The World of Pwoermds

via Silliman's Silliman's Blog

Subtlety is in fact a particularly important dimension in poems on this scale. Like all forms of minimalism, pwoermds are not about making things small, but rather just the opposite – magnifying the most minute details of the language to bring them to our attention.

Grumman's Fight Against "Visual Poetry" (The Term, That Is)

via Bob Grumman's po-X-cetera

Those who want to consider the term visual poetry to include anything with a hint of the verbal or a hint of the visual in it to be a "visual poem," can continue to do so. My "visiophoric poetry" will simply be a subclass of their "visual poetry." Meanwhile, I will secretly know that it is the only True Variety of Visual Poetry, heh heh heh.

On Visually-Enhanced Poetry

via Bob Grumman's po-X-cetera

I ordain that visually-enhanced poetry is poetry whose letters have been made into calligraphy, enlarged or reduced, re-fonted, colored, carved, chiseled, bold-faced, italicized, or spray-painted, and so forth--unless whatever change made is metaphorically significant.

Interviewing Crag Hill about Poetry, Visual and Otherwise

via Tom Beckett's e-x-c-h-a-n-g-e-v-a-l-u-e-s

Many of my visual poems, in contrast, arrive in mind’s eye virtually complete. I do little revision as I commit them to paper. I write them more sporadically yet this writing is more consuming, engaging my intellect and all my senses -- when I’m writing visual poems that’s all I’m writing.

Bob Grumman's poemns

via Bob Grumman's own po-X-cetera

In 1966, I self-published Poemns, a collection of apprentice visual haiku. Now, almost forty years later, I'm still repeating it, as in the following poemn, which covers the same territory as the circular poem I've been posting versions of recently.

Carol Stetser's Gift

via Bob Grumman's po-X-cetera

I often brag that one of the benefits of being an under-recognized artist like me is that you get to know other under-recognized artists--which leads to happinesses like the Christmas present I got this year from fellow under-recognized artist Carol Stetser, a portion of which is shown below.

Photocollage: Creation and Exhibition

via Nick Piombino's fait accompli

At the top you can see a small metal
box, which probably contained hypodermic
needles. Other collage elements are
pasted inside the box, top and bottom.
This little box was found on the ground
in Marrakesh, Morocco,
where I visited for a few
months in 1969 (not long after
making my first collage, shown
below). Many of the elements in
the collage were from magazines I
had saved from the hourse I lived
in as a child in Bay Ridge in the late 1950's.
These were turn of the century French
photomagazines.