Women in Concrete Poetry: 1959–1979 is an expansive anthology focused on concrete poetry written by women in the groundbreaking movement’s early history. It features 50 writers and artists from Europe, Japan, Latin America, and the United States selected by editors Alex Balgiu and Mónica de la Torre.

The works in this volume evolved from previous manifestations of concrete poetry as defined in foundational manifestos by Öyvind Fahlström, Eugen Gomringer, and the Brazilian Noigandres Group. While some works are easily recognized as concrete poetry, as documented in canonical anthologies edited by Mary Ellen Solt and Emmett Williams in the late ’60s, it also features expansive, serial works that are overtly feminist and often trouble legibility.

Artists and writers include; Ana Bella Geiger, Mira Schendel, Mirella Bentivoglio, Tomaso Binga, Ilse Garnier, Mirtha Dermisache, Mary Ellen Solt, Susan Howe, Liliane Lijn, Hannah Weiner, Irma Blank, Ruth Wolf-Rehfeldt, Chima Sunada, Katalin Ladik amongst others. Designed by Scott Ponik.

Clairvoyant Journal 1974 by Hannah Weiner (1928–1997) is based on the typescripts Early and Clairvoyant Journals and includes the entries dated February 23 to June 10. This new edition of Clairvoyant Journal features an “Afterword” by Patrick Durgin, which completes his study on Hannah Weiner’s “clair-style” writing (“BIG SENSIBLE, Introductory Remarks on Clairvoyant Journal”) previously published on www.f-u-t-u-r-e.org.

With Clairvoyant Journal, Hannah Weiner writes a specific form of diary, using the characteristics of typographic styles (roman, italic and CAPITAL) to present an inner discussion between three separate voices. Clairvoyant Journal also gives an insight into the daily life of a writer living in New York in the 1970s, evoking a poetic, musical, and artistic scene, yoga and a poetical experience.

Established in 1994 in honour of the Cologne art collector Wolfgang Hahn, the Wolfgang Hahn Prize has since been awarded annually to an exceptional, internationally known artist who is nonetheless not yet well known in Germany. In 2015 the prize was awarded for the first time to two artists, R.H. Quaytman and Michael Krebber. This publication honours the prizewinners, both of whom approach the medium of painting from a decidedly conceptual standpoint. With a foreword by Mayen Beckmann, an introduction by Yilmaz Dziewior, a laudation by Daniel Birnbaum, and an afterword by Hanspeter Sauter.

For decades Kevin Killian won laurels for his novels, his poetry, and his work in the poets theater of the San Francisco bay area. Drawing from the late 1980s to the early 2010s, this is the first representative selection of Killian’s plays. Once describing his productions as a form of “blanket permission,” Killian added, “I think people might come away thinking, I could do that! Isn’t that the best kind of work, something generative? Action painting was sort of like that…” This is a book to read, where reading means catching some action.

Kontakt is the first publication to provide an overview of the eponymous art collection that was founded in 2004 by Erste Group and ERSTE Foundation. This collection, which now consists of over 600 individual works with an emphasis on Eastern, Southeastern, and Central Europe, is portrayed via an array of diverse, mutually complementary approaches.

Featuring artists such as Maria Bartuszová, Maja Bajević, Anna Daučíková, VALIE EXPORT, Bela Kolářová, Jiří Kovanda, Daniel Knorr, Edward Krasiński, Stano Filko, Mladen Stilinović, Július Koller, Sanja Iveković, Katalin Ladik, Ivan Kožarić.

Produced to accompany John Knight’s site-specific project 87º at the Storm King Art Center. Installed on Storm King’s Museum Hill, it comprised of a telescope—similar to those used by tourists at scenic overlooks—and the view through the telescope’s lens. When directed toward the 87 degrees of the work’s title, the telescope focuses in on a rounded water tower, erected by the former Star Expansion Company in 1958, just south of Storm King’s property. In prioritizing this viewpoint, Knight conceptually connects Storm King’s pastoral hills with the industrial production just beyond them. Star Expansion Company, which manufactured industrial fasteners, was owned and operated by the family that founded Storm King.