Asemic vispo collabs by Audrey Enough (Canada) & De Villo Sloan (USA)

Audrey DVS 5.20.2018 - 1

Collab by Audrey Enough (Montreal, Canada) & De Villo Sloan (Auburn, New York, USA) for the Asemic Front “Studies in Material Culture Series.”

 

 

I am thrilled to have completed these AF collabs with the enigmatic but extremely talented Audrey Enough. We have managed to produce another piece for the “Studies in Material Culture Series” as well. Audrey Enough’s art tends toward the abstract and minimal, which is a perfect match for my own style. I hope we can complete more pieces in the future.

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Asemic visual poetry collab by Audrey Enough (Canada) & De Villo Sloan (USA)

 

 

Audrey dvs - 5.20.2018 - 4

 

 

 

 

Audrey dvs 5.20.2018 - 5a

 

 

audrey dvs 5.20.2018 - 6

 

 

 

Asemic front poster - 3.11-11

 

 

Two New Titles from Timglaset Editions (Sweden) & Faint Press (USA)

Chris - 5.2.2018 - 2Cover of  to let lack by c.r.e. wells (aka Chris Wells) published by Timglaset Editions (Sweden)

 

Thanks to the extraordinary generosity of the Eternal Network, Asemic Front has received copies of two new asemic-visual poetry editions.

This first edition, to let lack (December 2017), is solo work by USA visual poet Chris Wells and beautifully produced by Timeglaset Editions of Malmo, Sweden. Ably edited by Joakim Norling, Timeglaset is gaining a reputation for publications of high quality and content. Asemic Front has reviewed their books before; and I plan to do more, as their editorial choices tend to complement AF project goals and illustrate my theories concerning asemics and visual poetry.

 

Chris - 5.2.2018 - 2

 

to let lack is a slim, collector’s book of four compositions (8 pages). Only 49 copies were produced for the edition, but in this case quality is far more important than quantity. Having lived with the book for awhile, I find myself returning again and again to it with fascination.

 

Chris - 5.2.2018 - 3Page from to let lack by c.r.e. wells

 

In previous reviews, I have written about (for lack of a better term) a “school” of visual poetry in the Midwest USA – a geography of cultural production that coincides, strangely, with regions of devastating post-industrial economic contraction and decline. I’ve even called this school Vis-consin out of deference to one of its centers in the state of Wisconsin, although the poets are spread beyond that state.

Anyone versed in the dispersion of U.S. culture knows that movements of significance tend to radiate outward from either the East or West coasts. An enduring avant/post-avant literary movement emanating from the continental interior is a great rarity and, for that reason alone, deserves examination. Additionally, the poets are producing tremendous work.

Members who share this aesthetic and geographic bond have done impressive and groundbreaking work, even when placed on the  competitive global stage. Some notables are Miekal And (Wisconsin), David Chirot (Wisconsin), Matthew Stolte (Wisconsin), Diane Keys (Illinois), C. Mehrl Bennett (Ohio), John M. Bennett (Ohio), Ficus strangulensis (West Virginia), among others. A newer generation is fast emerging.

Chris Wells has mastered a wide range of visual poetics, but his work frequently shows an affinity to this group I have identified. His location in Ohio qualifies him eminently. The pieces in to let lack particularly show the influence of Rust Belt vispo (see the black and white piece above).

 

Chris Wells - 5.2.2018 - 4

 

 

My purpose here is not to outline the poetics of Vis-consin, which I have done at length elsewhere. I only want to make the point that I believe Chris Wells shows the influence of this poetic in a very pronounced way in to let lack. I am referring specifically to abstraction, minimalism in terms of color, organic form (although at root I see Wells as a formalist and you can find formalism in this collection), image-text synthesis, and the presence of asemics. Much Vis-consin work uses a copyart aesthetic that is gritty (industrial), anti-art and distorted. Many of the Vis-consin poets were deeply involved in the copyart movement. In terms of comparison, I see the influence of Matthew Stolte most in to let lack, even though I doubt Wells is making a conscious homage to any of the poets mentioned in this article.

 

 

Chris Wells - 5.2.2018 - 5

 

Visit Timglaset:

https://timglaset.com/

 

Chris - 5.2.2018 - 6Cover of your world hangs by Amanda Laughtland and C.R.E. Wells published by Faint Press (2018)

 

Next is a pamphlet by Amanda Laughtland and Chris Wells, which was issued by Faint Press in Ohio, USA. Wells’ Faint Press enjoys a relatively high degree of visibility thanks to Chris Wells’ active involvement in the Eternal Network.

your world hangs contains seven visual-textual works. The pamphlet is smaller and more informal than the impressive Timglaset production. The Wells-Laughtland collabs are of great interest and complexity. (Thus the visual presentation would benefit from being larger.) They have many Vis-consin qualities; but ultimately your world hangs is more refined abstract art than to let lack.

The work is far more dependent upon formalist structures than pieces by David Chirot or Diane Keys. Let me be clear – after the reference to abstract art – that I see the collection as a fine visual poetry lyric sequence that functions in a way similar to – say – a crown of sonnets. Is there such a thing as formalist vispo? Indeed, I am convinced there is.

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Chris - 5.2.2018 - 8Pages from your world hangs by Amanda Laughtland and C.R.E. Wells (2018)

 

 

Chris Wells - 5.3.2018 - 8a

 

 

Chris - 5.3.2018 - 9b

 

 

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Asemic Front Collabs by John M. Bennett & De Villo Sloan

JMB DVS 4.16.2018 - 5a1Asemic visual poetry collab by John M. Bennett (Columbus, Ohio, USA) and De Villo Sloan (Auburn, New York, USA). (Studies in Material Culture Series)

 

 

JMB DVS 4.16.2018 - 2By John M. Bennett & De Villo Sloan

 

 

JMB DVS 4.16.2018 - 41

 

 

JMB DVS 4.16.2018 - 3

 

 

JMB DVS 4.16.2018 - 1

 

 

JMB DVS 4.16.2018 - 61Asemic visual poetry collab by John M. Bennett (Columbus, Ohio, USA) and De Villo Sloan (Auburn, New York, USA). (Studies in Material Culture Series)

 

 

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Asemic Front Collabs by Laura Ortiz & De Villo Sloan (Part 3)

Laura ) dvs - 4.10.2018 - 1Asemic visual poetry collaboration by Laura Ortiz (Canada) and De Villo Sloan (USA).

 

 

Laura ) dvs - 4.10.2018 - 2

 

 

Laura ) dvs - 4.10.2018 - 3Collab foundation designed by Laura Ortiz; neo-concrete material by De Villo Sloan

 

 

Laura O dvs 4.12.2018 - 1

By Laura Ortiz and De Villo Sloan

 

 

Laura O dvs - 4.12.2018 - 2

 

 

 

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Asemic Visual Poetry Collabs by Laura Ortiz & De Villo Sloan (Part I)

Laura O - DVS - 4.8.2018 - 1Asemic visual poetry collaboration by Laura Ortiz (Toronto, Canada) and De Villo Sloan (Auburn, New York, USA)

 

I am thrilled to have completed a series of snail mail collaborations with the great Laura Ortiz in Canada. Laura Ortiz is well known in the asemic community and scarcely requires an introduction. She is a past contributor to Asemic Front. Laura Ortiz is prolific, and I believe she has done wonders with the material I sent her. She also generated enough finished pieces that I will spread our labors over several posts.

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Laura O DVS - 4.8.2018 - 2

 

 

Laura O DVS - 4.8.2018 - 4Asemic visual poetry (with concrete elements) by Laura Ortiz (Canada) & De Villo Sloan (USA)

 

 

Laura o DVS - 4.8.2018 - 5

 

 

Laura O DVS 4.8.2018 - 8By Laura Ortiz and De Villo Sloan

 

 

Laura O dvs - 4.8.2018 - 12

 

 

 

Asemic front poster - 3.11-11

“Studies in Material Culture” Starter for Asemic Front Collabs

Material Culture - 11“Studies in Material Culture” by De Villo Sloan: A starter for an Asemic Front collab series.

 

I hope I’m not making things too complicated, but I am launching a collaboration series (a sub-series) within the Asemic Front project. (Asemic Front will not be closing any time soon.) This new series is called “Studies in Material Culture” and addresses – as you surely must ascertain – the materiality of asemics. The question is: Does this interest you?

If so, contact me and I will send a starter. Otherwise, I am selecting visual poets and artists whom I believe are working with material culture in interesting ways. In the meantime, the Asemic Front you know (and hopefully love as I do) will continue as you’ve known it. I will still post regular asemics, visual poetry, concrete poetry and related work that is not necessarily connected to anthropological or linguistic issues of cultural production.

Here is the concept: Consider the “Studies in Material Culture” starter sheet the cover of a journal. (No such publication exists (although there is actually a related academic journal devoted to material culture; AF has no connection to the other journal.)

Assuming a focus on visual poetry and asemics, help to design this cover for our “Studies in Material Culture.” Perhaps you might want to consider the collab a page of this imaginary journal. That’s okay. Hopefully, we will have many pieces in the series. Again, feel free to contact me if you would like to participate in “Studies in Material Culture.”

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Material Culture - 2 (good)

 

 

Material Culture 10 a

 

 

Material culture - 4

 

 

Material Culture - 6Asemic Front starter by De Villo Sloan for the “Studies in Material Culture” Series

 

 

Material Culture 12 good

 

 

 

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Asemic Visual Poem by Audrey Enough (Montreal, Canada)

audrey 4.3.2018 - 11Asemic visual poem by Audrey Enough (Montreal, Canada)

 

I am very pleased to be able to share another composition by the Canadian artist who calls herself Audrey Enough. I believe the work is essentially calligraphy, but roots in concrete poetry are evident, along with a pronounced structure. The piece also has a lyric-textual quality.

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audrey 4.3.2018 - 31Asemic visual poem by Audrey Enough (De Villo Sloan remix)

 

 

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Asemic Front Collabs by Gerda Osteneck & De Villo Sloan

3.31.2018 - 4r1 (AF1)Asemic visual poetry collab by Gerda Osteneck (Saskatchewan, Canada) & De Villo Sloan (New York, USA)

 

Canadian artist and correspondent Gerda Osteneck mailed me an envelope of artist’s ephemera that included carefully considered collage material. That inspired these Asemic Front collabs, and I assume the core images were created by Gerda.

She is a wonderful artist. I know she is familiar with visual poetry and asemic writing; however, I am not sure she ever consciously intended to be part of the Asemic Front project. I am also not sure Gerda Osteneck is used to the amount of digital manipulation and glitching you find here. So I beg her indulgence and thank her profusely for joining us on Asemic Front.

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Gerda dvs 3.30.2018 - 2 (AF2)

By Gerda Ostenck and De Villo Sloan

 

 

gerda dvs 3.30.2018 - 7h1

 

 

gerda dvs 3.30.2018 - 41By Gerda Osteneck and De Villo Sloan

 

 

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3.31.2018 - 6h

By Gerda Osteneck and De Villo Sloan

 

 

3.31.2018 - 3

 

 

Asemic front poster - 3.11-11

 

 

 

 

Asemic Front Collab by Amy Irwen & De Villo Sloan

Amy-dvs 3.30.2018 - 3Asemic visual poetry collab by Amy Irwen (Minnesota, USA) & De Villo Sloan (New York, USA). (One-panel detail)

 

 

Amy-dvs 3.30.2018 - 1Full collab

 

 

Amy-dvs 3.30.2018 - 2wBy Amy Irwen & De Villo Sloan

 

 

Amy-dvs 3.30.2018 - 4

 

 

Asemic front poster - 3.11-11