Diane Keys: The Exclusive M-L Interview (Part I)

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During the last five years, Diane Keys has emerged as an acclaimed artist, visual poet and performance artist through her involvement in the Eternal Network aka the International Mail Art Network. She has produced a significant body of collage, collaborations, artist books and videos, among other creations. She is probably most widely known for her involvement in Trashpo (trash poetry), a form of visual poetry first conceptualized by Jim Leftwich and circulated via the mail art network. Diane Keys’ fans and correspondents have established DKult in her honor, a group similar to the fan clubs Ray Johnson created through the New York Correspondance [sic] School. As the result of DKult’s propensity to invent narratives and mythologize, many misconceptions exist concerning the facts of Diane Keys’ life. Now, for the first time, M-L sets the record straight with this exclusive, three-part interview conducted in early 2017.

 

M-L: Can you give us an overview of your life narrative and your development as an artist?

DK: I was a child prodigy in ballet, mainly because I had a mother who tried to live her unfulfilled dreams vicariously through me. I was pushed, pressed and over-controlled with a rigid regimen of schools and classes. Starting at age 13, I was sent to boarding schools for the arts just like the Fame school, although I never saw any dancing on the tables. I attended high school at the North Carolina School of the Arts [NCSA] for ballet. This is located in Winston-Salem, the hometown of Sir Richard Canard. He lived right near the school, although I don’t think he was there when I attended. If I had met him, maybe I would have found mail art earlier and my destiny would have been different.

As it was, I was entranced by and jealous of the visual arts students. I hadn’t done more than just sketching, so I could never have been accepted into such a competitive program. I longed for the free, creative expression that was lacking in ballet. What I remember most is their environmental sculptures. Someone made a gorgeous woven hammock out of kudzu vines in the woods behind the school. High school at NCSA was life-changing for me, amazing and also extremely difficult. Aside from extreme pressure, the most painful part of it was that dance and ballet were never my true passion.

M-L: Many references are made in online materials to your studies at Northwestern University [Illinois, USA] and your training as an actress. Some claims, in fact, seem a bit outlandish. Can you separate fact from fiction for us?

DK: After graduation, like many NCSA students, I went to Manhattan [New York City]. I took an acting workshop taught by the dean of the theater department at Northwestern University. I’ll never forget walking with him one day, and we were caught in the rain. He said I looked like a wet cat. Then he told me, ‘You are too smart to just be dancing.’ He invited me to return to Chicago and to attend Northwestern University, which I did.

This was the first major life decision I was able to make for myself. I believe it is one of the best decisions I ever made. Oddly, it wasn’t even something my mother approved. I wanted to enter the College of Arts & Sciences at Northwestern; but while my test scores were high, I lacked the academic prep school background for a highly selective university. NCSA was very weak academically. Instead, I was admitted to the theater department because I had been performing my entire life, not theater but ballet.

“This was the first major life decision I was able to make for myself. I believe it is one of the best decisions I ever made.”

Theater was also not my passion, but it afforded me the opportunity to study the things that interested me most such as philosophy, sociology, history, English and writing. I was one of nine people admitted into an intensive poetry program, and I was a research assistant for a medieval historian. I lived with an art major who was studying with Ed Paschke. Yes, I was jealous again as I heard about the performance art pieces her class was doing. I remember imagining what I would do.

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Vispo by Diane Keys

M-L: What led you to settle in Elgin, Illinois?

DK: After graduation, I worked in several Tennessee cities doing musical theater, ballet and modeling for fine art photographers. I choreographed and taught as well. I was completely fascinated with the creative process of photography. I became more and more interested in photography. One photographer I worked with – Pete Ceren – proved to be an excellent teacher.

At the age of 25, I was completely burned out. My life actually began at 25 when I realized I could not go on living in a box decorated by the desires and constructs of others. I began honoring who I was, and that had nothing to do with dance, theater, fame, compromising or being a player on the main stage. Following my natural inclinations, I have always have been a backstage/behind-the-scenes person. I was just never allowed to be.

“My life actually began at 25 when I realized I could not go on living in a box decorated by the desires and constructs of others. I began honoring who I was, and that had nothing to do with dance, theater, fame, compromising or being a player on the main stage.”

I came back to Chicago, started writing a novel, radio show, poetry, short stories and doing black and white photography. Ironically, my novel was about one third finished when I started using it as scratch paper and it ended up in the trash. Navigating my uncertain world through art, writing and collage was a life-saving journey.

I worked a ‘normal’ job in international business, which I hated. The only good thing that came out of it was that everyone intuitively gave me the international stamps they received. I kept this accidental collection in a shoe box, unsure what I would do with them. Long after the glorious day I quit, I collaged them all onto the box and started reading about design. I collected things that interested me and collaged on furniture. A lot of it was essentially trash. A friend had bought me these disgusting, rose-flavored cigarettes with gorgeous pink and gold wrapping. I used things like that. I am now glad that I never went to art school, as I think adding rules and structure would have diminished my enjoyment.

After my son was born, I set out to find utopia. The game plan was determined by a methodical game of dart throwing. This quest took us to Northern California, Arizona and Colorado. The scientific method that led us to Colorado was called drive until it seems like a good place to stop and/or you run out of gas. I got married, had two more children there, discovered mail art, bought a house, got lots of cats and eventually came back full circle to Chicago.

To be continued…

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Karnival of Trash Mail Art Call: A Picture of an Envelope in the Envelope and It’s All about the Hair by Holly Jo (Toronto, Canada, USA)

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Mail art by Holly Jo (Toronto, Canada)

For her debut upon the humble MinXus-Lynxus blog, Holly Jo sent a spectacular, self-reflective, process-oriented work that invokes Fluxus yet is eminently compatible with the Karnival of Trash call as well as Post-MinXus. Holly Jo is not a networker previously known to me, and I suspect she might be a newcomer. She certainly is a “natural.” This is a wonderful contribution to the KoT. The photo is FAB, but the bagged hair is a show-stopper and high Trashpo:

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Most likely Holly Jo does not know about the MinXus-Lynxus Who Has The Best Hair Contest. That would be wonderful synchronicity.

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Deepest thanks to Holly Jo of Toronto for a superb package!

Karnival of Trash Mail Art Call: Visual-Textual Art by Irene Ronchetti (Buenos Aires, Argentina)

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Mail art by Irene Ronchetti (aka Todo Collage) (Buenos Aires, Argentina)

The Karnival of Trash has been greatly enhanced by the participation of Latin American artists and poets who clearly understand the concepts of Trashpo.

Irene Ronchetti is a wonderful collage artist, and I am thrilled to be able to share her work today. Argentina and Brazil are global leaders in concrete and visual poetry. So I note Irene Ronchetti’s work for the exhibit is verbal-visual, image-text, or as the great Bob Grumman called it (among other designations) “infra-verbal.” This, of course, is the essence of Trashpo – a form of visual poetry – that makes use of found material and often radical disjunction. I believe Irene Ronchetti has created very innovative work here.

Here is more work in the exhibition by Irene Ronchetti:

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And classic Trashpo on the B-Side:

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And the envelope:

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Follow the lynx to see more work by Irene Ronchetti:

http://irene-ronchetti.blogspot.com/

Many thanks Irene!

 

Karnival of Trash Mail Art Call: Asemic Trashpo (Trashemics) by Chris Wells (Columbus, Ohio, USA)

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Mail art by Chris Wells (Columbus, Ohio, USA)

Chris Wells has earned a solid place in the latest wave or “Neueste Wache” of visual poets, many of whom are inclined to explore asemics. At the same time, he participates in the culturally egalitarian Eternal Network and has clearly incorporated, with some thought, Trashpo concepts into his work. After all, Trashpo is a form of visual poetry pioneered by none other than Jim Leftwich. Beneath the anti-art posturing, something of value – indeed – might be found in Trashpo; I am convinced. This work Chris Wells sent specifically for the Karnival of Trash is an interesting example of Trashpo’s possibilities realized. Asemic elements are present, as this close-in reveals:

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And the reverse:

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Many thanks to Chris Wells for making the Karnival of Trash the greatest show on earth!

Karnival of Trash Mail Art Call: Litterature by Dopesick San Francisco aka DSF aka Michael Kelly (Plymouth, Massachusetts, USA)

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Mail art by Dopesick San Francisco aka DSF aka Michael Kelly (Plymouth, Massachusetts, USA)

A few stellar performances remain before the curtain finally closes on the epic Karnival of Trash. Today I am thrilled to present a stunning encore by DSF. Litter box trash is a brilliant Trashpo concept, yet I do not believe anyone has done it before (with apologies to Karina the Dog).

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DSF has been a big KoT supporter, and the contributions are deeply appreciated. Of course, he and K the D were M-L faves long before the greatest shoe on earth. Here are more DSF pieces received during the Karnival of Trash call but, until this historic day, undocumented:

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The reverse:

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And from very early, two copies of the same card. Classic DSF images:

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B-sides:

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Deepest thanks to DSF for making Trashpo great again via the Karnival of Trash!

Karnival of Trash Mail Art Call: PostFlux by Picasso Gaglione (Knoxville, Tennessee, USA)

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Mail art by Picasso Gaglione (Knoxville, Tennessee, USA)

If the contemporary mail art world actually has leaders, Picasso Gaglione would be one. At a minimum, if you are not familiar, he is a major figure in correspondence art history and a tremendous artist. His work with stamps in particular is worthy of exploration.

For the sake of full disclosure, I will tell you Picasso Gaglione graciously and generously sent me this work that I share with you today in response to something I sent him independent of the KoT. Of course, I am not above taking a DKult “useful tool” strategy and including him in the Karnival of Trash show (even if he had not indicated that focus).

Now there can be no dispute this is, indeed, the greatest show on earth! And I can write how thrilled I am that Picasso Gaglione supports Trashpo and DKult. (I am betting on the fact that he does seem to like Diane Keys.)

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Here is the main attraction that was in the envelope. The stamp is on a conventional 8.5 X 11 inches sheet and signed:

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A closer look:

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Deepest thanks to Picasso Gaglione!

 

Karnival of Trash Mail Art Call – Non-GMO Trashpo by Vikki Johnson (Morrison, Colorado, USA)

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Mail art by Vikki Johnson (Morrison, Colorado, USA)

A big, warm Howdy and a secret MinXus handshake are extended to Ms. Vikki Johnson of Colorado, USA who graces these humble pages for the first time today. Vikki Johnson makes the day even better, if that were possible, because she has sent work for the Karnival of Trash. What a wonderful addition!

I never tire of the work received from “Big Name” and “Iconic” correspondence artists that has come to characterize the greatest show on earth. But it is as gratifying to document an “emerging” artist’s first foray into the dumpster. Even if one might, subjectively, sense a certain tentative quality to the work, I must disclose to Vikki Johnson that I believe she is spot-on in capturing the Trashpo (anti-)aesthetic and spirit. This creates an occasion, too, for us to remember and celebrate the egalitarian and mutually supportive nature of mail art.

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I also meditate upon Vikki Johnson’s work considering the notion of healthy trash or non-junk trash. Is such a thing possible? Only DK could tell us for sure. Vikki Johnson also included a picture of a dog or her dog and a snowflake. Or is it a trashflake?

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Lately, for some reason, I have been thinking about the mail artist Irene Dogmatic who made such a splash “back in the day.”

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Thank you Vikki Johnson!