Difference between revisions of "Women in concrete poetry"
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+ | [[Image:Solt Mary Ellen Flowers in Concrete 1966.jpg|thumb|link=https://monoskop.org/images/8/88/Solt_Mary_Ellen_Flowers_in_Concrete_1969.pdf|250px|Mary Ellen Solt, ''[[Media:Solt_Mary Ellen_Flowers_in_Concrete_1969.pdf|Flowers in Concrete]]'' [1966], 1969, [1+11] plates, 92 x 61 cm, [http://ubu.com/historical/solt/solt_flowers.html PDFs]. Includes poems ''Forsythia, Lilac'', and ''Geranium''.]] | ||
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+ | [[Image:Beach Mary_1968.jpg|thumb|250px|Mary Beach's concrete poem in ''The San Francisco Earthquake'' 1:3, 1968.]] | ||
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+ | [[Image:Jankovic Tamara 1970 Sixth Dimension 16.jpg|thumb|250px|Tamara Janković, ''Šesta Dimenzija 16 (Sixth Dimension 16)'', in [https://monoskop.org/images/3/37/Signal_1_1970.pdf#page=49 ''Signal'', no. 1, 1970].]] | ||
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+ | [[Image:May Swenson_1970_Feel_Me.jpg|thumb|250px|May Swenson, ''Feel Me''. From Swenson's collection of visual poems, ''Iconographs'', 1970. [http://omeka.wustl.edu/omeka/exhibits/show/mlc50/item/9298 Drafts]. [http://sci-hub.tw/http://www.jstor.org/stable/20595407 ''Poetry'' review].]] | ||
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+ | [[Image:Solt_Mary_Ellen_The_Peoplemover_1968_A_Demonstration_Poem_1978.jpg|thumb|link=https://monoskop.org/images/a/ae/Solt_Mary_Ellen_The_Peoplemover_1968_A_Demonstration_Poem_1978.pdf|250px|Mary Ellen Solt, ''[[Media:Solt_Mary_Ellen_The_Peoplemover_1968_A_Demonstration_Poem_1978.pdf|The Peoplemover 1968: A Demonstration Poem]]'' [1973], 1978, 114 pp. A reproduction of the texts from Solt’s protest posters arranged in the form of concrete poems.]] | ||
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[[Image:Sa Neide 1968 Transparencia.jpg|thumb|250px|Neide Sá, ''Transparência'', 1968. Acrylic, serigraphy, 20 x 20 x 20 cm. [http://www.galeriasuperficie.com.br/en/artists/neide-de-sa/photos/ (Source)].]] | [[Image:Sa Neide 1968 Transparencia.jpg|thumb|250px|Neide Sá, ''Transparência'', 1968. Acrylic, serigraphy, 20 x 20 x 20 cm. [http://www.galeriasuperficie.com.br/en/artists/neide-de-sa/photos/ (Source)].]] | ||
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[[Image:Partum Ewa 1971-1973 Active Poetry.jpg|thumb|link=https://artmuseum.pl/en/filmoteka/praca/partum-ewa-active-poetry-poem-by-ewa|thumb|250px|[[Ewa Partum]], ''Active Poetry'', 1971-1973. 8 mm film, b&w, no sound, 5'53".<br>{{sm|Documentation of five actions in the surroundings of Warsaw. For her action in 1971, "the artist cut up a single page of James Joyce’s novel ''Ulysses'' and scattered the individual letters in a pedestrian arcade in Warsaw. The letters became distributed through the space creating new texts and chance meetings as passers-by moved around the arcade. The concept marked a turning point in Partum’s career and is one with which she has continued to play in order to critique the means and modes of textual production. Partum went on to create a series of works using letter cut-outs, often releasing them into natural spaces, including the ocean and a hilltop." [https://www.tate.org.uk/research/publications/performance-at-tate/case-studies/ewa-partum].}} [https://artmuseum.pl/en/filmoteka/praca/partum-ewa-active-poetry-poem-by-ewa View film on Filmoteka]. [https://www.tate.org.uk/art/artworks/partum-active-poetry-t12766 Tate]. [https://www.museoreinasofia.es/en/collection/artwork/active-poetry-poem-ewa Reina Sofia]. [http://foundation.generali.at/en/collection/artist/partum-ewa/artwork/aktive-poesie.html Generali]. [https://www.tate.org.uk/research/publications/performance-at-tate/case-studies/ewa-partum 2006 re-creation at Tate].]] | [[Image:Partum Ewa 1971-1973 Active Poetry.jpg|thumb|link=https://artmuseum.pl/en/filmoteka/praca/partum-ewa-active-poetry-poem-by-ewa|thumb|250px|[[Ewa Partum]], ''Active Poetry'', 1971-1973. 8 mm film, b&w, no sound, 5'53".<br>{{sm|Documentation of five actions in the surroundings of Warsaw. For her action in 1971, "the artist cut up a single page of James Joyce’s novel ''Ulysses'' and scattered the individual letters in a pedestrian arcade in Warsaw. The letters became distributed through the space creating new texts and chance meetings as passers-by moved around the arcade. The concept marked a turning point in Partum’s career and is one with which she has continued to play in order to critique the means and modes of textual production. Partum went on to create a series of works using letter cut-outs, often releasing them into natural spaces, including the ocean and a hilltop." [https://www.tate.org.uk/research/publications/performance-at-tate/case-studies/ewa-partum].}} [https://artmuseum.pl/en/filmoteka/praca/partum-ewa-active-poetry-poem-by-ewa View film on Filmoteka]. [https://www.tate.org.uk/art/artworks/partum-active-poetry-t12766 Tate]. [https://www.museoreinasofia.es/en/collection/artwork/active-poetry-poem-ewa Reina Sofia]. [http://foundation.generali.at/en/collection/artist/partum-ewa/artwork/aktive-poesie.html Generali]. [https://www.tate.org.uk/research/publications/performance-at-tate/case-studies/ewa-partum 2006 re-creation at Tate].]] | ||
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[[Image:Bentivoglio Mirella 1971 Lassente positivo negativo segno figura.jpg|thumb|250px|Mirella Bentivoglio, ''L’(assente), positivo/negativo, segno/figura'' [The Absent One, Positive/Negative, Sign/Figure], 1971. Serigraph on paper, 62.55 x 48.26 cm. [https://monoskop.org/images/f/f1/Mirella_Bentivoglio_Pages_Selected_Works_1966-2012_2015_excerpt.pdf#page=26 (Source)].]] | [[Image:Bentivoglio Mirella 1971 Lassente positivo negativo segno figura.jpg|thumb|250px|Mirella Bentivoglio, ''L’(assente), positivo/negativo, segno/figura'' [The Absent One, Positive/Negative, Sign/Figure], 1971. Serigraph on paper, 62.55 x 48.26 cm. [https://monoskop.org/images/f/f1/Mirella_Bentivoglio_Pages_Selected_Works_1966-2012_2015_excerpt.pdf#page=26 (Source)].]] | ||
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+ | [[Image:Dermisache_Mirtha 1972 Diario_No_1_Ano_1.jpg|thumb|250px|Mirtha Dermisache, ''Diario No. 1, Año 1'', 1972. Chinese ink and marker on paper, 46.4 × 35.6 cm. [https://www.theparisreview.org/blog/2018/01/30/mirtha-dermisache-limits-language/ Source].]] | ||
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[[Image:Bentivoglio Mirella 1973 E congiunzione.jpg|thumb|250px|Mirella Bentivoglio, ''E = congiunzione'' [And = Conjunction], 1973. Serigraph on paper, 20.96 x 29.85 cm. [https://monoskop.org/images/f/f1/Mirella_Bentivoglio_Pages_Selected_Works_1966-2012_2015_excerpt.pdf#page=9 (Source)].]] | [[Image:Bentivoglio Mirella 1973 E congiunzione.jpg|thumb|250px|Mirella Bentivoglio, ''E = congiunzione'' [And = Conjunction], 1973. Serigraph on paper, 20.96 x 29.85 cm. [https://monoskop.org/images/f/f1/Mirella_Bentivoglio_Pages_Selected_Works_1966-2012_2015_excerpt.pdf#page=9 (Source)].]] | ||
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[[Image:de Charmoy Cozette The Colossal Lie 1974.jpg|thumb|250px|Cover of Cozette de Charmoy's collage novel ''The Colossal Lie'' (Collection OU 4), 1974.]] | [[Image:de Charmoy Cozette The Colossal Lie 1974.jpg|thumb|250px|Cover of Cozette de Charmoy's collage novel ''The Colossal Lie'' (Collection OU 4), 1974.]] | ||
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+ | [[Image:Solt Mary Ellen 1976 ZigZag.jpg|thumb|250px|Mary Ellen Solt's contribution (''ZigZag'') to ''Arti visive. Poesia visiva'', 1976. [https://www.theideaofthebook.com/pages/books/87/mirella-bentivoglio-patrizia-vicinelli-biljana-tomic-salette-tavares-chima-sunada-mary-ellen/arti-visive-poesia-visiva-visual-poetry-by-women-an-international-exhibition-in-venice/?soldItem=true (Source)].]] | ||
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[[Image:Landi Liliana 1976.jpg|thumb|250px|Liliana Landi's contribution to ''Arti visive. Poesia visiva'', 1976. [https://www.theideaofthebook.com/pages/books/87/mirella-bentivoglio-patrizia-vicinelli-biljana-tomic-salette-tavares-chima-sunada-mary-ellen/arti-visive-poesia-visiva-visual-poetry-by-women-an-international-exhibition-in-venice/?soldItem=true (Source)].]] | [[Image:Landi Liliana 1976.jpg|thumb|250px|Liliana Landi's contribution to ''Arti visive. Poesia visiva'', 1976. [https://www.theideaofthebook.com/pages/books/87/mirella-bentivoglio-patrizia-vicinelli-biljana-tomic-salette-tavares-chima-sunada-mary-ellen/arti-visive-poesia-visiva-visual-poetry-by-women-an-international-exhibition-in-venice/?soldItem=true (Source)].]] | ||
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[[Image:Bentivoglio Mirella 1979 Io.jpg|thumb|250px|Mirella Bentivoglio, ''Io'' [Me], 1979. Photomechanical print on paper, 60 x 40 cm. [https://monoskop.org/images/f/f1/Mirella_Bentivoglio_Pages_Selected_Works_1966-2012_2015_excerpt.pdf#page=32 (Source)].]] | [[Image:Bentivoglio Mirella 1979 Io.jpg|thumb|250px|Mirella Bentivoglio, ''Io'' [Me], 1979. Photomechanical print on paper, 60 x 40 cm. [https://monoskop.org/images/f/f1/Mirella_Bentivoglio_Pages_Selected_Works_1966-2012_2015_excerpt.pdf#page=32 (Source)].]] | ||
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+ | [[Image:Bentivoglio Mirella 1980 Moduli a E.jpg|thumb|250px|Mirella Bentivoglio, ''Moduli a E'' [E Combinations], 1980. Ink on paper drawings after 1977 wooden constructions, 29.53 x 20.96 cm. [https://monoskop.org/images/f/f1/Mirella_Bentivoglio_Pages_Selected_Works_1966-2012_2015_excerpt.pdf#page=11 (Source)].]] | ||
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[[Image:Blank Irma 1987 Radical Writings.jpg|thumb|250px|Irma Blank, ''Radical Writings, Rosa geatmet, rosa gechrieben'' [Pink Breathed, Pink Scripted], 1987. Acrylic on canvas (diptych), 2 × 2.4 m. Photograph: C. Favero. [https://frieze.com/article/i-am-here-i-am (Source)].]] | [[Image:Blank Irma 1987 Radical Writings.jpg|thumb|250px|Irma Blank, ''Radical Writings, Rosa geatmet, rosa gechrieben'' [Pink Breathed, Pink Scripted], 1987. Acrylic on canvas (diptych), 2 × 2.4 m. Photograph: C. Favero. [https://frieze.com/article/i-am-here-i-am (Source)].]] | ||
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==Writings, statements== | ==Writings, statements== | ||
+ | : Biljana Tomić, [http://digitizing-ideas.org/en/entry/18469 "Objašnjenje typoezije"], ''Novine Galerija SC'' 9, Belgrade, 1969, p 19. {{sc}} | ||
: Lily Greenham, [https://monoskop.org/images/1/1d/Kontextsound_Stedelijk_1977.pdf#page=22 "Lingual Music"], in ''Kontextsound'', ed. Michael Gibbs, Amsterdam: Kontexts Publications, 1977, p 22. | : Lily Greenham, [https://monoskop.org/images/1/1d/Kontextsound_Stedelijk_1977.pdf#page=22 "Lingual Music"], in ''Kontextsound'', ed. Michael Gibbs, Amsterdam: Kontexts Publications, 1977, p 22. | ||
: Paula Claire, "The Notation of My Sound Poetry", ''Open Letter'' 5:7, Spring 1984. [http://publish.uwo.ca/~fdavey/c/5.7.htm] | : Paula Claire, "The Notation of My Sound Poetry", ''Open Letter'' 5:7, Spring 1984. [http://publish.uwo.ca/~fdavey/c/5.7.htm] | ||
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<div class="dpl" style="-moz-column-count:3; -webkit-column-count:3; column-count:3; font-size: 1em"> | <div class="dpl" style="-moz-column-count:3; -webkit-column-count:3; column-count:3; font-size: 1em"> | ||
* [https://www.poetryfoundation.org/poets/may-swenson May Swenson] (1913-1989) | * [https://www.poetryfoundation.org/poets/may-swenson May Swenson] (1913-1989) | ||
+ | * [https://www.emptymirrorbooks.com/thirdpage/marybeachtribute.html Mary Beach] (1919-2006) | ||
* [[Mary Ellen Solt]] (1920-2007) | * [[Mary Ellen Solt]] (1920-2007) | ||
* [http://www.bettydanon.it/bd_e.html Betty Danon] (1920-2002) | * [http://www.bettydanon.it/bd_e.html Betty Danon] (1920-2002) | ||
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* [https://fr.wikipedia.org/wiki/Lily_Greenham Lily Greenham] (1924-2001) | * [https://fr.wikipedia.org/wiki/Lily_Greenham Lily Greenham] (1924-2001) | ||
* [http://www.ubu.com/sound/garnier_i.html Ilse Garnier] (1927) | * [http://www.ubu.com/sound/garnier_i.html Ilse Garnier] (1927) | ||
− | * [https://www.academia.edu/36001707/ Greta Monach] (1928) | + | * [https://www.academia.edu/36001707/ Greta Monach] (1928-2018) |
* [http://writing.upenn.edu/epc/authors/weiner/ Hannah Weiner] (1928-1997) | * [http://writing.upenn.edu/epc/authors/weiner/ Hannah Weiner] (1928-1997) | ||
* [https://pt.wikipedia.org/wiki/Ana_Hatherly Ana Hatherly] (1929-2015) | * [https://pt.wikipedia.org/wiki/Ana_Hatherly Ana Hatherly] (1929-2015) | ||
* [https://awarewomenartists.com/en/artiste/francoise-janicot/ Françoise Janicot] (1929-2017) | * [https://awarewomenartists.com/en/artiste/francoise-janicot/ Françoise Janicot] (1929-2017) | ||
− | * [https:// | + | * [https://monoskop.org/images/3/34/Bogdanka_Poznanovic_Contact_Art_2016.pdf#page=51 Bogdanka Poznanović] (1930-2013) |
* [https://mailartists.wordpress.com/2008/07/14/ruth-wolf-rehfeldt/ Ruth Wolf-Rehfeldt] (1932) | * [https://mailartists.wordpress.com/2008/07/14/ruth-wolf-rehfeldt/ Ruth Wolf-Rehfeldt] (1932) | ||
* [https://luciamarcucci.wordpress.com/ Lucia Marcucci] (1933) | * [https://luciamarcucci.wordpress.com/ Lucia Marcucci] (1933) | ||
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* [http://www.newstarbooks.com/author.php?author_id=3119 Maxine Gadd] (1940) | * [http://www.newstarbooks.com/author.php?author_id=3119 Maxine Gadd] (1940) | ||
* [https://sr.wikipedia.org/wiki/Judita_Šalgo Judita Šalgo] (1941-1996) | * [https://sr.wikipedia.org/wiki/Judita_Šalgo Judita Šalgo] (1941-1996) | ||
+ | * [https://rachelblauduplessis.com/ Rachel Blau DuPlessis] (1941) | ||
* [[Katalin Ladik]] (1942) | * [[Katalin Ladik]] (1942) | ||
* [http://www.ann-noel.com/ Ann Noël] (1944) | * [http://www.ann-noel.com/ Ann Noël] (1944) | ||
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* [[Johanna Drucker]] (1952) | * [[Johanna Drucker]] (1952) | ||
* [http://www.learnyeats.com/ Beth Learn] | * [http://www.learnyeats.com/ Beth Learn] | ||
+ | * [http://www.vispo.com/aleph3/images/maria_damon/slidvid/info.htm Maria Damon] (1955) | ||
* [https://patriciafarrell.weebly.com Patricia Farrell] (1956) | * [https://patriciafarrell.weebly.com Patricia Farrell] (1956) | ||
* [http://web.archive.org/web/20160118104327/http://xoomer.virgilio.it/cprezi/caterinadav.html Caterina Davinio] (1957) | * [http://web.archive.org/web/20160118104327/http://xoomer.virgilio.it/cprezi/caterinadav.html Caterina Davinio] (1957) |
Revision as of 09:12, 21 December 2018
Women in concrete, visual, and sound poetry
Works
See also Women in Concrete Poetry channel on Are.na.
Sound works
Writings, statements
- Biljana Tomić, "Objašnjenje typoezije", Novine Galerija SC 9, Belgrade, 1969, p 19. (Serbo-Croatian)
- Lily Greenham, "Lingual Music", in Kontextsound, ed. Michael Gibbs, Amsterdam: Kontexts Publications, 1977, p 22.
- Paula Claire, "The Notation of My Sound Poetry", Open Letter 5:7, Spring 1984. [4]
- Mary Ellen Solt, "Concrete Steps to an Anthology", in Experimental, Visual, Concrete: Avant-garde PoetrySince the 1960s, eds. K. David Jackson, Eric Vos, and Johanna Drucker, Amsterdam: Rodopi, 1996, pp 347-352.
- Maria Demon, Rachel Blau DuPlessis, "Desiring Visual Texts: A Collage and Embroidery Dialogue", Jacket2, 25 Mar 2013.
Poets, artists, collectives
- May Swenson (1913-1989)
- Mary Beach (1919-2006)
- Mary Ellen Solt (1920-2007)
- Betty Danon (1920-2002)
- Jennifer Pike Cobbing (1920-2016)
- Bohumila Grögerová (1921-2014)
- Mirella Bentivoglio (1922-2017)
- Salette Tavares (1922-1994)
- Lily Greenham (1924-2001)
- Ilse Garnier (1927)
- Greta Monach (1928-2018)
- Hannah Weiner (1928-1997)
- Ana Hatherly (1929-2015)
- Françoise Janicot (1929-2017)
- Bogdanka Poznanović (1930-2013)
- Ruth Wolf-Rehfeldt (1932)
- Lucia Marcucci (1933)
- Giulia Niccolai (1934)
- Irma Blank (1934)
- Barbara Caruso (1937-2009)
- Susan Howe (1937)
- Ketty La Rocca (1938-1976)
- Cozette de Charmoy (1939)
- Liliane Lijn (1939)
- Paula Claire (1939)
- Judith Copithorne (1939)
- Mirtha Dermisache (1940-2012)
- Elena Asins (1940-2015)
- Biljana Tomić (1940)
- Neide Sá (1940)
- Maxine Gadd (1940)
- Judita Šalgo (1941-1996)
- Rachel Blau DuPlessis (1941)
- Katalin Ladik (1942)
- Ann Noël (1944)
- Ewa Partum (1945)
- Betty Radin
- Rhoda Rosenfeld
- Michèle Métail (1950)
- Ana María Uribe (1951-2004)
- Maggie O'Sullivan (1951)
- Johanna Drucker (1952)
- Beth Learn
- Maria Damon (1955)
- Patricia Farrell (1956)
- Caterina Davinio (1957)
- Peggy Lefler (1959)
- Erica Baum (1961)
- Jen Bervin (1972)
- Sylvia Ptak
- Safiye Can (1977)
- Francesca Capone (1987)
Exhibition catalogues
Group exhibitions
- Arti visive. Poesia visiva. / Visual Poetry by Women, an International Exhibition in Venice, ed. Mirella Bentivoglio, intro. Franca Zoccoli, Rome: Studio d'Arte Contemporanea, 1976, [27] cards+[3] leaves, 22 x 16 cm. Introduction, Artist list. A gathering of artists’ cards documenting visual and concrete poetry all created by women from Italy, England, Germany, United States, Czechoslovakia, Portugal, Canada, and Japan. Organized by Bentivoglio, this multiyear exhibit traveled form city to city throughout Italy (Milan, Savona, Rome, Turin) starting in 1972. Participating artists: Annalisa Alloatti, Mirella Bentivoglio, Irma Blank, Paul Claire, Lia Drei, Ulrike Eberle, Anna Esposito, Amelia Etlinger, Gisela Frankenberg, Ilse Garnier, Bohumila Grögerová, Ana Hatherly, Annalies Klophaus, Liliana Landi, Giulia Niccolai, Anna Oberto, Anezia Pacheco e Chaves, Marguerite Pinney, Betty Radin, Giovanna Sandri, Mira Schendel, Mary Ellen Solt, Chima Sunada, Salette Tavares, Biljana Tomić, Patrizia Vicinelli. [5] (Italian),(English)
- Materializzazione del linguaggio, ed. Mirella Bentivoglio, Biennale di Venezia 1978-Arti visive e architettura, 1978, 55 pp. Catalogue for exh. held 20 Sep-15 Oct 1978 featuring works by 86 women artists. Text by Mirella Bentivoglio, biographies of the exhibiting artists including Sonia Delaunay, Natalia Goncharova, Irma Blank, Mirella Bentivoglio, Lia Dreai, Chiara Diamantini, Elisabetta Gut, Ketty La Rocca, Lucia Marcucci, Simona Weller, Carla Vasio, Giulia Niccolai, Paola Levi Montalcini, Maria Lai, Tomaso Binga. [6] {{it}
Solo exhibitions
- Mirella Bentivoglio: Pages: Selected Works, 1966-2012, ed. & intro. Frances K. Pohl, Claremont, CA: Pomona College Museum of Art, 2015, 152 pp, Excerpt (pp 57-90). This book is the first museum publication in English on Italian artist Mirella Bentivoglio (born 1922). It includes critical essays by art historians Frances K. Pohl, Leslie Cozzi and Franca Zoccoli, interviews with Bentivoglio and John David O'Brien, and a biographical note by Rosaria Abate, plus a bibliography. The book highlights work from the recent exhibition at the Pomona College Museum of Art, which surveyed nearly 50 years of the artist's work as an internationally renowned member of the Concrete and visual poetry movements. Including works in paper, stone, metal, wood, cloth, plastic and Plexiglass and with numerous previously unpublished images, it reveals the ways in which Bentivoglio engaged with many of the most significant formal and theoretical issues of postwar art--for example, the relationship between image and text, the impact of mass media and consumer culture, feminist critiques of patriarchy and artistic interventions in public spaces. Exhibition: Pomona College Museum of Art, Claremont, USA (20.01-17.05.2015). [7] (English)
- Cozette de Charmoy: Podróże wyobraźni, eds. Urszula Czartoryska and Jaromir Jedlinski, Lodz: Muzeum sztuki, 1987, [16] pp. (Polish)
Archives, resources
- Paula Claire Archive; fromWORDtoART - International PoetArtists, an international archive of sound and visual poetry, est. 1983. The archive containing over 5,000 books, poem objects, exhibition catalogues, cassettes and CDs, was gathered by exchanging Claire's Little Press publications with fellow international poets, and is the basis of illustrated talks and displays.
Reception, art historical studies, theory
- OEI 51: "Mary Ellen Solt: Towards a theory of concrete poetry", ed. & forew. Antonio Sergio Bessa, Stockholm, 2010. [8] [9] (English)
- Leslie Cozzi, "Notes on the Index, Continued: Italian Feminism and the Art of Mirella Bentivoglio and Ketty La Rocca", Cahiers d’études italiennes 16, 2013, pp 213-234. (English)
- Elisabeth A. Frost, "Visual Poetics", in A History of Twentieth-Century American Women's Poetry, ed. Linda A. Kinnahan, Cambridge University Press, 2016, pp 339-358.
See also
Literature groups, movements, cultures |
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Avant-garde and modernist magazines, Artists' publishing, Vorticism, Dada, Zenitism, Estridentismo, Surrealism, Concrete poetry, Zine culture, Afrofuturism, Shadow libraries, Code poetry, Conceptual writing, Alternative literature, Conceptual comics. Art and culture, Contents, Index, About. |