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A visual journey through the public sculpture, art and architecture of Modernist Britain f rom Simon Phipps, author of Brutal North and Brutal London At the end of the Second World War, Britain's cities and communities desperately needed rebuilding. As new houses and public spaces were planned, communal engagement was considered to be vital to social recovery. Public art was thought to provide the means to create this engagement. This era of post-war progressive civic planning gave rise to some of the UK's most important pieces of public art. From Richard Serra's Fulcrum in London's Broadgate to Barbara Hepworth's works across the country, to the less well-known Cumisky mural in Skelmersdale and the vivid Schottlander shapes in Warwick, these works of art have become familiar companions; backdrops to British lives. There is an urgency to catalogue these works as much of Britain's Modernist public art is at risk - not to mention that which has already been removed, vandalised or left to crumble. In Concrete Poetry, Simon Phipps photographs, explores and celebrates Britain's post-war public art, placing it in context and considering its future. Complete with incredible photography, an introduction by Phipps, an essay by Darren Umney and detailed captions, Concrete Poetry honours not only of the artworks themselves, but also the community spirit of the age from which they came. Designed by creative agency Studio Small, Concrete Poetry is a uniquely beautiful book that is as inventive as its subject matter. Please note this is a fixed-format ebook with colour images and may not be well-suited for older e-readers.
A collection of concrete poetry where an animal is built out of words on paper.
Who says words need to be concrete? This collection shapes poems in surprising and delightful ways. Concrete poetry is a perennially popular poetic form because they are fun to look at. But by using the arrangement of the words on the page to convey the meaning of the poem, concrete or shape poems are also easy to write! From the author of the incredibly inventive Lemonade: And Other Poems Squeezed from a Single Word comes another clever collection that shows kids how to look at words and poetry in a whole new way.
Offers a collection of poetry for young readers from numerous visual poets, including Maureen W. Armour and John Hollander.
A collection of illustrations, concrete poetry, and photographs that shows how young children's constructions, created as they play, are reflected in notable works of architecture from around the world.
A photographic exploration of the post-war modernist architecture of London. This collection of unique and evocative photography of Brutalist architecture by Simon Phipps casts the city in a new light. Arranged by inner London Borough, BRUTAL LONDON takes in famous examples such as the Trellick Tower, the Brunswick Centre and the Alexandra Road Estate, as well as lesser known housing and municipal spaces. It serves as an introduction to buildings the reader may see every day, an invitation to look differently, a challenge to look up afresh, or to seek out celebrated Brutalism across the capital. The book's portable size and maps for each borough make it useful and practical; while the design, by leading agency A Practice for Everyday Life, echoes the aesthetic of Brutalist architecture with rough textured edges and fonts inspired by the site maps of modernist estates. The hardback was finalist for the British Book Design and Production Awards 2017, Photographic Books, Art / Architecture Monographs. Please note this is a fixed-format ebook with some coloured pages and may not be well-suited for older e-readers.
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).
A collection of poems about high school.
Is that a bird? Is it a plane? No, it's a poem! Concrete poems are shaped like their subjects. They can look like objects, animals, or even people. You won't find many straight lines here! Award-winning author Brian P. Cleary explains how concrete poems work—and uses them to create all sorts of wild wordplay. Ode to a Commode is packed with mind-bending poems to make you puzzle and ponder. And when you've finished reading, you can try your hand at writing your own concrete poems!
First published by the legendary Something Else Press in 1967, An Anthology of Concrete Poetry was the first American anthology on the international movement of Concrete poetry. The movement itself began in the early 1950s, in Germany--through Eugen Gomringer, who borrowed the term "concrete" from the art of his mentor, Max Bill--and in Brazil, through the Noigandres group, which included the de Campos brothers and Decio Pignatari. Over the course of the 1960s it exploded across Europe, America and Japan, as other protagonists of the movement emerged, such as Dieter Roth, Öyvind Fahlström, Ernst Jandl, bpNichol, Mary Ellen Solt, Jackson Mac Low, Ian Hamilton Finlay, Bob Cobbing, Dom Sylvester Houédard, Pierre Garnier, Henri Chopin, Brion Gysin and Kitasono Katue. By the late 1960s, poet Jonathan Williams could proclaim: "If there is such a thing as a worldwide movement in the art of poetry, Concrete is it." The work of the 77 writers collected in this anthology varies greatly in its aims and forms, but all can be said to emphasize the visual dimension of language, manipulating individual letters and minimal semantic units to produce poems that are for contemplating as much as for reading. Emmett Williams, the book's editor, added explanatory commentary for the poems and biographies of their authors, making this volume--long out of print--the definitive anthology of this movement, which has so influenced artists and writers of subsequent generations.