Calgary’s Blasted Tree Press has just issued a new leaflet of mine, “In Memoriam, Bob Cobbing and Jennifer Pike Cobbing” …
Five Poems (for Leonard Dawe)
“A leaflet presenting five visual poems inspired by the strange story of Leonard Dawe, a wartime teacher and crossword compiler for The Daily Telegraph, who, at the time of the D-Day invasion, became the unwitting subject of an MI5 espionage investigation….”
Copies are available for £2 plus p&p. Paypal is preferred. To order, please email firstname.lastname@example.org.
Flat Singles Press – a small press dedicated to printing on found and reclaimed paper, has just printed a visual poem of mine in an edition of 10, all made on old envelopes … thanks Joe!
Rachel Defay-Liautard’s ASMR Editions has just published my Since 2005 I have edited and published no press, a small dedicated to publishing whatever the hell i feel like … in an incredible individually handwritten edition … gorgeous!
I was approached a few months back to create a poem in response to The Vimy Foundation‘s replanting of oak trees at Vimy Ridge for the 100th anniversary of that First World War battle: “Quercus (for Guillaume Apollinaire)” is the result.
I arranged the names of every type of oak tree that grows in Canada and France in a column designed to evoke classical memorials and the trunks of grand oaks. Embedded within the column, quietly asserting a poetry within the trunks and branches, is a single quotation from Apollinaire’s famous 1st World War poem “Le Petit Auto” [“The Little Car”, 1914]. Apolllinaire’s calligrams were the precursor for the contemporary concrete poem and his work stands testament to the affect of the French avant-garde on contemporary poetics. and “Quercus” evokes his subtle arrangement of letters in tear drops and machinery. “Quercus” embeds Apollinaire’s “Nations hurled together so they / might learn to know one another” setting the line within the very trees and columns which stand testament to the lives lost. Apollinaire himself survived a head wound at the front in 1916, but died from the Spanish Flu two days before the armistice, Nov 9, 1918.
Today I was honoured to be part of the unveiling of the new helmets for the Canadian National Luge Team! I have been lucky to work – as part of Helmets for Heroes – with Arianne Jones and her teammates on the Canadian National Luge Team, alongside Cassandra (age 11) to design Arianne a helmet that she can use at the World Cup and in competition through-out 2015-2016!
“Calgary kids, artists connect with Canadian luge team to create unique helmets” – Metro News Calgary
“Canada’s lugers eager for home track advantage” – CBC Calgary
“Canada’s lugers look for home-track magic again in Calgary World Cup” – Calgary Herald
“Olympic Luge Athletes Encourage Canadians to ‘Put a Lid on it'” – Luge Canada
Canadian Luge Team and Helmets for Heroes Launch Brain Injury Awareness Campaign
It may be the most talked about issue in elite sport these days. But brain injuries extend far beyond high-performance athletes.
WireService.ca Media Release (12/14/2015) Calgary, AB – That is why Canada’s luge athletes have teamed up with Helmets for Heroes to launch a brain injury awareness campaign December 15 while readying themselves to host the best sliding sport athletes on the planet for the 2015 Viessmann Luge World Cup in Calgary. The media conference will be held in the Ice House at Winsport’s Canada Olympic Park.
The seven members of the national luge squad will address the media with a group of inspiring young children from the Calgary community who have suffered brain injuries along with a group of artists who have helped specially-design the team’s helmets this year that will be a constant reminder of the importance of helmet use when playing.
Partnering with Helmets for Heroes – a powerful initiative that builds tight bonds with athletes and the community while sharing their heartfelt stories through sporting helmets – the team will wear the helmets for the entire season to reinforce the importance of getting fitted and wearing helmets while playing.
As part of the season-long initiative, the team will also provide details around a series of video vignettes that will be released throughout the winter season stressing the importance of wearing proper helmets and making smart decisions to reduce the risk of brain injuries.
Who: Child Artists who have Suffered Brain Injuries
Canadian Luge Team
Dr. Brian Benson – CMO & Director, Sport Medicine
Brad Spence – Two-Time Olympian, Alpine Skiing, founder of Helmets for Heroes
Local Artists involved with the campaign
Where: Ice House – Winsport’s Canada Olympic Park
When: Tuesday, December 15 – 12 noon
FOR FURTHER INFORMATION:
Media and Public Relations
Canadian Luge Association
No Press is proud to announce the publication of
The Old Man’s Illustrated Library: Issues #36 and #5: Typee & Moby Dick by Johnny Damm
Published in a limited edition of 40 copies (only 20 of which are for sale from the press), The Old Man’s Illustrated Library: Issues #36 and #5: Typee & Moby Dick is available for $5.00 including domestic postage (+ $2 non-Canadian postage). To order please email derek beaulieu.
Featuring 5 beautiful full-colour images, Damm’s chapbook creates a melancholy biography of Herman Melville in miniature through collaged Classic Comics…
TOTAL RECALL 1 August — 3 October, 2015
BURY ART MUSEUM
Moss St, Bury, Lancashire BL9 0DR, United Kingdom
How do you remember the people who are important to you? How do you conjure your shared past? Is it in an image, a sound, a smell, a touch? Or do you use words?
We invited world-leading poets and text-artists to make a language-memory for Tony Trehy, who has directed the internationally renowned Text Festival at Bury Art Museum since 2005. This exhibition celebrates a 10-year anniversary of the Festival and a 20-year anniversary of Tony’s time at Bury. Writing on a wall, an Internet search, a diary entry, a flurry of thoughts … what is remembering and who is it for?
Tony Trehy has been the ring-leader of decade-long conversations, new opportunities, challenges and heated debates. Each of his four Text Festivals has added to a continuing dialogue between language and art. Every Text Festival has asked the audience a simple-but-complex question: How do I read?
Into the historic space of Bury Art Museum, Trehy has injected text that is a new ‘language art’ for the 21st Century. Bury was once the centre of paper-making in Britain, now it is a pioneer of language-making, with its Text Archive welcoming readers from all over the world.
TOTAL RECALL is a guerrilla makeover, an A4 invasion of reading into the larger narrative of looking. Unlike the street signs outside, these are not corporate instructions or sales pitches; they are antidotes. Walls, vitrine, archival box—nary a “book” to be found, but a heap of language left in memory.
TOTAL RECALL includes work by local, national and international text-based artists and poets: angela rawlings, Alan Halsey, Barrie Tullett, Carolyn Thompson, Cecilie Bjørgås Jordheim, Darren Marsh, derek beaulieu, Emma Cocker, Eric Zboya, Erica Baum, Jaap Blonk, James Davies, Jayne Dyer, Jesse Glass, Karri Kokko, Kristen Mueller, Lawrence Weiner, Leanne Bridgewater, Liz Collini, Lucy Harvest Clarke, Marco Giovenale, Márton Koppány, Matt Dalby, Mike Chavez-Dawson, Paula Claire, Penny Anderson, Peter Jaeger, Philip Davenport, Rachel Defay-Liautard, Robert Grenier, Ron Silliman, Satu Kaikkonen, Sarah Sanders, Seekers of Lice, Stephen Emmerson, Steve Giasson, Steve Miller, Tom Jenks, and Tony Lopez.
— derek beaulieu and Phil Davenport, Curators
I will be posting installation photographs in the coming weeks (and other exciting announcements), but here are a few excerpts from the exhibition:
20 LINES by Matt Madden
Published in a limited edition of 40 copies (only 20 of which are for sale from the press), 20 LINES is available for $8.00 including domestic postage (+ $2 non-Canadian postage). To order please email derek beaulieu.
I recently finished a one-year drawing project called “20 Lines”
The initial inspiration was a prose book by the American Oulipo author Harry Mathews called 20 Lines a Day, which is a partial document of a period where he wrote 20 lines of prose every morning he was at his desk as a warm-up exercise. He was inspired by a quote by Stendhal to the effect of “20 lines a day, genius or not”. He took that notion literally in a somewhat wry way and I did the same kind of thing: well, 20 drawn lines, how is that so different from 20 lines of writing? (It’s faster for one thing, most of the time.)
I took it on once we moved to France because one of my goals here is to work on my drawing, which lags behind my writing and my structural/linguistic thinking about comics. My goal was to concentrate on the most basic elements of drawing–lines on a ground–to reflect on how lines fill space, how they fit together. Maybe not so much “reflect” as simply to put my drawing hand, my brain, and my eyes to work to see what would come out of it. How all that will translate back into my comics I don’t really know, but I see it as part of a process of taking more conscious control of my drawing both at a physical as well as conceptual level.
Matt Madden is a cartoonist who has taught at the School of Visual Arts and in workshops around the world. His work includes 99 Ways to Tell a Story: Exercises in Style (Penguin), a collection of his comics adaptation of Raymond Queneau’s Exercises in Style; a translation from the French of Aristophane’s The Zabîme Sisters (First Second); and Drawing Words & Writing Pictures and Mastering Comics, (First Second), a pair of comics textbooks written in collaboration with his wife, Jessica Abel. For six years the couple were also series editors for The Best American Comics from Houghton-Mifflin Harcourt. He is currently on an extended residency at La Maison des Auteurs in Angoulême, France.
I’m proud to announce that I will be the first artist-in-residence in the 124-year history of Calgary’s Lougheed House.
Built in 1891 for James and Isabella Lougheed and their growing family, Lougheed House is now a National and Provincial Historic Site and Museum located on its original 2.8 acres in the Beltline of Calgary.