Scope and Contents

The chapters consist of the following: 1). The post-cognitive era: looking for the sense in it all. 2). Five traditions of art history. 3). Intermedia. 4). Some poetry intermedia. 5). Games of art. 6). Exemplative works of art. 7). Intending. 8). Against movements. 9). Boredom and danger. 9). Structural researches. 10). Seen, heard and understood. 11). Towards an allusive referential. 12). Blank images. 13). Innovation. 14). Inventing our back pages. 15). Styles in cognitivism. 16). A something else manifesto. 17). On doing too much. 18). About Bern Porter and his 'I've left'. 19). Why Gertrude Stein. 20). Getting into Emmett William's poetry. 21). Conceptual forks. 22). A commentary by the poet on 'conceptual forks'. 23). An exemplativist manifesto. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This book was edited by Aimee Selby. Two works of Tom Phillips held by the Sackner Archive are depicted in this book: the Painting 'Here We Exemplify' on page 18 and the print of the Humument Page 6 drawing on page . -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents Clive Phillpot coined the term "magazine art" as "art conceived specifically for magazine content, and, therefore, art which is realized only when the magazine itself has been commposed and printed. Alexander Proven Amaxon.com: Allen's book is a great chronicle of the rise and fall of artists' magazines--among them Aspen, 0 to 9, Avalanche, Art-Rite, FILE, and Real Life--that, in the 60s, 70s, and 80s, provided a space for artists to colonize the discourse of the art world, and do so in their own voices. Artists like Robert Smithson, Dan Graham, Mel Bochner, and Vito Acconci created magazine art where criticism had once been, emphasizing the materiality of language, denying its ability to communicate. (Graham's "Schema," a site-specific instructional piece published in a variety of magazines in the 60s and 70s, is a paramount example; it consisted of a template to be completed by the editor, in accordance with the magazine's typography, design, and layout, producing a new work in...

Scope and Contents

The Sackner Archive is cited as a reference in the bibliography of concrete poetry on page 132 and visual poetry on page 648. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents This is the first edition of the book. Lost Books synopsis: Who invented the miniskirt? What avant-garde artist made a film of 200 human behinds? Why is a themepark a work of art? Who turned a urinal upside down, mounted it to a board, and submitted it to an art exhibit, signed "R. Mutt"?Our era is one of nearly constant innovation and change. The new is constantly pushing aside the old; and the once unimaginable-even the once ridiculed-is now commonplace. A Dictionary of the Avant-Gardes recognizes that change is a driving force in all the arts. It covers major trends in music, dance, theater, film, visual art, sculpture, and performance art--as well as architecture, science, and culture. Entries are divided between important individuals and trends and movements. Each entry includes a complete bibliography, discography, and videography; works list; and appropriate web links. The book is richly illustrated with original art works and an 8-page color insert. For anyone with an...

Scope and Contents

This comprehensive catalogue of the Hanns Sohm Archive was edited by Thomas Kellein and designed by Hansjorg Mayer. -- Source of annotation: Marvin or Ruth Sackner.

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This book consists of a collection of essays in its first half written with a highly academic approach to performance. Its second half features experimental writing and layout. Thus, it begins with an essay by Campbell Tatham, " Mythology and Postmodern Fictions: Magic is Afoot," a work characterized as a "verbal" performance by the editors. It is printed with a typewriter font and includes several shaped texts. Another "verbal" performance using the same approach along with concrete poems is found in the essay contributed by Raymond Federman, "Voices within Voices." Finally, Ihab Hassan provides an experimental drama in his essay, "Prometheus as Performer: Toward a Posthumanist Culture?" -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents The historic introduction of Jacques Donguy deals with the experiences of concrete poetry since 1953 beginning with Gomringer and the de Campos brothers up to contemporary times. The anthology follows an international bibliography, constructing the first panorama of this art of textual, sound and visual experimentation. The origin of the Sackner Archive is described as follows: The Ruth and Marvin Sackner Archive of Concrete and Visual Poetry of Miami in the United States began in 1975, following their discovery of the work of Tom Phillips. They became interested at first in the Russian Avant Garde, then in 1979, they discovered the Anthology of Concrete Poetry of Emmett Williams. Departing from there, Marvin Sackner has not stopped acquiring books and works of poets included in this anthology. This archive has given a place for exhibitions and may be compared to the Jean Brown Archives, purchased in 1986 by the Getty, and to the Hans Sohm Archives, now in the Stuttgart Museum....

Scope and Contents This is one of the most outstanding, comprehensive, well illustrated, and documented exhibition catalogues in this genre. In addition to the description of the exhibition approched by movement or country, there are several interviews of the pioneers in the field. Excerpts are translated into French of manifestos and critical texts at pivotal historical points. Brief biographies of the poets/artists in the exhibition are provided. The Sackner lent several works to this exhibition. The Table of Contents includes the following: A. Coron : Avant Apollinaire, vingt siecles de poemes figures.- G. Lista : Entre dynamis et physis ou les mots en liberte du futurisme.- M. Decaudin : De l'espace figure a l'espace signifiant.- J.-P. Bobillot : Du visuel au litteral, quelques propositions.- M. Dachy : Dada, la langue comme utopie.- M. D. : L'Ursonate de Kurt Schwitters.- V. Markov : Les futuristes russes.- A. Schwarz : Les dix facettes d'une poetique libertaire.- M. Davidson : Le texte...

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This book was also designated a Delta Original by the publisher. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents Kenneth Goldsmith Amazon.com "In 1959, Brion Gysin famously claimed that poetry was fifty years behind painting. Gysin's prophecy still holds true: half a century later, contemporary poetry is just beginning to explore ideas forged by language-based artists in the 1960s. As such, this book is a roadmap, bursting at the seams with inspiration and ideas for current literary practices. By embracing an intermedia approach--one where music, photography, visual art, poetry and performance all live in the same room--Liz Kotz elegantly creates a compelling portrait of our digitized networked present. The implications are radical: by gazing backwards, this book predicts the future."Craig Dworkin Amazon.com "Words to Be Looked At is a landmark account of the central story of post-war art: the first sustained investigation of the 'linguistic turn' that has defined the arts since the 1960s. As Kotz details with unequalled authority and insight, language became a primary media for artists in...