Women in concrete poetry
Women in concrete, visual, and sound poetry
Works
See also Women in Concrete Poetry channel on Are.na.
Sound works
Writings, statements
- 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
Mary Ellen Solt (1920-2007). Photo: Catherine Solt, c1980.
Mirella Bentivoglio (1922-2017). Io [Me], 1970s. Source.
Salette Tavares (1922-1994).
Lily Greenham (1924-2001). Lecturing on concrete art and poetry at RDG, Edinburgh, Oct/Nov 1970. Source.
Ana Hatherly (1929-2015). Photo published on the back cover of O Mestre, 1963. Source.
Françoise Janicot (1929-2017). Encoconnage, 1972. Photo: Bruno Scotti. Source.
Irma Blank (1934). Photographed in her studio, Milan, 1977, in front of Law I and Law II, 1975, ink on parchment-like paper. Photograph: Maria Mulas. Source.
Cozette de Charmoy (1939). Photo: Rodney Grey, 1975. Source.
Liliane Lijn (1939). Photo: Mayotte Magnus, 1978. Source.
Katalin Ladik (1942). Giving a sound poetry performance at the Chapel Gallery in Balatonboglár, Hungary, July 1973. Photo: György Galántai. Source.
Ewa Partum (1945). Zmiana, 1974. MS Lodz.
Michèle Métail (1950). Photo: Françoise Janicot, 1976. Source.
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. |