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20-1151: Lenora may refer to: People [ edit ] Lenora de Barr (born 1953), Brazilian artist and poet Lenora Champagne , American playwright and performer Lenora Claire , American media personality Lenora Crichlow (born 1985), British actress Lenora Fisher (born 1937), Canadian swimmer Lenora Fulani (born 1950), American academic and activist Lenora Garfinkel (1930–2020), American architect Lénora Guion-Firmin (born 1991), French sprinter Lenora Hume , Canadian producer Lenora Mandella (1931–2005), American baseball player Lenora Misa (born 1997), Samoan netball player Lenora Moragne (1931–2020), American nutritionist Lenora Nemetz , American actress Lenora Qereqeretabua (born 1968), Fijian broadcaster and politician Lenora Rolla (1904–2001), American activist, businesswoman, educator and historian Lenora Mattingly Weber (1895–1971), American writer Surname [ edit ] R. B. Lenora (1906–?), Sri Lankan physician and politician Fictional characters [ edit ] Lenora ( Pokémon ) ,

40-573: A Unova Gym Leader in the Pokémon franchise Lenora Laferty, character in The Devil All the Time Places [ edit ] Settlements [ edit ] Lenora, Kansas , city Lenora, Minnesota , unincorporated community Lenora Township, Griggs County, North Dakota , township Lenora, Oklahoma , unincorporated community Lenora (Prachatice District) , a municipality and village in

60-448: A development of concrete poetry but with the characteristics of intermedia in which non-representational language and visual elements predominate. As the literary and artistic experiments of the 1950s that were at first loosely grouped together as concrete poetry extended further into the ambiguous sphere which Dick Higgins described in 1965 as 'Intermedia', it became apparent that such creations were further and further divorced from

80-585: A video with poems at the 17th São Paulo Art Biennial . That same year, Barros published Onde Se Vê , an artist book featuring photography and concrete poetry set in progressive fonts and layouts. The photographic sequence of a tongue interacting with the keys of a typewriter marked the artist's turn to a more visual exploration of linguistic themes as a visual pun on the word " lingua " - that in Portuguese can mean both "language" and "tongue". The use performances documented through of photography or video permeates

100-399: A visual image, whereas visual poems constitute those in which images are integrated into the text of the poem". He also separated out artist-generated picture poems and artists' books as an allied category, citing the work of Kenneth Patchen . Also to be found in the university collection is Tom Phillips ' A Humument , as well as an assortment of handwritten but non-linguistic texts. In

120-608: Is therefore distinct from the ancient tradition of shaped poetry from which concrete poetry claimed to have derived. Visual poetry, on the other hand, is to be distinguished by its deployment of typography. Solt included in her proposed new genre the work of Ian Hamilton Finlay , John Furnival and Hansjörg Mayer . Her definition was extended by Marvin A. Sackner in his introduction to the Ohio State University 2008 collection of visual poetry: "I define concrete poems as those in which only letters and/or words are utilized to form

140-961: The Museu d’Art Conteporani , in Barcelona, Daros Latinoamerica, São Paulo Museum of Modern Art , and the Centro Cultural São Paulo . Lenora is the daughter of one of the pioneers of Concrete art in Brazil, Geraldo de Barros , and the sister of the Switzerland-based artist Fabiana de Barros. Visual poetry Visual poetry is a style of poetry that incorporates graphic and visual design elements to convey its meaning. This style combines visual art and written expression to create new ways of presenting and interpreting poetry. Visual poetry focuses on playing with form, which means it often takes on various art styles. These styles can range from altering

160-776: The Museum of Modern Art in Rio de Janeiro, Casa Daros, also in Rio, the Banco do Nordeste Cultural Center in Fortaleza, and the Proa Foundation in Buenos Aires. She has participated in three São Paulo Biennials (the 17th, in 1983, the 24th, in 1998, and the 29th, in 2010), and in two Mercosul Biennials in Porto Alegre (the 5th, in 2005 and the 7th, in 2009). Her works are featured in the collections of

180-423: The 1920s, they anticipated the intermediary 'typestracts' of the concrete poet Dom Sylvester Houédard during the 1960s that would equally qualify as visual poetry. Klaus Peter Dencker also stresses the continuity of the new genre in his theoretical paper "From Concrete to Visual Poetry" (2000), pointing out its "intermedial and interdisciplinary" nature. The two are also interdependent and "without concrete poetry

200-645: The 1994 Arte Cidade, in São Paulo. She expanded her table tennis repertoire in Ping-poema para Boris (2000), making use of rackets, nets and ping-pong tables. More recently, in Volume Morto (2015), Barros created another visual and sound installation with ping-pong balls dropping down from a water container onto the tiles of an empty swimming pool as a comment on the drought that was plaguing São Paulo. Between 1993 and 1996, Barros wrote an experimental weekly column for

220-488: The Czech Republic Structures [ edit ] John J. and Lenora Bartlett House , Nebraska Lenora Methodist Episcopal Church , Minnesota Lenora wooden bridge , Czech Republic See also [ edit ] Lenorah, Texas Leonora (disambiguation) Lorena (disambiguation) Topics referred to by the same term [REDACTED] This disambiguation page lists articles associated with

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240-474: The artist's work. In 1990, Barros began her ongoing project Ping-poemas, a broad group of works that appropriate elements of table tennis . With Poesia é coisa de nada exhibited that year in Milan, she featured 5000 balls imprinted with the name of the exhibition scattered through the gallery floor with one poised on a velvet cushion. She would return the ping-pong balls creating a visual and sound installation for

260-558: The column a "laboratory for many experiences”. Lenora de Barros exhibited the columns in 2014 at Pivô , in downtown São Paulo. There, the artist filmed two new video installations, in which she plays checkers against herself and performs some of the texts written for " … umas" . During the 1990s, she was also the photography editor at Folha de São Paulo , and the art director of the sports magazine Placar . Lenora de Barros has had group and solo shows in renowned institutions in Brazil and abroad, including Paço Imperial in Rio de Janeiro,

280-421: The current forms of visual poetry would be unthinkable". The academic Willard Bohn, however, prefers to categorize the whole gamut of literary and artistic experiment in this area since the late 19th century under the label of visual poetry and has done so in a number of books since 1986. From his reductionist point of view, "Visual poetry can be defined as poetry that is meant to be seen – poetry that presupposes

300-525: The light of these assertions, a new genealogy of forerunners to visual poetry emerges that includes Joan Miró 's poem-painting Le corps de ma brune (1925), Piet Mondrian 's incorporation of Michel Seuphor 's text in Textuel (1928), and prints ( druksels ) by H.N. Werkman using elements of typography. The last also used the typewriter to create abstract patterns (which he called tiksels ), using not just letters but also purely linear elements. Created during

320-415: The newspaper Jornal da Tarde , in São Paulo, entitled “ … umas ”. She published numerous photo-performances, visual poems, and poetic texts, experimenting with graphic design, and proposing new relationships between text and image, as well as creating dialogues with other artists. She would use many of the initial ideas explored in " … umas" as the starting point for other artworks, going as far as calling

340-421: The representational language with which poetry had hitherto been associated and that they needed to be categorized as a separate phenomenon. In her survey, Concrete Poetry: A World View (1968), Mary Ellen Solt observed that certain trends included under the label concrete poetry were tending towards a "new visual poetry". Its chief characteristic is that it leaves behind the old poetic function of orality and

360-459: The structure of the words on the page to adding other kinds of media to change the poem itself. Some forms of visual poetry may retain their narrative structure, but this is not a requirement of visual poetry. Some visual poets create more abstract works that steer away from linguistic meaning and instead focus heavily on the composition of words and letters to create a visually pleasing piece. Literary theorists have identified visual poetry as

380-550: The title Lenora . If an internal link led you here, you may wish to change the link to point directly to the intended article. Retrieved from " https://en.wikipedia.org/w/index.php?title=Lenora&oldid=1246931419 " Categories : Disambiguation pages Place name disambiguation pages Hidden categories: Short description is different from Wikidata All article disambiguation pages All disambiguation pages Lenora de Barros Barros started out working with visual poetry . Her early work

400-476: Was influenced concrete poetry , particularly the Noigandres group, and incorporated techniques from pop art , body art , and conceptual art . Her work has evolved to a focus on the sonority of words, particularly through sound installations and voice performances. Lenora de Barros started working in the 1970s, simultaneously exploring verbal and visual communication through poetry. In 1983, she exhibited

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