Allen Fisher... involved in performance and installation art since 1970. A poet, painter, publisher and art historian, has produced over one hundred and fifty chapbooks and books of poetry, graphics and art documentation. Editor of Edible Magazine, co-ed of Aloes Books and New London Pride and edits Spanner. Emeritus Professor of Poetry & Art at the Manchester Metropolitan University and lives in Hereford. Has exhibited paintings in many shows including a one-man show in Hereford 2013, in London 2003, retrospective shows at York 1993 and at the Hereford City Art Gallery and Museum 1994. Examples of his work are in the Tate collection, London, the King's College Archive, London and the Living Museum, Iceland, as well as private collections in Australia, Britain, UAE and the USA. A short film of his recent work on a peat bog appears on https://vimeo.com/218967762/6e818e2925. His last six books were IMPERFECT FIT: Aesthetic Function, Facture & Perception in Art and Writing since 1950 (2016); GRAVITY AS A CONSEQUENCE OF SHAPE (2016); PLACE, (1971-1981, a new collected edition 2016); Ideas on the Culture Dreamed of (1983, reissued 2016); SPUTTOR, 2014; TIP REGARD, 2014.
His website includes a bibliography.
- 'Over the Top'
- 'Stamping Sequence'
- 'The Giant Slits'
- from 'Gravity as a Consequence of Shape'
- Reading at UnAmerican Activities
- The Marvels of Lambeth. Interviews and Statements by Allen Fisher 1973-2005, edited by Andrew Duncan (Shearsman, 2013), ISBN 978 -1-84861-273-0.
- PROPOSALS: poem-image-text (Spanner, 2010), ISBN 978-0-85652-089-1.
- LEANS (Salt Publishing, 2007), ISBN 978-1-84471-319-6.
- Confidence in lack, essays (Writers Forum, 2007), ISBN 978-1-84254-105-0.
- PLACE (Reality Street, 2005), ISBN: 1-874400-28-8. Place was named by Iain Sinclair as one of the 'Books of the Year' in The Guardian (26 November)
- ENTANGLEMENT (Willowdale, Ontario, Canada: The Gig, 2004), 280pp, ISBN: 0-973587-50-4
- GRAVITY (Salt Publishing, 2004), 280pp, ISBN: 1-844710-34-3
- and from the superb Stem a CD: GRAVITY SHAPES
His work was talked about a lot in Robert Sheppard's Liverpool U.P. book The Poetry of Saying (2006) and in Tony Lopez's Salt book Meaning Performance (2006).
Reverse thrust heard
across lake from
indicative of a
storm travels towards
spot of rain on
storm edge felt on
an arm before it lifts
to empty a vodka sunshine
flies bring squint
seen and then felt
prepare a scum of oil
respect for indenture and taut song
Lulled into false
run out of comfort
bin through mud
Draws foresight scenarios
Fizz lifts weight
Trapped in ice over thousands of years.
fly dizziness distils fuss
mirage intra merrygo
since measurement began
The horizon arm
about entities and phenomena
stare the many sundrops pavement
importance of benchmark of anthropogenic
climate change climate sensitivity
Intact fear before refusal of violence
thought and infinity a
sponge of universe
systematic exploration of uncertainties
the complex variety of processes
that actually determine climate sensitivity.
In bed the weather man
the fainter burnishes wheel
'a fielded capability'
groove this way and that arm
in his head
storm pull anger
the flappable impulses of hafnium dioxide
or strontium titanate shifts
of white light to deep blue
conductivity to insulation
Then she noticed the plant not carrot
but bachelor's button thriving
in bed of onions and buckwheat
he sits in the corner of the house
rafter thoughts released
cat whiskers moment
spread in surface warming
predictions dominated by process
uncertainties burned then
wheel strain in scree
the fast departed grip
Local Stunfire 2.31 17.08.04
grooves through at last
other occupants come go
Shang Hai and Kuala Lumpur, in and
out on jets via Heathrow
beneath them pears thud
the lawn around a woodpecker.
In the fruit garden, spurt
then drops beyond
the margin innovation
remedy shifts twists
on broken rationale.
Sound of voices from Uyghur and Uzbek
demanding not clearing.
news of floods Cornwall and Bangladesh
shack the horizon
papered over wall
centre of the garden just below
blossom all over the path and
dotted shadow line from clothes pegs
turn glisten of damaged daisies
into a sequence torn and push-in
pointed pungent invisible,
he sits in the corner of the house
pin rides in awe wonders
Another part of the same garden
stress recorded marks grass.