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"Why is poetry such a pain in the ass for some people to read? Because it trains the imagination differently. It breaks the fantasy of reality, which is narrative based. The fantasy of reality always wants a smooth illusion in the form of a linear story. Modern poetry is evolving into a kind of work that can help us reach a higher consciousness where we are mindful that reality, as we can know it, is a fantastical labyrinth. By breaking open the linguistic inter-worlds and other devices of that fantasy world we call reality, we can start to perceive reality at other levels of imagination. Of course, poetry has other functions than just simply this, but we may find they all add to this important value of reality-busting." Read more of the Manifest in Posts after a minimum pledge of 1 dollar.
Ken Boe lives and works in the incredible art town of Bisbee, Arizona. Previous to that, in Arizona, he's lived at Thought Crime in Phoenix, The Grand Canyon, and Miami Art Works in Miami Arizona (SEE ABOVE VIDEO), where he was a founding member of the open source-like Miami Loco Arts Festival. He's also worked in Yellowstone National Park for over 20 seasons. Originally from Evanston Illinois, with one of the best public school arts programs in the country, he then attended the School Of The Art Institute of Chicago on scholarship, later graduating from SIUC. He's also attended Columbia College, UIC, and audited coursework at Reed College. Ken Boe is an accomplished experimental painter, poet, and playwright. (SEE BELOW)
"I've been anticipating my work's evolution for several decades, developing various ideas, methodologies, material-consciousness, and distinct series of works toward which I am readying myself to hybrid together into an ultimate meta-series of new large works on panel. The current stage consists of exhausting what I call the image-ontology of the various series I am offering to you at right. This also includes a series of large canvases not part of the fundraising effort."
"Through this creative crowdfunding effort, I look forward to being able to establish a more sustainable routine and practice as a full-time artist, poet, and playwright. And there's all that theory and research that I'm working on, so essential to my process. The process of interacting with my sponsors and collaborators will also be energizing as I weave the projects and my commitments through the series of works, ideas, and creative infrastructure I've set up at home, for my life's work, in Bisbee. I've tested myself to my satisfaction through an experimental fundraising effort asking people to sponsor poems, collaborative. A new version of that program you can now subscribe to in my second Patreon category of giving, top right below Chuck Alton's photo of me while recording the recent podcast "Getting Poetry" In Bisbee. (See link to that below) Contact me anytime, and please look forward to your inbox for my Ken Boe Poetry and Arts Manifest email."
"Here at my art compound, over looking Mexico, I've over a ton of art supplies of various natures that I work from. I'm engaged in what I call "Counter-Realism" which is kind of a spin on the term counter-intelligence. I see that we are constantly barraged with a lie, often called realism, in all facets of the modern consumer and aesthetic life.
I deconstruct the techniques of common art practice, and digest them in my own ways. For instance, what is content? On a can of soup, it's the ingredients. In the arts, it's often assumed to be story. But story is just one ingredient. All the media, such as oil paint versa acrylic paint, are sentient content as much as "subject", though only the most experienced art collectors, curators, or artists consciously notice this. Unconsciously we probably all notice this. And then there are all the other techniques of an artist, as small as a particular way of holding the brush, or how I paint with a whip on occasion; these things, too, are part of a work's content. So how one approaches our societal myths of realism really give you away at this level of being an artist."
"I have several art studios and places for writing poetry around my property. Like seasons, they have their own weather. Their own moods, their own materials, their own content. While it's all a bit of a mess, maybe that's the ambiguity that glues it all together. For instance, here are a couple of inter-relating ideas:
1. Hang tight, sharp, perfectionist artwork on a rough crooked wall, such as an old brick wall. Hang rough chaotic artwork on a smooth wall, such as a new wall neatly drywalled and painted in an organized home or office.
2. Artwork should not be redundant with its environment. Do not have paintings of food at a restaurant, for instance. Artwork provides a kind of subconscious extension to the consciousness of an environment. It is an expansiveness, at least for bright people who will engage each other in that environment intellectually, emotionally, imaginatively. It is the synchronic vocabulary of our time together as the environment we share is the language we share."
"Over the last 30 years or so I've developed various original techniques, or techniques morphed out of various traditions, ideas, uses of materials, and processes. Some of these are series of works, you could say, in the natural pattern to focus within certain perimeters. Each of these has to go through its own evolution. The long view of this is that only after many years of these explorations will the higher level of evolution take place which I am entering now. That is the level of hybridizing all my previous techniques and materials projects, languages, and experimentation.
"Concerning the large canvas, Mysterium Tremendum, top right, I'm using my whip painting technique, which often gives a sense of "abstract-expressionism". Technically, I liken the whip painting as "action print making." Often done with oil paints, in this variation I actually whipped the canvas with a gluey "gesso-grosso" or plaster. Over this I applied a clear bees wax, and over that oil paint, which then is moved around with heat. The rest of the work is oil paint and graffiti marker. It is a hybridization of techniques on the way to where I am going as an artist, yet a significant work in its own right."
The "Getting Poetry" In Bisbee Roundtable Discussion with Ken Boe, and nationally known poets Dick Bakken, and Michael Gregory. Includes readings by all 3 of us, and a good amount of discussion to enlighten you on our processes as poets:
https://www.youtube.com/watch?<wbr>v=rutpTYuBFNo (Includes my reading of a Meg Swaid poem.)
https://books.google.com/books/about/Greylight_The.. Edited by Don Elwell
Read and critique my screenplay Grey Propaganda on Amazon:
Keep up with my art shows, publications, ideas, and other goings on:
Find me on social media:
(not doing much with that yet)
† In The Ken Boe Poetry and Arts Manifest, some white papers on the appreciation and philosophy of art may be augmented with, or presented in the form of videos, video discussions, podcasts, MP3 sound recordings, or other exciting presentations.
*Paul Klein is a SupporTED Mentor for TED Fellows. He lives in Chicago, where I grew up, and was the Chicago Society of Artists Man of the Year in 2006. From 2004 to 2015 promoted Chicago art and artists by writing and distributing ArtLetter. He was the Managing Director of The Briddge Group, the premier Art Succession Planning Group in the country; was Art Consultant/Curator for the expansion of McCormick Place; and owned and operated Klein Art Works from 1981 to 2004. He founded Klein Artist Works in 2010, from which he continues to guide artists in their careers: http://www.kleinartistworks.com