Posts Tagged ‘celebration’

A local friend asked me this morning why a MARGINAL Arts Fest is called “marginal”. Well, it IS a low budget affair where “freedom of expression” is more highly valued than the kind of committee approved events organized and funded by institutions, and aside from a couple parties with free food there were no other gratuities such as subsidies for motels… as we were lucky to have gotten one year in the past when we participated. We mostly go for the camaraderie and creative exchanges/collaborations in any case, and this year were WOWED by SO MANY energetic edgy performances! The weather was bad for driving through the mountains so we were delayed a day and missed a full day of MAF. One we missed included the word “Snakes” in the event name and may have involved Brad Chriss’ meat eating stint, Rebecca Weeks, and Tif Robinette. It’s all hearsay, so don’t take my word for it! But I’m sorry we missed it. Also, some MAF events happened simultaneously in different locations, so the following report is in no way complete. It could be puffed out with more facts and actual participant names, but hey, I’m not getting paid for this, right? So sue me. Still, here’s a link to the official schedule (even this has some info missing and changes occurred since it came out):

Early Thursday morning we arrived at the building which Olchar Lindsann and Warren Frye had christened “Akademgorod”, where most of the action we were involved in that day would take place. In the building’s front room gallery was the photography exhibit “Curb” by Christine Carr focusing on cigarette butt litter and a signage project that was meant to curb that bad habit. Our friend, Sue Leftwich, had seen people throw their cigarette butts in defiance directly at the sign. Still, our friends who later stepped outside to smoke certainly did not leave their butts out on the sidewalk. Stenciled graphics of smoking cigarettes did appear on the sidewalks during that evening’s opening reception for the exhibit, however.


I brought a box ‘o junk for wall or small standing assemblages and had a blast installing and connecting bits and pieces with the help of fellow long-time mail artist & writer, Jim Leftwich, and others were invited to participate as well.


A couple installations had already been set up in the building, one by Megan Blafas-Chriss (by the way, we didn’t meet Brad once during MAF this year!) was a defined “picnic area” with a fake grass carpet heaped with cushions and knitted pillows. A couple little girls liked the knitted strawberry and were totally relaxed with their mothers in this homey colorful environment while the adults listened to “experimental performances”. We were to run into Megan again at the after-after party Saturday (where Tomislav provided his homemade wine and “real food” was served vs. the 1st after party’s appetizers and desserts – and Jack Wright finally filled up!) where Megan and her mom chanted “UP TABLE UP TABLE etc.” with hands placed on a card table, invoking the spirits to tap the table legs on the floor in attempts to communicate with us mere mortals. Unfortunately, John asked me to go back to the motel before any table tapping action began. But I digress…


First up on Thursday morning, Reid Wood presented a powerpoint talk about the “Eternal (mailart) Network”, which was full of historical observations that I’d not been aware of (but will I remember?), and an excellent overview for the high school students, with a discussion about how online networking still proliferates the network via blogs, Facebook, and other social media. John & I followed with an hour long “hands-on” class with high school students called “Experimental, Avant, and Collaborative Poetry”. Afterwards I hung up the collaged and hand written results on a line on the wall. That afternoon Reid Wood and I each did fluxus performances (I included Jennifer Wiegel’s “Blossom” and “Menú” 2005 by Bartolomé Ferrando). The audience included a few local people who had happened by and just walked in, and subsequently got involved in many of my participatory fluxus events, and really seemed to enjoy themselves! Warren Fry and Olchar Lindsann performed some scores that Reed Altemus sent them and they and Tomislav Butković read/performed their neo-absurdist writings. Some of the high school students performed readings and a couple of them also took part in The Be Blank Consort which John directed, and I helped perform in it too, along with other volunteer voices. A representative for the Republicans working in the space next door came over and told Warren that the noise “has got to stop”, but their efforts were futile. In fact, I think they spurred us on!


On Thursday evening we went straight off to meet up with our friend, Billy Bob Beamer, and also met his co-exhibitor, Amy Hertzel, at their reception at the Shenandoah Gallery (also called “The Green Room”) and we loved their drawing exhibit- aptly named “Meditations”. At Roanoke’s Taubman Art Museum we enjoyed video by Japanese born artist Motomichi Nakamura, who had dropped by Akademgorod during the a break when everyone but Joe Abel and I were out to lunch. I invited him to help with my junk assemblage project but am unsure if he did, as I was busy hanging student work from our morning class. Even more than Nakamura’s video (though I didn’t stay for his free presentation for which a ton of people showed up!), I enjoyed the Taubman’s exhibit of “The Art of Martin Johnson”. Find out more about Johnson at his website:

Also that evening, using a gallery that was exhibiting a typographical art exhibit as their home base (with the public gathered around the street outside as it was closed off for MAF use) The Trash Couture fashionistas modeled the results of Claudia de Franko’s multi-day MAF workshop. I was cheering them on, excited about the use of paper, plastic, and mscl. throw away media. Unfortunately I did not have my camera, but if photos appear online be sure to post a link here! The same guy who took my name and photographed my junk assemblage parade hat was photographing the students modeling so hopefully…

I was pretty much worn out by the end of Thursday. It’s a good thing that Olchar had organized high school students to man a camera taping many of events at Akademgorod, and the students continued to energize us all the next afternoon as well.


Friday morning was set aside for a special skype exchange at the Luminal gallery, where Olchar had installed an exhibit of visual poetry by contemporary Russian and post-Soviet avant-garde writers/artists, and examples of SLOVA publications and other info were laid out on a table. Though we started out with technical difficulties connecting, we ended up with satisfying performance exchanges with three Russian visual poets/ experimental writers, including Gleb Kolomiets, the publisher of SLOVA and Olchar’s main man who pulled together works for the exhibit, and Oleg Razumovsky, who read a great piece he had written in English. He also reads some of his prose in one of the videos that was shown in the gallery.

VIEW ABOVE for the YouTube playlist of the videos shown! Am not positive of the woman’s name who performed so wonderfully a sound poem with Gleb, but it may have been Inna Kirillova. I was able to read one of my own poems I’d brought along and also performed a short vispo poem I’d only just written. Many of us performed these improvisational readings of vispo written just that morning at the gallery on special “forms” created for the occasion (and available to anyone who wanders into the gallery during MAF) which are promised for publication somewhere, sometime. After the skype session, I felt really good – “opened up” somehow.

Back at Akademgorod Friday afternoon, John did a reading (I requested time to read “Nothing Wavering” before him as well) and three high school students did a comedic play/reading in costume of VIM VOM VIM with the obligatory gargantuan “pause” for which I finally gave up holding my camera/ taking video. They also did a SMASHING OF THE GRAPEFRUIT action which involved a long break for clean-up time afterwards, but was it crazy fun while it lasted! Also, Joe Abel from the UK, who had been busy writing his script during a performance in the window of the building, engaged others to help him perform – Lots of worshiping of the lobster squirted with ketchup, mustard, and thousand-island dressing, and lots people talking at once… most whilst reading Joe’s fugue script in an attempt to distract him from his own discourse about experiences working with mental patients. It was a beautiful pandemic, comedic, colophony of noise/actions… which really sounds like the ultimate goal of Akademgorod, when you think about it. explains & has photos of fugue script.


During the above commotion, off to one side of the room, Aaron Andrews (of our home town of Columbus OH) had been stealthily laying out a two toned, multi-outlined star on the floor made of orange and cranberry nerds that was nearly five feet in diameter. After I’d packed up my props and junk assemblage materials and John had gone off for our car (oops! I left my bowler hat there, but it promised to behave) luckily I caught his nerd crushing performance in this video which I call NERD STAR.

Aaron dedicated his action to Odorous Agrundous, a curious figure which I’ll have to learn more about! His GREEN suit and outrageously colorful shoes were in good form for this task, and some of us were offered a mouthful of (uncrushed) nerds afterwards. (See final photo in above gallery)


Yet, STILL TO FOLLOW (I mean, how do you follow NERD STAR?) on stage at the high school was an incredible vocal/percussive performance of URSONATE, the classic noise poem score by Kurt Schwitters, performed by Olchar Lindsann and his younger brother, Chris Lennard. We vastly hope to someday procure a recording of that performance on DVD if Tomislav Butković is able to pull it off. I cannot hope to come close to describing how wonderfully in synch they performed as a team & as individual masters of their chosen media of expertise, and what an excellent contemporary (yet informed by previous masters like Jaap Blonk and Christian Bök and Schwitter’s own performance notes, of course!) interpretation of URSONATE resulted from their efforts!


Amazingly enough, there was STILL MORE to come that evening back at Akademgorod, where the space had been cleared away for a performance art piece by Rebecca Weeks and her partner, Ian Whitford (both UK artists) called “A Wing and a Prayer”. I managed to upload an amateurish video to YouTube (which limited me to 15 mins. of footage) that has bits and pieces of that hour long performance. There was only ambient light from one door and some candles on the floor, so my video results are far from perfect, though that lighting was just what the performance required.

I am just so happy to have witnessed it: the slow and entrancing audio, and contrasting but complementary performance techniques by each individual, and real in-depth feelings expressed by the interactions & the built up construction of “A Wing & a Prayer”. We had met Rebecca Weeks and enjoyed her performances in previous years at MAF, and we spoke more with both of them the next day as they were decompressing at Jim and Sue Leftwich’s home.


Saturday’s MAF parade was a real people’s parade with a fun percussion beat provided by T.J. Anderson, a local poet/musician/teacher. It began & ended at the community arts & academic high school though rain drops lightly misted over us. I made myself a plastic see-through cape for my shoulders and braved the rest for the sake of my junk assemblage hat. The regularly scheduled after-carnival was moved inside the high school due to this weather – and I was able to set up my “doctor gig/ foot in mouth certificate” routine for a quick examination of half a dozen or so patients, before and after the belly dancers performed in the high school art gallery. One patient, Julián Mathews, even paid me with a serving of vanilla ice cream! In the auditorium on stage was a lively rock band with singers and dancers as well- I think the high school principal was the lead guitarist, though my favorite was the drummer. We had some down time afterwards at Jim’s house to just sit and talk, but we also wrote half a dozen collaborative cinquains, and before we left for Ohio we’d written two more cinquains with our buddies who had assembled for breakfast as early as 8:30 a.m. Sunday just for a final chance to talk & hug (well, and eat too!). All eight cinquains are listed at the end of this blog.

I’m getting ahead of myself, though, as we still had a full night of fun on Saturday night with two after parties! The first one was at Roanoke Art Works (RAW) with offerings of appetizers, desserts, and entertainment by the 2014 MAF version of ROTTY WHAT: Jack Wright on saxophone, John M. Bennett synchronizing his poetry performance with the music, Andrew Drury on percussion, and Claire Elizabeth Barratt improvising energetically and RIGHT ON with dance and a GREEN umbrella solo. (I’m told that last year’s entertainment in this venue was Id M Theft Able.) Claire had also done window performance “It’s a Sign” at Akademgorod earlier in the festival. Her bright orange plastic fence grid dress, with black belt and gloves, was riveting and well accessorized by the window decor of various public signage and mscl. post-it notes Claire put on the window during her performance …. heck, just take a look at my photos here at Flickr from Akademgorod and RAW gallery, and see the video playlist below for Claire’s performance with ROTTY WHAT. She also did a workshop the next day, Sunday, the day we drove back to Ohio. But back to the after party hosted at RAW by artist Max Mitchell… Max had baked and frosted a cake, topped with MAF in sprinkles, and surprisingly John tried a piece. He doesn’t normally like cake, but he praised THIS cake. So, Roanoke, you did good!

Below is a YouTube playlist of all five of my MAF videos:





in the pancake

battered like a wombat

floating in your sandfilled coffee



Hot dog

for percussion

Slap that meaty drum part

Ed chair swollen in water pipes

it in.


Above cinquains are by

Evan Damerow (New Zealan), Joe Abel (UK), raBBit, Olchar Lindsann, Tomislav Butković, John M. Bennett, and C. Mehrl Bennett.

The following cinquains are by C. Mehrl Bennett, Jim Leftwich, and John M. Bennett:



Lake sunk blue tooth

Loot like bunk blank lute late

Foaming was will suited door slam

Limp Like


bee bee


Silly like the foot show

Rocketer baby Rocketer’s

Shout soot



Network a seed

Sandy was footless hymn

Billy was a radio man



Less ear

More feet and tooth

More or less eye mouth nose

Lapping at the fly shirt’s stone sleeve

Spit pot


Port spot

Swoll with dust rain

Make noise with pots and pans

Rakate Rakate bee bee

і Rabey !


Ka Ka

Kafka Kafka

Kollapsa Kollapsa

Inuit in it Inuit



NOTE: “Kitchen” was added by Jim, who may have been thinking of

Evan Damerow (N. Zealand), of whom Jim Leftwich speaks of in this video:

Click on above link to view video FOOT AGES . . . my own incomplete video documentation of the 2013 Chicago events.

Below is a slideshow of photos I took, with a couple photos of my own performances taken by John M. Bennett and others.

This slideshow requires JavaScript.

Below are cinquains written collaboratively by seven of us on Saturday, Feb. 22nd, as we waited after fluxfest at Mana gallery for the taXies that never arrived.

Two hats

two two hat hats

winter knits and warm scarves

groby cesspool antiquainted

pull on



I don’t know what to say

Today but tomorrow will be

Not there

Two Cabs

taking their time

Reaching out for retching


Sick foot


Do Lepli Do

in the garden of E

dissolved phantasm heal, heal, heal

free zinc


hammer sidewalk




Hemmed mess

Stinking taxi


dope mouth bleeding off the broke dock

SO-SO —–

Authored by Moan Lisa, Reed Altemus, Allan Revich, John M. Bennett, Robert Saunders, Bibiana Padilla Maltos, and C. Mehrl Bennett (Addendum: Though we were tired and hungry and it was a very cold winter night in Chicago, we finally got up and walked to the bus stop . . .)

A previous AW symposium, in 2002, was a huge success, and so this year’s repeat event had been long awaited by the experimental writing community of writers, artists, poets, visual poets, and publishers and performers  of contemporary experimental literature (broadly defined, with Fluxus artists included, of course.)  This year’s symposium was held in the newly renovated Thompson Library at The Ohio State University’s main campus in Columbus Ohio. The following special exhibits were installed in large cases in Thompson Library Exhibit Hall  to show off exemplary materials in the Avant Writing Collection. :

Exhibition of Guillermo Deisler’s UNI/vers, Marilyn R. Rosenberg and David Cole’s Collaboration TRACK, and a selection of materials from The Reed Altemus Collection (curated by Suzanne Silver).

A few special invitations were sent out to participants from Spain, Cuba, Latin America, South America, in part because of additional support from The Dept. of Spanish & Portuguese and The Ctr. for Latin American Studies, and in part because the curator of The Avant Writing Collection is John M Bennett,  has a PHD in Latin American Literature and has recently visited Mexico City, Montevideo Uruguay, the Yucatan, and Guatemala for either tourism of Mayan anthropological sites (with a studied interest in ancient mayan glyphs) or as invited visual poet  for two similar experimental writing/art symposiums. However, the primary reason for inclusion of Latin American experimental writers is because of a long tradition and large community of really incredibly creative writers and visual poets that have been nurtured in our southern hemisphere! I feel incredibly lucky to have been included in those visits and invitations over the past few years.
NOTE ABOUT PHOTO:  Jim Leftwich received the Avant Writing Award “For Excellence in Literature and Exemplary Service” – signed by Geoffrey Smith (Head of Rare Books and Manuscripts) and by John M Bennett (Curator of AWCollection) 20.8.2010 at an awards reception at the end of the 2nd day of the OSU Avant Writing Symposium. (A certificate with a $500.00 monetary award.) In background at left: mIEKAL aND, Center: Jim Leftwich, Right: John M Bennett, in background at right: Marvin and Ruth Sackner

My personal involvement in the symposium:

1. Marilyn R Rosenberg’s display case for the collaborative work by herself and David Cole TRACK needed some extra care taken with the display setup in the giant showcase. So I came to the rescue and unpacked some of the envelopes and a box so that more of  the interesting  “contents” would be displayed, apart from the large envelopes and suitcase that contained those contents.

2. I made a half hour presentation on the last day of the symposium,  including a powerpoint for a visual background. That powerpoint was made up of all the jpeg images submitted by email attachment to my gmail address for the Skylab Visual Poetry Mailart Exhibit. I showed that slideshow again at the mailart vispo exhibit during that evening’s opening events, to compliment the installation of postal mailed vispo.

2a. The first section of my presentation involved conducting a performance by Be Blank Consort members. Nine of them performed My COMPOSITION FOR NINE VOICES WITH TWO INCIDENTAL SECTIONS using vowel sounds and windchimes, while another person counted to twelve, and two others performed “incidents”.  I was able to elect Keith Buchholz and Reed Altemus to perform short Fluxus pieces. Paul Baker has posted a video of the performance here:  From left: Keith Buchholz, John M Bennett, Tom Cassidy, Wendy Collin Sorin, Lesley Scott Helmes, Geof Huth, K.S. Ernst, Sheila E Murphy, mIEKAL aND, Nico Vassilakis, Crag Hill, Reed Altemus. All the noise makers (those with windchimes) have performed with JMB in The Be Blank Consort, though not all together before. The various BBC venues have been in Portland, Seattle, Minneapolis, Boston, Baltimore, Roanoke, NYC, Cincinnati, Columbus, Albuquerque, New Albany NY, New Brunswich NJ, Baltimore, Prescott AR (what have I left out?). There were additional BBC performers in the audience who had to be left out (Olchar Lindsann, Tomislav Butkovic, and Warren Fry–maybe even others!) due to a limit of voices in the score. A shame that Olchar didn’t come up front sooner, as his performance at the symposium had been a BLOW YOUR SOCKS OFF perfomance — absolutely the best form I’ve ever seen him in!

2b. I passed out two word phrases (which I’ve posted farther on in this blog) called “ROAD TOADS” to the audience and asked them to recite their phrase, one by one, as each slide advanced on the screen. A few of the phrases accidentally complimented the visual poetry image on the screen, as I remember a computer manipulated vispo by Sheila E Murphy (blue toned) coincided nicely with one of the phrases that were read.

2c. I read a few poems from my book “WHAT IT SAYS” to close out my presentation at the symposium, made mention of Marilyn R Rosenberg’s book “etceteras” and Matthew Stolte’s book “eden” and invited all to come to the Skylab opening that night in downtown Columbus to view the above mentioned mailart visual poetry exhibit and a retrospective 0f vispo by my spouse, John M Bennett, curator of the OSU Avant Writing Collection, great performances and the collab fest that Jim Leftwich had planned.

3.  BOTH digitally submitted and postal mailed visual poetry are documented at , including my photos taken 8/21/10 of the Skylab opening Saturday night events.  I’ve  shared a list of mail artists’ addresses with all the participants and interested parties by post, email, or by handouts at the symposium and at Skylab Gallery.  The  mailart installation comes down tomorrow (I’d installed it two weeks ago with the professional help of Sarah Weinstock), then the final step  of preparing it for The OSU Avant Writing Collection begins. Take a look at the documentary blog, & you will also see  a few people at the Skylab opening participating in ART DETOX fun. The ART DETOX graphic (and idea) was instigated by Vittore Baroni (Italy) for anyone to download off the internet and attach to paper bags for performance fun during 2010. These two paper bags were left over from a previous OSU Urban Arts Space performance by JMB and myself, so they were all ready for our Saturday night Skylab opening fun!

3b. I did help transport John’s framed visual poetry (many of which I’d matted and framed for John) to Skylab for our son, John Also Bennett, to install. John Also also curated that exhibit, as he had to eliminate pieces due to limited space and a need to represent different periods in a balanced way. He did an excellent job hanging the retrospective in visually compelling groups. I provided a book of a mailart interview of JMB that Ruud Jansson had done 15 years ago, and the clip mobile with 10 of JMB’s  TLPs (Tacky Little Pamphets), and ensured that The Baron’s 3-D hanging construction of a vertical set of JMB’s poems was also  included.

AND YET, there was SO MUCH else happening during the Avant Writing Symposium because SO MANY great people came (some traveling so far!) to share and partake of one another’s work/play and we enjoyed getting to know each other person to person. Also some nifty performances happened at the Skylab opening, including our Cleveland OH native Luigi Bob Drake and Columbus natives John Also Bennett and Larry Marotta, Fluxus performances and performances by the Post Neo Absurdist Anti-Collective. John has collected photos from the AW Symposium and Skylab opening night which were taken by various people. They’re posted at his Flickr website at:  but also at the official Avant Writing Symposium OSU SITE HERE. A Skylab Collaboration Fest was organized by Jim Leftwich and resulted in a presentation box (decorated by Keith Buchholz) filled with TLP collabs, etc. for JMB at the end of the evening. Very nice. I would mention a few of my FAVORITE presentations at the AW Symposium, but there were SO MANY great ones, plus a couple that I missed due to simultaneous presentations in different rooms at the library. It might be helpful just to list the participants that made presentations, but there were many more participants that DID NOT present but were still SO VALUABLE to us all for simply BEING THERE and interacting with us!  Still, the symposium kick off  deserves special mention:

Keynote Address: Dr. Marvin A. Sackner

Erotica, Pornography, and Obscenity in Contemporary Concrete and Visual Poetry, and, Visual Verbal Imagery

The collection that Dr. Sackner focused on included works by both men and by women, of both male and female subject matter, and from olden times when it didn’t take much to be labeled “obscene” to contemporary times when what is available to the public on MTV can be intimidating, at least to someone like me (aged mid-fifties/  raised Catholic in a small town/ never had cable). Dr. Sackner (whom we know casually as “Marvin”) made special mention of D.A.Levy and some others who came up against the establishment because of the controversial nature of some of their creative works. But mostly, I just enjoyed seeing his slides for the shear beauty and creative nature of the visual poetry he had culled from his (and Ruth Sackner’s) collection to share with us: Much of which I might never have been able to see otherwise! … and as such, it was a very impressive  keynote address. Thankyou Marvin and Ruth Sackner.

AND THANKYOU Reed Altemus, for your very impressive collection, of which Suzanne Silver delved into for some awesome publications, mailart, fluxus materials, correspondence, etc. for display in the exhibit hall.  AND, again,  it was great fun and an honor for me to be trusted with Marilyn R Rosenberg/David Cole’s TRACK materials in order to artfully display more of the  incredible vispo contents on the floor of the giant display case. Much of the  collaboration process between Marilyn and David was lovingly preserved in playfull envelopes and postcard/letter correspondence, even aside from direct visual, object, & word play.

OK, I give in, here’s a list of all the OTHER presenters: (This does not count those participants who provided their publications for sale in The Avant Store, for which we were all so grateful to view and/or purchase!)

Keith A. Buchholz & Reed Altemus

FluxFast: Performing Fluxus Scores by Contemporary Networkers

Tom Beckett

Questions: What do I know? What should I do?

Lizabel Mónica

21st Century Cuba: Literature in Transition

K. S. Ernst

Three-Dimensional Poetry: the Ghosts of Words

Suzanne Silver

Blacklists/Whitelists: An Artist’s Book

Paul Baker

Wordsalad: A Radio Show

William James Austin

Deformatism and the Avant-Garde

Nico Vassilakis

Staring at Vispo: LETTERS

Thomas M. Cassidy

Disjointed: A Performance

The Be Blank Consort: Scott Helmes, K. S. Ernst, Sheila E. Murphy, John M. Bennett, Michael Peters, Geof Huth, Thomas M. Cassidy, mIEKAL aND, Nico Vassilakis, and others

Sound Poetry Performance at OSU Urban Arts Space/Larry Marotta Hour  (downtown Columbus)

Olchar E. Lindsann

Somasemia: Poems Wearing Meat-Suits

Gerald Schwartz

Strategies Against the God of World: Bring Me the Head of the Semiotic Goethe (performance)

William R. Howe

Holographic Poetry: Disrupted by Hand

Luis Bravo video presentation:

Tamudando/Ischanying (Voces & Sonidos/Voices & Sounds)

Sheila E. Murphy 

Text and Art to Honor the Occasion: Renewing the Public Role of Poetry and Art

Joel Lipman

The Sciart of Bern Porter’s Found Poetry

Martín Gubbins

Presentation of Visual Poetry: London Poems

Jean Kusina

Visual-Cine-Poetry: The Alphabetical Experimental in Film and Video

Rachel Heberling

To Achieve Typing Power: An Artist’s Book

Loss Pequeño Glazier

Guaniauiqui: What Is the Digital Avant-Garde?

C. Mehrl Bennett

Mailart, Visual Poetry, Fluxus: A Connection

Roger Santiváñez

De Huidobro a Parra: Martín Gubbins & Beyond

Antonio Bonome

The Visual Arts and William S. Burroughs

Crag Hill & Nico Vassilakis

The Lastvispo Anthology: What Then, What Now?

John M. Bennett

Reading/Performance & Las Cabezas Mayas/Maya Heads

Award Reception, 11th floor, Thompson Library (2010 Recipient: Jim Leftwich)

Jorge Luiz Antonio

Digital Avant-Garde Experimental Poetry: Another Genre of Contemporary Poetry?

Reid Wood

Don’t: Performance

Mary Jo Bole

Toilet Worship/Toilet Talk

Endwar (Andrew Russ)

An Eye for an I

Wilton Azevedo

Atame Angustia do Precario: Visual Poetry

Will Napoli

Protext and Then Some

Roger Santiváñez

Poetry Reading Neo-Barrok

Michael Peters

A Press Conference Celebrating the Donation of Priceless Archival Fleury Colon Material to the OSU Libraries

David Baratier (Also presenting for David Baptiste Chirot in abstentia)

The Vizpo of Public Space

Thomas L. Taylor In Memoriam: A Reading

John M. Bennett, Olchar E. Lindsann, Tom Cassidy, Sheila E. Murphy, Warren Fry, Michael Peters, F. A. Nettelbeck, Michael Peters

Geof Huth

What Word Once Was

mIEKAL aND & Camille Bacos

Tzara in Oblivion

30 Year Anniversary

Posted: July 16, 2010 in Digital Art
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