Diane Armitage

Inside the Visible

Inside the Visible 1Inside the Visible 2

Video stills from 2014 shot with an underwater camera in the Tesuque River in the Sangre de Cristo Mountains ─ The Tesuque River is part of the Santa Fe Watershed.

Diane Armitage is an artist in Santa Fe, New Mexico, working in digital video. She has a BFA in Ceramics and an MFA in Sculpture from the University of New Mexico. She studied Digital Media at the Santa Fe Community College, where she established the Art History program in 1999. She has taught Art Studio for the University of New Mexico and the History of Film for Santa Fe University of Art and Design. She is featured in 100 Artists of the Southwest (Schiffer Books, 2006). Her video, The Great River, has been touring the US with Water, Water Everywhere: Paean to a Vanishing Resource.

Bill Berkson — with love (1939-2016)

This week, we hold a moment of silence for our beloved friend, Bill Berkson.
In 2014, he offered us
Bill Berkson December 24

We send him love and gratitude for the privilege and pleasure of his company.

Here is the Paris Review on the day he died. http://www.theparisreview.org/blog/2016/06/16/bill-berkson-1939-2016/
and an obituary from SFGate

Maureen Owen


Maureen Owen, former editor and chief of Telephone Magazine and Telephone Books, is the author of Erosion’s Pull from Coffee House Press, a finalist for the Colorado Book Award and the Balcones Poetry Prize. Her title American Rush: Selected Poems was a finalist for the Los Angeles Times Book Prize and her work AE (Amelia Earhart) was a recipient of the prestigious Before Columbus American Book Award. She has taught at Naropa University, both on campus and in the low-residency MFA Creative Writing Program, in Naropa’s Summer Writing Program, and edited Naropa’s on-line zine not enough night through 19 issues. Her newest title, Edges of Water is available from Chax Press, chax@the river.com. She has most recently had work in The Denver Quarterly, Vol. 48 #1, Vanitas #7, Bombay Gin’s Anselm Hollo Issue and in New American Writing 2014. Upcoming poems will appear in Hangling Loose #107, Fall 2016. She can be found reading her work on the PennSound website.

Ana María Hernando

Baño de estrellas y luna

Baño de Estrellas y Luna

Nuestra Canción Anaranjada

Nuestra Canción Anaranjada

La montaña se ha bañado en nuestro lago

La Montaña se ha Bañado en Nuestro Lago

“Baño de Estrellas y Luna”
(Bath of Stars and Moon)
30” x 22”
Acrylic inks and acrylics on paper

Nuestra Canción Anaranjada”
(Our Orange Song)
41 1/2” x 30”
Acrylic inks and acrylics on paper

“La montaña se ha bañado en nuestro lago”
(The mountain bathed in our lake)
44″ x 30″
Acrylic inks on paper
Ana María Hernando, originally from Buenos Aires, Argentina, makes paintings, sculptural installations, drawings, and prints with a layering of natural and formal elements. She is moved by the transparent actions she finds in the work of women, in the movement of the flowers, and in a loving hand. She takes the designs from the mantillas and mantones worn for church and the festivities of her Spanish and Latin background, and blends them with floral and organic images.

She is also a poet and translator. Her work has been included in several poetry books, and often she performs in Spanish and English with poet Kenneth Robinson from Nashville, Tennessee. They are working on The Salka Poetry Project, with a book of poems and art scheduled to be published in 2016. As part of the Salka Poetry Project, they published the Salka Archipelago, a limited edition of thirty hand-made bookswith master printmaker Bud Shark in 2013.

She is a single mother of three and lives in Boulder.

Tiffany Besonen and LouAnn Shepard Muhum

i am water

Tiffany Besonen

Tiffany Besonen

I am smoke
when I can be

More often
I am water

In the shape
of my container

─ LouAnn Shepard Muhm

i am water is Tiffany Besonen’s interpretation of the poem I Am Smoke When I Can Be, by poet LouAnn Shepard Muhm. The work is made from sewing pattern paper, paint, artist’s ink, wax and ink.

Tiffany Besonen is mixed-medium artist living in rural Minnesota, and has taught art in the Minnesota public schools for 20 years. She works both two and three-dimensionally, often using traditional sewing pattern paper as a medium inventing processes to use the material without losing its delicate and translucent qualities. Since 2010, poet LouAnn Shepard Muhm and Tiffany Besonen have been collaborating to create a collection of incantation bowls, Muhm’s incantation poems against fears are inscribed on Besonen’s translucent sewing pattern bowls with illustrations of surreal fox and crows in the centers. i am water traveled throughout the United States with the exhibition, The Veil: Visible & Invisible Spaces, from 2007 to 2013.

LouAnn Shepard Muhm is a poet and teacher from northern Minnesota. Her poems have appeared in Dust & Fire, The Talking Stick, North Coast Review, Alba, Red River Review, Eclectica, Poems Niederngasse, and CALYX, among other journals and anthologies. She was a finalist for the Creekwalker Poetry Prize, the Late Blooms Postcard Series and the Midwest Book Award for Poetry, for her full-length poetry collection Breaking the Glass (Loonfeather Press, 2008). She received the Minnesota State Arts Board Artist Initiative Grant in Poetry in 2006 and 2012, and has been featured twice in “What Light” poetry sponsored by the McKnight Foundation and the Walker Art Museum.

Laura Cesarco Eglin

Translations by Scott Spanbauer

Eglin 1
Eglin 3

Laura Cesarco Eglin is the author of three collections of poetry, Llamar al agua por su nombre (Mouthfeel Press, 2010), Sastrería (Yaugurú, 2011), and Los brazos del saguaro (Yaugurú, 2015). A selection of poems from Sastrería was translated collaboratively into English with Teresa Williams, and subsequently published as the chapbook Tailor Shop: Threads (Finishing Line Press, 2013). Cesarco Eglin has recently published the chapbook Occasions to Call Miracles Appropriate (Lunamopolis, The Lune series, 2015). Her poems and translations have appeared or are forthcoming in a variety of journals, including Modern Poetry in Translation, MiPOesias, Eleven Eleven, Puerto del Sol, Copper Nickel, Tupelo Quarterly, Columbia Poetry Review, Timber, Pretty Owl Poetry, Spillway, Contratiempo, Periódico de Poesía, Metrópolis, and more. Her poems are also featured in the Uruguayan women’s section of Palabras Errantes, Plusamérica: Latin American Literature in Translation. Cesarco Eglin’s poetry will appear in América invertida: An Anthology of Emerging Uruguayan Poets (Ed. Jesse Lee Kercheval) forthcoming from the University of New Mexico Press in 2016. She is a co-founding editor of Veliz Books.

Scott Spanbauer is an editor and translator, and has taught Spanish at the University of Colorado at Boulder. His translations of Laura Cesarco Eglin’s poems have been published or are forthcoming in Pilgrimage, Coconut Magazine, Hiedra Magazine, LuNaMoPoLiS, Malpaís Review, and Blue Lyra Review.

Andrew Wille

BoatsSwan #1

High tide on the River Thames from Ham, January 2016, looking across to Twickenham and Marble Hill House. This stretch of the river – which includes parks, formal gardens, islands, stately homes, and cow pastures – is known as London’s Arcadia, and the view of it from Richmond Hill is protected by law: the Richmond, Ham and Petersham Open Spaces Act of 1902 is considered one of the earliest and most successful environmental campaigns in history. The towpath often floods at high tide.

On the other side of the river.

On the other side of the river.


Andrew Wille has worked in publishing for over two decades. He was managing editor and then senior editor at Little, Brown UK, acquiring and publishing many critically acclaimed and award-winning works of fiction and nonfiction. Subsequently, as a freelance editor, he’s worked for many of London’s most notable imprints, including Abacus, Element, Granta, HarperCollins, Little, Brown, Macmillan, Orion, Portobello, Pushkin Press, Random House, Simon and Schuster, and Virago. Wille is himself a writer and holds an MFA in Writing and Poetics from Naropa University, an MA in English Literature from University College London, and a BA in American Studies from Hull University. As an undergraduate I also studied at the University of New Mexico. He was a tutor at Naropa University’s Jack Kerouac School of Disembodied Poetics, where he taught creative writing and seminars in publishing for MFA and BA programs on campus and online.

Iain Biggs & Antony Lyons

Transgression 10Transgression 14Transgression 15

These three drawings (from a set of twenty) were made for a fifteen-minute film-in-progress (https://vimeo.com/131955801) by Antony Lyons and Iain Biggs, called Transgression (The Rising Waters), made for the Architectural Humanities Research Association (AHRA) international conference, 2013. Both the film – now being re-cut – and the drawings took as their starting point “transgression,” the geological term for: ‘‘a relative rise in sea level resulting in deposition of marine strata over terrestrial strata. The sequence of sedimentary strata formed by transgressions and regressions provides information about the changes in sea level during a particular geologic time’’

Lyons and Biggs share an interest in place, environmental change, and water landscapes, and the film explores questions rooted in physical, social and cultural relationships between land and sea, particularly possible human-influenced marine transgressions. The film aim weaves together original and archival material through documentary and poetic approaches, so as to create an imaginative bridging and transgressing of both disciplinary thinking and the culture of possessive individualism that underpins it.


Iain Biggs works as a doctoral supervisor, artist, and arts-led researcher with a particular interest in “deep mapping.” He is a Visiting Research Fellow at the University of the West of England, Bristol, and Bath Spa University and a coordinator of the LAND2, PLaCE International, and the Mapping Spectral Traces networks. He is the founder of, and an editor for, Wild Conversations Press and writes a regular blog at: http://www.iainbiggs.co.uk/

Antony Lyons trained as a geoscientist and has worked as an environmental sustainability advisor and designer, but now works as a landscape-based artist with a particular interest in water issues. In the last five years he has undertaken residencies in the West of England, at the Grand Canyon, USA, in Co Donegal, Ireland, and undertaken a sustainability-based creative visioning for regeneration areas in Sheffield, England; including implementation of landscape designs and new public realm art installations.