Friday, 15 December 2017

The Morning Of A Machine Gun - Franklin Rosemont...surrealism as revolutionary tool


I found this in a charity shop the other day, first edition (May 1968 - appropriately), printed by Liberation Press, Chicago. Surrealism as a 'call to arms for the reinvention of everyday life'? Why not. The revolutionary fervour and optimism for the power of surrealist poetry may sound naive today but as with so many texts from the 60s it's also hard not to read this without feeling a touch of envy for times and attitudes that speak of revolution as if it was possible. Here is the intro to this slim volume of Rosemont's poems accompanied by his own illustrations. 





Thursday, 14 December 2017

Concrete Poetry/Vispo: New Aesthetic


}concrete poetry, vispo, collage, photography, cut-up{


RTomens, 2017

The title, New Aesthetic, derives from the text used and is not a declaration of artistic...merit...because as you know concrete poetry and vispo are nothing new...that said, for the visually impaired, the presentation of reconstructed text may indeed be a new idea and incomprehensible as 'art'. To some extent, what the visually impaired think carries weight, as a ball and chain, around the necks of all artists...no matter how confident and dismissive they may be of The Philistines, visual creations outside of the realms of what Mr & Mrs People know are, in some sense, all reactions against their ignorance...


Wednesday, 13 December 2017

Collage/Vispo: Hostage To Himself


}collage, vispo, concrete poetry, digital art, photography{

Hostage To Himself, RTomens, 2017
...Well, perhaps we all are, although the saying implies that whatever 'self' we become is inescapable and that's a negative thing. Is there a 'good artist' and a 'bad' one inside? Probably. But we need both the good and bad, don't we? In all areas? Some people do set about changing themselves, or in relation to this, 'freeing' themselves? Then what do they become? I don't know of any artists who have consciously set about releasing themselves from their character/captive, but I suppose some have. And it must have changed their art...

Monday, 11 December 2017

Cut-Up/Collage: The Grave City


}william burroughs, cut-ups, collage, photography, digital art{


RTomens, 2017
Text from my own cut-up novel.

Sunday, 10 December 2017

Print/Digital Collage: Led Astray...


}digital collage, print, photography, paper collage{

Led Astray By An Insight, RTomens, 2017

Variation on a theme. This one involved print as well as collage, photography and digital manipulation.

Friday, 8 December 2017

Support dead artists...

}art cynicism, starving artist, disillusioned artist, the joke is on the artist{



Do not shop

Thursday, 7 December 2017

Collage: Miners


}digital collage, collage art, South African miners{

RTomens, 2017
This series is called A Seam Running Through Each Of Us. The figures are workers at the Kimberley diamond mine, South Africa, 1901. Miners were stripped to have every orifice searched for possible hidden diamonds.

RTomens, 2017

RTomens, 2017

Wednesday, 6 December 2017

Collage: Shadows


}art print, collage, digital collage, digital art, photography{

RTomens, 2017

What's so appealing about shadows? Even those of other people have an allure...unless it's a vampire hovering over your bed. The other self? So it seems to me on sunny days (I vaguely recall those, London having been under clouds for what feels like weeks) as I walk, accompanied by the dark version of myself. 

The piece called Shadows here utilises a combination of art-making techniques, in the spirit of anyone who has ever mixed media, rather than stayed true to 'pure' forms. Purity is fine, although some of my favourite artists explored print, paint, paper, photography etc. 

Talk of shadows gives me an excuse to post a track from Eric Allen & Frank Reidy's  Forest Of Evil Part 2, which along with the first album are some of the greatest library records ever made...