Grateful acknowledgement is made to Jill Magi for the use of her art for the Handmade/Homemade site (above)—“Tongues”, 2007.

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Amber Atiya is a multidisciplinary poet whose work incorporates elements of performance, book arts, and visual art. She has received residencies and fellowships from Poets House and the Lower Manhattan Cultural Council. Her poems have appeared in various journals including PEN America, Boston Review, and Nepantla: A Journal Dedicated to Queer Poets of Color, and is forthcoming in the inaugural Bettering American Poetry Anthology. A proud native Brooklynite, she is the author of the chapbook the fierce bums of doo-wop (Argos Books, 2014) and is a member of a women’s writing group that will be celebrating 15 years in 2017.

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Renée E. D’Aoust’s book Body of a Dancer (Etruscan Press) was a Foreword Reviews “Book of the Year” finalist. D’Aoust is the Managing Editor of Assay: A Journal of Nonfiction Studies, and she teaches online at North Idaho College and Casper College. Please visit www.reneedaoust.com and follow her @idahobuzzy where she tweets about her mini dachshund Tootsie.

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Demian DinéYazhi´ (born 1983) is a Portland-based transdisciplinary artist born to the clans Tódích’íí’nii (Bitter Water) and Naasht’ézhí Tábąąhá  (Zuni Clan Water’s Edge) of the Diné (Navajo). His work is rooted in Radical Indigenous Queer Feminist ideology, landscape representation, memory, HIV/AIDS-related art & activism, gender, identity, & sexuality, Indigenous Survivance, & Decolonization. He received his BFA in Intermedia Arts from Pacific Northwest College of Art in 2014. He is the founder & director of the artist / activist initiative, R.I.S.E.: Radical Indigenous Survivance & Empowerment, which is dedicated to the education, perseverance, & evolution of Indigenous art & culture. He is the recipient of grants from Evergreen State College (2014), PICA – Portland Institute of Contemporary Art (2014), Art Matters Foundation (2015), & will be an artist-in-residence this November at the Institute of American Indian Art (IAIA) in Santa Fe, New Mexico. www.demiandineyazhi.com // @heterogenenoushomosexual

 

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Christine Leclerc is the author of 2014 bpNichol Chapbook Award winner Oilywood (Nomados Editions, 2013), Counterfeit (Capilano University Editions, 2008) and an editor of The Enpipe Line (Creekstone Press, 2012) and portfolio milieu (milieu press, 2004).

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Rasheedah Phillips, Esq. is the Managing Attorney of the Housing unit at Community Legal Services, a mother, writer, the creator of The AfroFuturist Affair, the co-creator of Black Quantum Futurism multimedia arts collective, and a founding member of Metropolarity Queer SciFi collective. In 2014 she independently published her first speculative fiction collection, Recurrence Plot (and Other Time Travel Tales), followed by an anthology of experimental essays from Black visionary writers called Black Quantum Futurism: Theory & Practice Vol. I in 2015.  As part of BQF Collective, Phillips was a 2015 Artist-in-Residence at West Philadelphia Neighborhood Time Exchange, is a 2016 A Blade of Grass fellow, and has exhibited or performed at the Institute of Contemporary Art, Black Oak House Gallery, Temple Contemporary, Stony Island Arts Bank in Chicago, WORM! Rotterdam, and more Phillips has  work appearing in the book “Keywords for Radicals: The Contested Vocabulary of Late Capitalist Struggle”  and “Unveiling Visions: The Alchemy of the Black Imagination” exhibition catalogue, and has had work published in the Temple University Political and Civil Rights Journal, Atlanta Black Star, and other publications.

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Deborah Poe is the author of the poetry collections the last will be stone, too (Stockport Flats), Elements (Stockport Flats), and Our Parenthetical Ontology (CustomWords), as well as a novella in verse, Hélène (Furniture Press). Her writing has appeared in journals like Denver Quarterly, Court Green, Colorado Review, Yellow Field, Touch the Donkey, and Jacket2. Her visual works—including video poems and handmade book objects—have been exhibited at Pace University (New York City), Casper College (Wyoming), Center for Book Arts (New York City), University of Arizona Poetry Center (Tucson), University of Pennsylvania Kelly Writers House at Brodsky Gallery (Philadelphia), and ONN/OF “a light festival” (Seattle), as well as online with Bellingham Review, Elective Affinities, Peep/Show, Trickhouse, and The Volta. Associate professor of English at Pace University, Pleasantville, Deborah directs the creative writing program and founded and curates the annual Handmade/Homemade Exhibit. Her contribution for the 2017 exhibit features work by D.D. Baldwin, Renée D’Aoust, Marilyn McCabe, and Selah Saterstrom.

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a rawlings’ performance practice seeks and interrogates relational empathy between bodies, be they human, more-than-human, other-than, non. Meditating on languages as inescapable lenses of human engagement, her methods over the past fifteen years have included sensual poetries, vocal and contact improvisation, theatre of the rural, and conversations with landscapes. As a writer-activist, rawlings’ literary output includes Wide slumber for lepidopterists (Coach House Books, 2006) and o w n (CUE BOOKS, 2015). Wide slumber received an Alcuin Award for Design; the book was adapted for stage production by VaVaVoom, Bedroom Community, and Valgeir Sigurðsson in 2014. She has also penned libretti for Davíð Brynjar Franzson (Longitude) and Gabrielle Herbst (Bodiless). rawlings is the recipient of a Chalmers Arts Fellowship (Canada, 2009) and held the position of Arts Queensland Poet-in-Residence (Australia, 2012). During the latter experience, she created Gibber, a digital publication showcasing sound and visual poetry from Australian bioregions. Written while undergoing breast-cancer treatment, rawlings’ work Áfall / Trauma was shortlisted for the 2013 Leslie Scalapino Award for Innovative Women Playwrights, and is forthcoming from Broken Dimanche Press and BookThug.

FullSizeRender-1Selah Saterstrom is the author of the novels Slab, The Meat and Spirit Plan and The Pink Institution. Her forthcoming collection of essays, Ideal Suggestions: Essays in Divinatory Poetics is forthcoming in 2017. She teaches and lectures across the United States, and is the editor of the Denver Quarterly.

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Jared Stanley was born in Arizona, grew up in Northern California, and lives in Reno, Nevada. A poet, writer, and interdisciplinary artist, He is the author of three collections of poetry, Ears,The Weeds, and Book Made of Forest. Stanley has received Fellowships from the Center for Art + Environment and the Nevada Arts Council, and teaches writing and interdisciplinary art at Sierra Nevada College, where he co-directs the SNC Poetry Center. Recent collaborations include It Calls From the Creek,Surrender, and The Plain Sense of Thingsjared-stanley.info

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Kate Schapira is the author of six books of poetry–most recently Handbook For Hands That Alter As We Hold Them Out (Horse Less Press) and a collaboration with Erika Howsare, FILL: A Collection (Trembling Pillow Press). Her 11th chapbook-published-by-someone-else, Someone Is Here, appeared in 2015 with Projective Industries, and she also has a kitchen-table imprint for her own work, In Hand Books. She lives in Providence, RI, where she writes, teaches, runs the Publicly Complex Reading Series, and periodically offers Climate Anxiety Counseling.

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Juniper White was born in Oregon and currently resides in Western Washington. She is aletterpress printer, woodblock carver, teaching artist, and writer with a MFA in Creative Writing who cultivates handwork in northwest communities. The heart of her handwork—writing, carving, drawing, hand setting type, letterpress printing—beats by the push-pull progression of contrarieties. By defining space and creating through handwork, she interprets the contrary forces that move one through life, and as an advocate provides a framework to enable understanding for others. Specific elements related to contrarieties can be identified in an ongoing poetry broadside project. She studies the particularized interstices, letter by letter in relationship to a line, stanza or page; scrutinizes the overall whitespace and content tension to find the tipping point and listens to the sonorous or dissonant visual relationship before fully realizing the natural coupling of contrarieties on the page; fosters an advocacy relationship with the writer’s piece in order to summon duende—creating a space for the ordinary and the ecstatic simpatico on the page. Upon receipt of an inimitable gift from the universe and Sam Hamill, she founded Dwell Press in 2010. White is currently constructing a body of work that examines what is possible in the realm of tiny monoprints in a series titled: “Harry Said:”.

 

Gratitude to Sarah Clark, Renee D’Aoust, Karin Rosman, Sean Singer, Jessica Smith, Linda Russo, JenMarie Macdonald, Amaranth Borsuk, Scott Helmes, and Monica Hand for their suggestions on potential 2017 exhibitors.

Grateful acknowledgement is made to Jill Magi for the use of her art for the Handmade/Homemade site (above)—“Tongues”, 2007.

Deborah Poe is the founder and curator of the annual Handmade/Homemade Exhibit that is featured on the campus of Pace University in New York. During her sabbatical this year, Dr. Poe brings a special event to the Seattle University campus as part of her work as a 2016 Distiniguished Visiting Writer through SU’s Creative Writing Program.

Event
Deborah Poe hosts a special afternoon at Seattle University. Guest writer/artist Amaranth Borsuk will talk about handmade aesthetics and their connection to new media. Guest writer/artist Kaia Sand will talk about working across genres and media, dislodging poetry from the book into more unconventional contexts. Deborah will read from new work. We will show multimedia work by the speakers as well as the students of Poetry off the Page: Creating Multimedia Poetry.

1 March 2016, Seattle University Student Center (STCN), Room 160, 3-4PM.

Presenters
Amaranth Borsuk is a poet, scholar, and book artist interested in textual materiality across media. Her books include As We Know, with Andy Fitch (Subito, 2014); Handiwork (Slope Editions, 2012); and Between Page and Screen (Siglio Press, 2012), created with Brad Bouse. Her intermedia project Abra: A Living Text, a collaboration with Kate Durbin and Ian Hatcher, has just been published as an artists’ book and iOS app, thanks to an NEA-funded Expanded Artists’ Books grant from the Center for Book and Paper Arts at Columbia College Chicago. A trade edition is forthcoming from 1913 Press. Other collaborative digital projects include an erasure bookmarklet,The Deletionist, with Nick Montfort and Jesper Juul, and Whispering Galleries, a site-specific LeapMotion interactive work for the city of New Haven. Borsuk currently teaches in the MFA in Creative Writing and Poetics and the School of Interdisciplinary Arts and Sciences at the University of Washington, Bothell. www.amaranthborsuk.com

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Deborah Poe is the author of the poetry collections “Keep,” the last will be stone, too (Stockport Flats), Elements (Stockport Flats), and Our Parenthetical Ontology (CustomWords), as well as a novella in verse, Hélène (Furniture Press). Her work has appeared in journals like Denver Quarterly, Court GreenLoose ChangeColorado Review, and Jacket2. Her visual works—including video poems and handmade book objects—have been exhibited at Pace University (New York City), Casper College (Wyoming), Center for Book Arts (New York City), University of Arizona Poetry Center (Tucson), University of Pennsylvania Kelly Writers House at Brodsky Gallery (Philadelphia), and ONN/OF “a light festival” (Seattle), as well as online with Elective AffinitiesPeep/ShowTrickhouse, and The Volta. Associate professor of English at Pace University, Pleasantville, Deborah directs the creative writing program and founded and curates the annual Handmade/Homemade Exhibit.

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Photo: Elizabeth Bryant

 

Kaia Sand writes investigative poetry that is often experiential and material. She is the author of three poetry collections—Interval (Edge Books), Remember to Wave” (Tinfish Press), and A Tale of Magicians Who Puffed Money that Lost Its Puff  (forthcoming, Tinfish Press), which includes a magic show she created about the global financial crisis. Sand co-authored Landsapes of Dissent: Guerrilla Poetry and Public Space; and created poetry sign projects as well as a series of poetry walks.  She served in a residency with artist Garrick Imatani at the City of Portland Archives and Records Center, commissioned by the Regional Arts & Culture Council, where they explored surveillance police filed on political activists. Sand built a poetic series, “She Had Her Own Reason for Participating,” sledgehammering copper cards. This past autumn, she served in a Despina Artist residency at Largo das Artes, Rio de Janeiro. This winter, she had a solo exhibition at the Cascade Gallery, Portland Community College. More info: http://kaiasand.net/

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Further Information

Please visit this page for further information. Visit the Seattle University website for directions to the Seattle University campus. For additional questions on the event, please email dpoe@pace.edu.