE) OF), and so on.

Buzz Spector

in modern America (2014)

important parts of religious experience (2014)

not even (2015)

the eternal mystery in pictures (2014)

the shadows’ touch . . . (2016)

Artist’s Statement

For the last five years I’ve been making text/image sequences of poetry employing found language on the dust jackets of hardcover books. I clip the last lines of blurbs to compose poetry. These last words, so to speak, are vestiges of writing which is itself deliberately ordinary in function. We are all too aware of the deception of buying a book after reading a blurb more engaging than the volume it’s wrapped around. I’m taking up the challenge of writing as collage from such meager shards, bringing variations of color, typography, and bits of images into the process.

Buzz Spector works in a wide range of mediums including sculpture, photography, printmaking, book arts, and installation. His art makes frequent use of the book, both as subject and object, and is concerned with relationships between public history, individual memory, and perception.

Helen Hofling

from Tender the Night

Artist’s Statement

This collection takes its title from a famous novel, with a notable redaction. When “is” is cut out, “tender” is transformed from adjective—meaning caring, gentle, sweet—to verb: to tender is to offer, proffer, present. Night becomes currency. The collage-poems assembled here depend on just this style of phase change: excision reaping lateral transformation. The novel Tender is the Night redacts and reorganizes the experience of its muse, Zelda Sayre Fitzgerald. These scraps muse on roaring nights, given and profited from, pilfering mass media, art, the vault of my life and the lives of near ones, poking around the basement of theft and offer.

Helen Hofling writes, collages, and teaches in Baltimore, Maryland. Her work can be found (or soon will) in Berkeley Poetry Review, The Columbia Review, Hobart, PANK, Prelude, Winter Tangerine, and elsewhere.

Leanne Staples

leanne-staples-correspondences-edit

correspondences

I.

you. yourself. a beginner. your metaphor leaks of thingness.
easing into selfness. slipping behind the comfort of furniture.
so safe. a gate. it absorbs your being, whole. welcomes you in.
will you go through it? will you go through with it?

a woman. in dark. mist clouded. ambiguously tousled.
the effect of a comfortable position grows on you.
as does the k/not knowing. there is comfort in the known.
and the not known.

your red event almost went unnoticed.
receding into the material. into the metaphor.
not wanting to be noticed. not waiting.
or weighting. without noun or renown.

a distribution of clouds. on the surface. on the face of it.
forming function. as a condition. in the shape of an organ.
the metaphysics of black. the elegance.
the mysteries of the k/night.

II.

smooth + loose. loosely loose. an undecided position. the urge to understand the empty space. the void. to stand under. single + slippery. an ambiguous entity. lacking definition. like the wind. you can feel it. hugging your being. yet it’s invisible. nowhere to be seen. strewn + dear. a thin existence. ethereal + alone. thin air. hither + thither. a slack scat. weightless + gold. lively adrift + scattered. unattached + open. self multiplying. a layered cosmic joke. a tiered cake. a comedy within a tragedy. or a tragedy within a comedy. a commedia. an anarchic media. a slippery medium. a humble thought. come-hither. come liberates. dressed in crushed velvet. till breathing feels like laughing. being.

III.

i echo & bounce. resound elsewhere. in another place. dropping stitches. in a row. loosely + behind veils. broad casting. along the way. stripping + direct. somewhere in space. what was the question? redefining. shifting + multiplying. again. white flecks. miniatures. strewn + dear. three angles. only slightly overlapping. almost not meeting. loose + elegant. words return to their beginning. leave us speechless. silent + precious. reenter their wombs. when there were fifty words for tears. layers shed. falling back in. directly reflecting beyond.

IV.

id/entity. gathered into small visuals. strapped into self image. on a diet. stripping + same. corseted + named. leaking psyche. weightless + gold. hieroglyphics in vials. funny foes + fauxs. shrinking picture. signs on the streets. omens. logos. logos. holding back. slowing down. dissolving + fizzing. withering wind. a number replaced the pronoun. without noun or renown. yes, I repeat myself. I am repetition. no name now. generic brand. it’s all the same. truth is radical love. it fucks the rules. loosens the restraints. grasping the picture. you reappear. revenir. rêve. re/come in a dream.

V.

a bed of borrowed ease. crisply. a transition into a smooth stance. a reaction to the shift. doing it again. just because. just because. plagiarizing my self. self imitation. self limitation. care for things not mine. a curious curator of stolen postures. assumed position. touch without touching. the residue of things misunderstood. loosely ruffled. and crumpled. a calculated pose. amongst trees. blended + lax. ideas on loan. slide into comfort. a smoky refrain. a Satie background. slipping into place. a groove. shifting + multiplying. situated in luxury. in after effects. on a sun day. a down comforter.
correspondences

Leanne Staples (leannestaples.com) has been writing and taking photographs since the age of 12. Her goal is to create pictures that invoke words and words that invoke pictures. This is her first publication. She would like to thank her muse, who knows who he is.