Preview our SPRING 2021 catalog, featuring more than 400 new books on art, photography, design, architecture, film, music and visual culture.
PRIMARY INFORMATION
Women in Concrete Poetry 1959–1979
Edited by Alex Balgiu, Mónica de la Torre.
A massive, groundbreaking, international anthology of concrete poetry by women, from Mira Schendel to Susan Howe
This expansive volume is the first collection of concrete poetry by women, with artists and poets from the US, Latin America, Europe and Japan, whose work departs from more programmatic approaches to the genre. Their word-image compositions are unified by an experimental impetus and a radical questioning of the transparency of the word and its traditional arrangement on the page.
Owing, perhaps, to the fact that concrete poetry’s attempt to revolutionize poetry foregrounded the male-dominated channels in which it circulated, some of the women in this volume—Ilse Garnier or Giulia Niccolai, for instance—were active in the movement’s epicenters, yet failed to attain a visibility or ample representation in international anthologies such as Emmett Williams’s Anthology of Concrete Poetry (1967) and Mary Ellen Solt’s Concrete Poetry: A World View (1968).
This anthology celebrates their legacy and recontextualizes word-image compositions by other figures working independently. It gathers work by over 40 writers and artists, including Lenora de Barros (Brazil), Mirella Bentivoglio (Italy), Amanda Berenguer (Uruguay), Suzanne Bernard (France), Tomaso Binga (Italy), Blanca Calparsoro (Spain), Paula Claire (UK), Betty Danon (Turkey), Mirtha Dermisache (Argentina), Ilse Garnier (France), Anna Bella Geiger (Brazil), Bohumila Grögerová (Czech Republic), Ana Hatherly (Portugal), Susan Howe (USA), Tamara Jankovic (Serbia), Annalies Klophaus (Germany), Barbara Kozlowska (Poland), Liliana Landi (Italy), Liliane Lijn (USA), Françoise Mairey (France), Giulia Niccolai (Italy), Jennifer Pike (UK), Giovanna Sandri (Italy), Mira Schendel (Brazil), Chima Sunada (Japan), Mary Ellen Solt (USA), Salette Tavares (Portugal), Colleen Thibaudeau (Canada), Rosmarie Waldrop (USA) and Ruth Wolf-Rehfeldt (Germany).
Featured image is reproduced from 'Women in Concrete Poetry 1959–1979.'
PRAISE AND REVIEWS
Brooklyn Rail
Megan Liberty
This addendum to the history of concrete poetry makes evident the connections between concrete poetry and artist books, while allowing for chance visual connections.
Los Angeles Review of Books
Theadora Walsh
Any given artist included in Women in Concrete Poetry 1959–1979 could fill volumes with their work and endless inquiries into language, form, feminism, embodiment, and technology. As a whole, the anthology proves the liberating potential which pours out of language once it is engaged as a structure. Grouped as a collective, this generation of women illustrate a radical blueprint for intervention that artists and poets might consider when making language in our contemporary context.
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FORMAT: Pbk, 8 x 9 in. / 384 pgs. LIST PRICE: U.S. $30.00 LIST PRICE: CANADA $42 ISBN: 9781734489729 PUBLISHER: Primary Information AVAILABLE: 10/6/2020 DISTRIBUTION: D.A.P. RETAILER DISC: TRADE PUBLISHING STATUS: Active AVAILABILITY: In stock TERRITORY: NA ASIA
A massive, groundbreaking, international anthology of concrete poetry by women, from Mira Schendel to Susan Howe
Published by Primary Information. Edited by Alex Balgiu, Mónica de la Torre.
This expansive volume is the first collection of concrete poetry by women, with artists and poets from the US, Latin America, Europe and Japan, whose work departs from more programmatic approaches to the genre. Their word-image compositions are unified by an experimental impetus and a radical questioning of the transparency of the word and its traditional arrangement on the page.
Owing, perhaps, to the fact that concrete poetry’s attempt to revolutionize poetry foregrounded the male-dominated channels in which it circulated, some of the women in this volume—Ilse Garnier or Giulia Niccolai, for instance—were active in the movement’s epicenters, yet failed to attain a visibility or ample representation in international anthologies such as Emmett Williams’s Anthology of Concrete Poetry (1967) and Mary Ellen Solt’s Concrete Poetry: A World View (1968).
This anthology celebrates their legacy and recontextualizes word-image compositions by other figures working independently. It gathers work by over 40 writers and artists, including Lenora de Barros (Brazil), Mirella Bentivoglio (Italy), Amanda Berenguer (Uruguay), Suzanne Bernard (France), Tomaso Binga (Italy), Blanca Calparsoro (Spain), Paula Claire (UK), Betty Danon (Turkey), Mirtha Dermisache (Argentina), Ilse Garnier (France), Anna Bella Geiger (Brazil), Bohumila Grögerová (Czech Republic), Ana Hatherly (Portugal), Susan Howe (USA), Tamara Jankovic (Serbia), Annalies Klophaus (Germany), Barbara Kozlowska (Poland), Liliana Landi (Italy), Liliane Lijn (USA), Françoise Mairey (France), Giulia Niccolai (Italy), Jennifer Pike (UK), Giovanna Sandri (Italy), Mira Schendel (Brazil), Chima Sunada (Japan), Mary Ellen Solt (USA), Salette Tavares (Portugal), Colleen Thibaudeau (Canada), Rosmarie Waldrop (USA) and Ruth Wolf-Rehfeldt (Germany).
