Concerning Concrete Poetry
- Submitting institution
-
Manchester Metropolitan University
- Unit of assessment
- 32 - Art and Design: History, Practice and Theory
- Output identifier
- 240844
- Type
- T - Other
- DOI
-
-
- Location
- South London Gallery, London, United Kingdom
- Brief description of type
- A collection of creative works; exhibitions, publications
- Open access status
- Out of scope for open access requirements
- Month
- December
- Year
- 2014
- URL
-
-
- Supplementary information
-
-
- Request cross-referral to
- -
- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
- -
- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- No
- Number of additional authors
-
0
- Research group(s)
-
B - Art & Performance
- Proposed double-weighted
- No
- Reserve for an output with double weighting
- No
- Additional information
- This output comprises three exhibitions curated by Hunt that presented ground-breaking, previously unseen examples of the historical genre of Concrete Poetry in the form of new major exhibitions and books. Both have resulted in Concrete Poetry’s revaluation with world leading examples of impact, in terms of its wider reception and critical revaluation in the field of contemporary art and culture worldwide. The combined outputs are: ‘Concerning Concrete Poetry’ (exhibition) Badischer Kunstverein in association with ZKM, 2016; ‘Integration Alone is Not Enough’ (exhibition) Richard Saltoun Gallery, 2017; Dom Sylvester Houedard: Typestracts’ (exhibition) Richard Saltoun Gallery, 2017; ‘Concerning Concrete Poetry’ (book) published by Slimvolume 2014 launched at South London Gallery; ‘Dom Sylvester Houedard: Typestracts’ (book) published by Ridinghouse, 2017. This ongoing research asked the question ‘what are the implications for the shifting historical helix between research into contemporary art, design, poetry and art writing by producing a series of exhibitions and publications on the subject of Concrete Poetry?’. Among the new findings, was the insight that Concrete Poetry was a more successfully radical international utopian movement than the genre of Conceptual Art, a fact that has major aesthetic, political, and cultural implications, in terms of proposing a paradigm shift in art historical terms. The two publications of forgotten major work by Bob Cobbing and Dom Sylvester Houedard for the first time was especially valuable for students of design and fine art, alongside major collecting institutions of contemporary art, who have subsequently been encouraged to purchase work. The impact of all exhibitions is summarized by the first substantial presentation of Bob Cobbing and his collaborators, alongside Dom Sylvester Houédard in five decades, which successfully reinstated the importance of this latter key figure of the counter-cultural and transnational art movements of the 1960s and early 1970s into the cultural consciousness.
- Author contribution statement
- -
- Non-English
- No
- English abstract
- -