Archivi tag: Red Fox Press

allan bealy: “tokens” (red fox press)

Allan Bealy is a Canadian graphic designer and collagist, living in the sovereign state of Brooklyn.
He has been active in publishing two arts magazines: Davinci in Montreal in the mid 70s and Benzene in New York through the mid 80s. He has been allowed a number of solo exhibitions in Montreal, New York and Sweden and participated in numerous group shows. There are several collections of his collages published, including three by Red Fox Press, the most recent, Conjure, in 2021. He has also self-published 35 Chairs in 2015 and February Notebook in 2019. His current art practice focuses on collage and mixed media projects.

Visual Poetry and collages

A6 format – 40 pages – laser printing.

materiali asemici di mg/differx nell’archivio sackner @ iowa university

Sibille asemantiche (La camera verde)

la strada non è libera [opera unica]

[folded asemic writing]

[asemic writings]
la data corretta è 2009, non 2008 come indicato sul sito
origine dei materiali (Atto senza attori, con Pietro D’Agostino):

This Is Visual Poetry, cur. Dan Waber, n. 71

Asemic Sibyls (Red Fox Press, collection C’est Mon Dada)


elenco con altri materiali non asemici (testi lineari in italiano e/o inglese):

altri materiali asemici, anche di altri autori:



foto dal workshop del 7 luglio 2021, all’istituto svizzero di roma





“garbage collection”, by jaap blonk (red fox press, 2021)

For Garbage Collection Jaap Blonk made collages from trash paper and all kinds of cheap stuff. All of them also feature his asemic scribbles, that are distant descendants of the symbols he created for the notation of his sound poems.
Then he processed them digitally – only the colours, not the forms – with many different self-coded algorithms that he developed over the years.


Jaap Blonk (born 1953 in Woerden, Netherlands) is a self-taught composer, performer, poet and visual artist.
His unfinished studies in mathematics and musicology mainly created a penchant for activities in a Dada vein, as did several unsuccessful jobs in offices and other well-organized systems.
In the late 1970s he started to compose music. A few years later he discovered his potential as a vocal performer, at first in reciting poetry and later on in improvisations and his own compositions. From the mid-1990s on Blonk started work with electronics as well.
Since 2006 he has been using mathematics again for algorithmic composition for the creation of music, visual work and poetry.
As a vocalist, Jaap Blonk is unique for his powerful stage presence and keen grasp of structure. He has performed around the world, on all continents. With the use of live electronics and interactive visuals the scope and range of his concerts has acquired a considerable extension.
Blonk’s recorded output comprises some 50 titles: CDs, vinyl, books and cassettes.
From his sound poetry scores he developed an independent body of visual work, which has been published and exhibited.


geof huth’s new book: “in chancery” (red fox press)

In Chancery by GEOF HUTH.
A sequence of photographs of records of the long-defunct New York Court of Chancery, presented as visual poems.

The Rescued Pieces of In Chancery

My paid work focuses on government records from the 1600s to today, those encoded in bits and thrumming through wires and air, and those on paper and parchment. When working with the oldest of these, which usually bear signs of decay, I face the pleasure of the archives, or how an old document carries into the present the words and actions of the past, though always changed, always transmogrified by time. The old records I oversee have been stored poorly sometimes for centuries, so their cotton-fiber paper, which would have retained its bright whiteness if stored properly, has devolved into shades of tans and browns. The records also bear the manners and markings of their times, making these routine papers magical to the 21st-century eye. Seals and ribbons, intended to convey authenticity, festoon the documents, as do arcane phrases and ornate penmanship. Even the name of the court I chose to document so heavily, the Court of Chancery, carries the scent of a faraway past, as do the papers themselves. As I processed these, I recognized some of them as inchoate visual poems and photographed hundreds of them, to capture their verbo-visual delights for myself and you.

Geof Huth

robin tomens: “between you and me” (red fox press)

collateral realities, by jim leftwich & luc fierens (red fox press)

COLLATERAL REALITIES – New visual poetry book from Redfoxpress – a collaboration between LUC FIERENS and JIM LEFTWICH / online orders at


sabine remy: “mind machines”


johnny brewton’s “the lost communiqué”

Johnny Brewton
The Lost Communiqué
Collection “C’est Mon Dada” # 134

Collages / Visual Poetry
A6 format (10.5×15 cm / 4 x 6″) – 40 pages
Hardcover, thread and quarter cloth binding
Laser printing on ivory paper.
September 2019



new “c’est mon dada” publication: f. g. delgado’s “blast”

Fernando Garcia Delgado
Collection “C’est Mon Dada” # 132

Visual poetry / collage
A6 format (10.5×15 cm / 4 x 6″) – 40 pages
Hardcover, thread and quarter cloth binding
Laser printing on ivory paper.
August 2019


carol stetser’s “puzzles”: from red fox press


derek beaulieu’s new concrete booklet (in the “c’est mon dada” collection)

“einheitskurzschrift”: collaborative collages from susanna lakner and stefan heuer


guy beining’s “dentend” (red fox press)


June 2018
A6 format (10.5×15 cm / 4 x 6″) – 44 pages
cardboard cover, thread and quarter cloth binding
laser printing on ivory paper.



new @ red fox press: “fisherwoman”, by dawn nelson wardrope