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Lawrence Weiner’s Terminal Boundaries is out now!
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Made in 1969 but never published, the artist book was only recently brought to light and contains two related bodies of work represented as typewritten statements on paper that Weiner pasted to the pages of a small composition notebook. The book’s absence from Weiner’s oeuvre plagued him as it marked a terminus of his relationship to the physical construction of his artworks, and illustrated the principle of “specific” and “general” which he applied to his art.⁠
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Created from a standard notebook purchased in a stationery store, the manuscript is two books in one: Terminal Boundaries and A natural watercourse diverted reduced or displaced. A tête-bêche with two front covers, the book can begin from either cover by turning it upside down.⁠
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Weiner was traveling across Europe when this manuscript was composed. Struck by the tumultuous times and the critical illuminations about the climate from the Club of Rome discussions, the works in this book are in Weiner’s words, “concerned with the relationship of natural resources in relation to human beings.” Distinct from his contemporaries associated with the Land Art movement, Weiner constructs his landscape interventions in language—the specific and/or general act and the location are stated—offering the reader/viewer the opportunity to consider each work’s existence, to build it in their mind’s eye. ⁠
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Terminal Boundaries finds Weiner just off the cusp of his decision to make art that lived centered in language, emphasizing the viewer’s responsibility to engage with it to make it whole. The book marks a crucial inflection point in the artist’s practice, defining his direction to make work that “attempts to present something to people that is not just about me,” but about materials and the world we find ourselves in here and now.⁠
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Terminal Boundaries is 136 pages, measures 4.25 x 6.75 inches, and retails for $24.00.⁠
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Managing Editor: James Hoff⁠
Managing Designer: Rick Myers⁠
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Women in Concrete Poetry: 1959–1979 is out now!
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This expansive anthology focuses on concrete poetry written by women in the groundbreaking movement’s early history, featuring fifty writers and artists from Europe, Japan, Latin America, and the US selected by editors Alex Balgiu and Mónica de la Torre.
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The publication takes as its point of departure “Materializzazione del linguaggio”—the groundbreaking exhibition of visual and concrete poetry by women curated by Italian feminist artist Mirella Bentivoglio for the Venice Biennale in 1978. Bentivoglio’s curation traced constellations of women artists working at the intersection of the verbal and visual who sought to “reactivate the atrophied tools of communication” and liberate words from the conventions of genre, gender, and the strictures of the patriarchy and normative syntax.
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Artists and writers include Lenora de Barros, Ana Bella Geiger, and Mira Schendel from Brazil; Mirella Bentivoglio, Tomaso Binga, Liliana Landi, Anna Oberto, and Giovanna Sandri from Italy; Amanda Berenguer from Uruguay; Suzanne Bernard and Ilse Garnier from France; Blanca Calparsoro from Spain; Paula Claire and Jennifer Pike from the UK; Betty Danon from Turkey; Mirtha Dermisache from Argentina; Bohumila Grögerová from the Czech Republic; Ana Hatherly and Salette Tavares from Portugal; Madeline Gins, Susan Howe, Liliane Lijn, Mary Ellen Solt, and Rosmarie Waldrop from the US; Irma Blank and Ruth Wolf-Rehfeldt from Germany; Chima Sunada from Japan; and Katalin Ladik and Bogdanka Poznanović from the former Yugoslavia.

Women in Concrete Poetry: 1959–1979 is 488 pages, measures 8 x 9 inches, and retails for $35.00. ⁠

Editors: Alex Balgiu and Mónica de la Torre⁠
Managing Editor: James Hoff⁠
Designer: Scott Ponik⁠