The poem object by Ennio Pouchard entitled, "Leggere Parole" that is photographically reproduced in this catalogue is held by the Sackner Archive. Mirella Bentivoglio conducted an interview of the four participating artists. -- Source of annotation: Marvin or Ruth Sackner.

This essay traces the history of concrete and visual poetry through time and geography, including poesia visiva, fluxus, lettrisme, futurism, pattern poetry, constructivism and vorticism. It was written as an introduction to an exhibition catalogue of the four artists/poets. -- Source of annotation: Marvin or Ruth Sackner.

Contains article by Vittore Baroni "Aspetti Dellla Poetica Visuale: Baroni, Colonna, Luigetti, Maggi." -- Source of annotation: Marvin or Ruth Sackner.

Pignotti provides an extensive historic review of visual/verbal material including discussions of major art movements as well as fashions and pornography. Contemporary presentations relate primarily to Italian poets and artists. Corrado D'Ottavi's collage 'Lei e artista?' depicted on page 279 of this book is held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

This book was purchased from Paula Claire at a luncheon meeting she hosted with the Sackners in London in September 2013. It provides an in depth review of the eight artist/poets works featured in this catalogue. -- Source of annotation: Marvin or Ruth Sackner.

The title of this book translates to "Visual poetry tells it first - visual poetry tells it better." Pignotti's first poetic-visual collages date from the early 1960's and are connected to his theories of technological poetry. This term alludes to a new artistic genre based on the reuse of words and images taken from mass magazines, advertisements and comics. The Gruppo 70 arose from these activities in 1963 in Florence. Pignotti and Eugenio Miccini were the founders later joined by Luciano Ori, Michele Perfetti, Lucia Marcucci, Ketty La Rocca, Giuseppe Chiari and others. The Sackner Archive holds Pignotti's artist book "Il Mondo" depicted on page 139 as well as several other books. In his most recent visual poems (2009-2010), Pignotti incorporates photographs of fashion models from popular magazines into visual poetic collages. -- Source of annotation: Marvin or Ruth Sackner.

Eugenio Miccini contributed an essay,"Mantova e la Poesia Visiva." -- Source of annotation: Marvin or Ruth Sackner.

The Sackner Archive is listed under Archives and Centers of Documentation holding Gini's works. -- Source of annotation: Marvin or Ruth Sackner.

The Sackner Archive is listed under Archives and Centers of Documentation holding Gini's works. -- Source of annotation: Marvin or Ruth Sackner.

This exhibition that was curated by Lucilla Sacca is subtitled "Firenze: Storia di una Rivoluzione Colta (1960-1980). In Ori's biography, it is mentioned that the Sackner Archive holds his works. The works in the exhibition catalogue are extensively annotated by the curator. -- Source of annotation: Marvin or Ruth Sackner.

In this book, Miccini reviews visual and sound poetry in Italy and introduces some newcomers in the field. -- Source of annotation: Marvin or Ruth Sackner.

This catalogue includes five critical texts analyzing visual poetry. -- Source of annotation: Marvin or Ruth Sackner.

Visioni del Particolare, 1981 a suite of drawings by Vincenzo Accame and "Bianco/Nero," a unique book by Enzo Miglietta, which are held by the Sackner Archive are depicted in this book. -- Source of annotation: Marvin or Ruth Sackner.

The front cover and first page are dedicated to an exhibition "Poesia Visiva: Italian Concrete and Visual Poetry of the 1960s and 1970s." -- Source of annotation: Marvin or Ruth Sackner.