Our mission is to serve as an [
unmediated
Founder + Head Curator:
envir on me nt]
Visual Art, Writing, Sound, Video, Interviews + Interactive Experiments.
Design + Layout: Jessica Eichman & Noah Saterstrom
Editors: Kristen Nelson & Maggie Golston
We are a journal interested in publishing + exhibiting with equal credence‌
Noah Saterstrom
[w o r k s]
Parlour Writing Submissions Editor: Kristen Nelson Technical Back-up: Wesley Duffee-Braun
+ Of any medium and genre.
& Adam Cooper-Teran
+ Well-known, as well as marginal voices. + Playful, as well as challenging content.
Advisors and Curators:
+ Work from inside & outside 'the institution.'
Robert Godfrey,
+ Works that engage community.
Julia Gordon,
+ Experiments which may fail as well as succeed.
Eric Jordan,
Laynie Browne, Maggie Golston,
Kristen Nelson,
+ Site-specific works that explore the
Christian Peet, Deborah Poe,
Ointernet as the 'site.' + Unformed and raw works & polished and
Ben Johnson,
Elizabeth Frankie Rollins,
O
pristine works.
Kerri Rosenstein, Selah Saterstrom, Cyane Tornatszky, Shelton Walsmith, Anne Waldman.
Circulation/ Subscription: Due to the multimodal nature of the work that Trickhouse features, they are an online venue. New issues are released online roughly every three months. Since Trickhouse Curators, Editors and Designers are volunteering their time and talents, it is important to note that their release dates are fluid.
Submission: As per my visit to Trickhouse.org in September of 2012, they are not officially accepting submissions, however they occasionally open submissions for a period of time. In terms of monetary compensation for submitted work, it is up to the discretion of Trickhouse.org. To be notified of updates and submissions openings, you may send an e-mail to trickhouse.curator@gmail.com with subscribe as the subject line.
If you would like to send Trickhouse work for consideration, please send your e-mail to: trickhouse.curator@gmail.com (Please note: unless Trickhouse is officially taking submissions, don’t count on a response, perhaps for some time until they are open for submissions).
an [ u n m e d i a t e d e n v i r o n m e n t ] the T r i c k h o u s e dynamic:
Trickhouse is, “devoted to the generative nature of collaboration and the crucial role that venues such as ours play by offering an audience for the inquiries of independent curators. As an "unmediated" venue, Trickhouse Curators gather contributors and follow their interests without the interference of a committee decision. In this way, we provide alternatives to venues that must adhere to the limitations of academia and/or the conventions of the buying markets of art and literature.” An affordance of this new media journal as an online publication and an unmediated venue is that they offer a space to showcase projects that are very much ‘off the beaten path’ and ‘out of the box’—projects that are multimodal, hybrid, or rooted in an emerging field—(see Lewis Warsh and Nico Vassilakis’ work below). Although, Trickhouse does feature more traditional, or ‘linear’ forms of poetry and fiction—what makes them distinctive from the crowd is the unusual, complex, nature of the work featured.
|For
Example
[as seen in]
Volume 15 / Summer 2012.
C u r a t o r Bio:
P o e t/ V i s u a l
A r t i s t Bio:
Anne Waldman, poet, professor, performer, and
Lewis Warsh is the author of numerous books of
cultural activist is the author of over 40 books and small press editions of poetry and poetics, including most recently Manatee/Humanity and the anthology Beats at Naropa, co-edited with Laura Wright. She has participated in conferences and festivals in Beijing, Berlin, Vienna, Nicaragua and Prague and has taught recent practicums at the Zen Mountain Monastery and Naropa University. She works with writer/director Ed Bowes on a number of video/movie projects.
poetry, fiction and autobiography, most recently A Place In The Sun (2010), Inseparable: Poems 1995-2005 (2008), Ted's Favorite Skirt (2002), Debtor's Prison, in collaboration with Julie Harrison (2002), The Origin of the World (2001), Touch of the Whip (2001) and Money Under the Table (1998). He is editor and publisher of United Artists Books and director of the MFA program in creative writing at Long Island University, Brooklyn. Mimeo Mimeo #7 (summer 2012) features his poems, stories and collages.
curator | artist image + bio source: http://www.trickhouse.org/contributors.html
[ v i s u a l p o e t r y ] created by L e w i s
W a r s h. Calle de Ribera + Downcast Eyes [A r t i s t S t a t e m e n t] Lewis Warsh I made my first collages in 1996. They were image-based, like most collages, cut-outs from magazines. I did a series of 24 4x6 collages on poster boards. I always wanted to do collages and artist books so I decided to do it. In the early 90s I'd begun a series of poems where I collaged and then arranged often a hundred or more lines, with a space between each line. Each poem consisted up 3-4 pages of these lines, mostly lines from poems that I'd discarded. There was no obvious connection between each of the lines but I tried to arrange them so they created a hidden narrative. 17 of these poems were collected in the book, The Origin of the World (Creative Arts, 2001), named after Courbet's famous painting. (I didn't realize that it was famous until afterwards.) I then realized I could make color xeroxes of all the small collages and create a series of artist's book. For the first group of 24 I created an edition of 4. I made 4 copies of each collage and pasted them in books which I bought in art supply stores. So I figured that I could make collages and then books as well and that all this connected to my poetry. I was also writing non-collage poems at the time along with novels and stories. I continued doing image-based collages until 2006 when I started using letters. I cut letters from magazines--white letters on black backgrounds, black letters on white backgrounds, and letters of various colors. I covered poster boards--8x10, 11x14, 16x20-with letters. I became aware of the shapes of letters, and then the sizes of the letters I was cutting out, but most of my decisions (where to put the letters) were intuitive and in the moment. I didn't attempt to spell any words with the letters, not at first. I became involved in clustering letters--a lot of A's, for instance, in one corner. Often the letters overlapped one another, but not by much. Mostly I used art magazines--someone gave me about 100 back issues of Art Forum. I learned a lot going through these magazines and reading the articles. I began to see that variations were possible. I did one collage just using the lettter "E"-both capital and lower case, a kind of homage to Georges Perec who wrote a novel, La Disparition, without the letter "e". In another series of collages, I spelled out the words "Hysteria" "Obsession" and "Paranoia." The possibilities were endless. I did a series of SOS collages. I did about 5 very large collages, approx. 30x40 inches.
curator | artist image + bio source: http://www.trickhouse.org/contributors.html
[as seen in] Volume 15 / Summer 2012.
[ v i s u a l p o e t r y ] curated by N i c o V a s s i l a k i s. The Ten Turkish Poets [ b i o ] Nico Vassilakis works with both textual and visual alphabet. Recent books include Staring @ Poetics (Xexoxial Editions, 2011), West of Dodge (redfoxpress, 2010), Protracted Type (Blue Lion Books, 2009), staReduction (Book Thug, 2008), and Text Loses Time (Many Penny Press, 2007). His Vispo videos have been shown at festivals and exhibits of innovative language art. He was a founding member of the Subtext Collective. Nico, along with Crag Hill, edited THE LAST VISPO: A Visual Poetry Anthology 1998 - 2008 forthcoming from Fantagraphics Books (Fall 2012). Samples of Nico's work can seen at staringpoetics.weebly.co m/.
curator | artist image + bio source: http://www.trickhouse.org/contributors.html http://www.trickhouse.org/contributors.html
[as seen in] Volume 13 / Summer 2011 curated by Kerri Rosenstein
[ v i s u a l p o e t r y ] created by P h o e b e W a y n e. Roof Shapes [ b i o ] Phoebe Wayne is the author of a chapbook called Lovejoy (c_L press, 2010). Some of her recent work appears in the magazines Foursquare, With + Stand, Peaches and Bats, and Vanitas. She lives in Portland, Oregon and works in the children's department of a public library.
[ b i o ] Kerri Rosenstein often relates to themes of impermanence and the cyclic nature of things. Primarily an artist, she also curates and teaches for various programs, including Trickhouse and Caldera – an arts mentorship program for underserved youth. Her work has been shown nationally and internationally, with recent installations in Baltimore, Maryland; Kona, Hawaii; Miami, Florida; Houston, Texas; and Amsterdam, the Netherlands. Her cat lives in Missoula, Montana.
curator | artist image + bio source: http://www.trickhouse.org/contributors.html
Navigation /
By clicking on the Archive section at the bottom of the website, you can browse through past issues comprised of the following categories : Visual Art, Writing, Collaboration/Experiment, Sound,
Video + Interview. They are currently in their 15th Volume, (as of October 2012.)
The majority of contributors published on Trickhouse hold post-graduate/MFA degrees, are professors at universities, creative directors of interdisciplinary arts programs, have at least two or three books published, (if not several) or an anthology of
In terms of those interested specifically in submitting for w r i t i n g, Trickhouse offers several sections for
various genres of c o m p o s i t i o n. Such as the Writing , Interview, Correspondent + Visual Artists sections. *[Noteworthy, is that the Visual Artists section has a plethora of works that would be considered cross-category projects—therefore many pieces that are of ‘hybrid nature’ (i.e., ‘visual poetry’) may be under both Writing + Visual Artists.]
poems. Since Trickhouse is centered on the procuration of work through private curators, the heartbeat of the journal is to feature works that embody originality, and are risk-taking, creative convergences that explore the intersections of human expression.
This being said, even without an MFA or a litany of published books, it is still quite possible to submit a work to Trickhouse and be published, solely based on the creative content of the work. In terms of contributors who have been featured on Trickhouse, whose experiences may ring perhaps more akin to a graduate student pursuing an MA of Writing Arts—here is a small sampling of some of their biographies:
Tama Baldwin is a writer and photographer who lives in Iowa City, Iowa. Her essays have appeared most recently in Fourth Genre and Gulf Coast, and her photographs appear from time to time on wabisabi daily, a blog devoted to the aesthetics of transformation. wabisabidaily@wordpress.com
Jennifer Bartlett is author of Derivative of the Moving Image, (a) lullaby without any music, and co-editor of Beauty is a Verb: The New Poetry of Disability.
Gretchen Blegen received her B.F.A. from Colorado State University in Fort Collins. After gaining real life experience as a practicing artist she intends to return to a university to receive her M.F.A. in new media and experimental sound.
Alva Unger is a graphic designer based in Vienna. She recently graduated at the University of Applied Arts in Vienna. www.alvaunger.com
Robert S. Eshelman is a freelance journalist. His work has appeared in The Nation, The Brooklyn Rail and In These Times and can be found on websites such as TomDispatch.com and Salon.com. He can be reached at robertseshelman@gmail.com.
Harry Griffin is from South Florida. He moved to California in 2008 to complete his BFA in photography at California College of the Arts. www.harrygriffin.com; harryjgriffin@gmail.com
Literary Review created by, Christen J. Otter Master of Writing Arts Program, Rowan University For: Dr. Jennifer Courtney, Seminar I Fall 2012
curator | artist image + bio source: http://www.trickhouse.org/contributors.html