This article has multiple issues. Please help improve it or discuss these issues on the talk page. (Learn how and when to remove these template messages) This biography of a living person needs additional citations for verification. Please help by adding reliable sources. Contentious material about living persons that is unsourced or poorly sourced must be removed immediately from the article and its talk page, especially if potentially libelous.Find sources: "Judith Copithorne" – news · newspapers · books · scholar · JSTOR (January 2019) (Learn how and when to remove this message)This article contains content that is written like an advertisement. Please help improve it by removing promotional content and inappropriate external links, and by adding encyclopedic content written from a neutral point of view. (May 2019) (Learn how and when to remove this message)Some of this article's listed sources may not be reliable. Please help improve this article by looking for better, more reliable sources. Unreliable citations may be challenged and removed. (May 2019) (Learn how and when to remove this message) (Learn how and when to remove this message)
Judith Copithorne
Canadian artist and poet
Born1939
NationalityCanadian
EducationUniversity of British Columbia
Known forConcrete poetry

Judith Copithorne (born 1939) is a Canadian concrete and visual poet.

Life and career

Judith Copithorne grew up in Vancouver, British Columbia, in an artistic family. She started writing and drawing at an early age and, by the time she attended the University of British Columbia, had already established a unique artistic style. At UBC, she studied under such prominent figures as Warren Tallman and George Woodcock.[citation needed]

In the early 1960s she became acquainted with an informal group of "Downtown Poets," including writers such as Gladys (Maria) Hindmarch, John Newlove, bill bissett, Gerry Gilbert, Maxine Gadd and Roy Kiyooka, centered around the Vancouver venues of Sound Gallery, Motion Studio and Intermedia Press.[citation needed] The Downtown Poets were involved in more radical experimentation than the established TISH group of the University of British Columbia, represented by poets such as George Bowering, Fred Wah, Frank Davey and Daphne Marlatt.[1] The appellation "Downtown poets" was invented by UBC professor Warren Tallman to distinguish the San Francisco Renaissance-influenced UBC writers from the homegrown Canadian poets.

Judith Copithorne works with concrete poetry and other types of experimental writing in prose, poetry and visual poetry. Her core themes include domestic space and community.[2] Copithorne writes between text and visual forms, with early work combining text with abstract line drawings, called Poem-drawings. In the Introduction to the anthology Four Parts Sand,[3] she describes her work in the following manner:

"Poem-drawings are an attempt to fuse visual and verbal perceptions. The eye sees, the ear hears, movement is felt kinaesthetically throughout the body and all these sensations are perceived in heart, belly and brain. The aims are the same as in other forms of literature and art: concentration and communication, delight, immersion in the present moment."

Copithorne has published over 40 books, chapbooks, and ephemeral items; a bibliography of her work was published by jwcurry in the March, 2009 issue #400 of 1 cent).[4] She has been published in blewointment and Ganglia. Her work has been featured in numerous gallery exhibitions and is widely influential for multiple generations of poets living and working today.[5]

Selected works

Anthologies

See also

References

  1. ^ "Tish Group". Oxford Reference. Retrieved 2022-07-26.
  2. ^ Beaulieu, Derek (December 12, 2012). "abstract-concrete-1". Lemonhound. Retrieved October 28, 2018. Her exemplary work from the 1960s and 1970s integrates a daily diaristic practice (especially in Arrangements) that documents a domestic space centered on meditation and community. 1969's Release consists of a series of wisp-like ethereal hand-drawn texts that move through gestural fragments and slights of handwriting accumulated into florid yogic texts that move between mandala and map. The suggestion that her pieces are drawn and not written and are hyphenated poem-drawings speaks to a textual hybridity which places looking on the same plane as reading. With Arrangements, Runes and Release Copithorne creates a visual poetry of looking and reading the domestic and the community.
  3. ^ Binney, Earle (1972). Four Parts Sand. Ottawa: Oberon Press. p. Introduction. ISBN 978-0887500541.
  4. ^ Whistle, Ian (April 2017). "On Judith Copithorne". many gendered mothers. Retrieved October 28, 2018.
  5. ^ "Talonbooks.com/authors/judith-copithorne". Talonbooks.

External links

Authority control databases
Categories