Scope and Contents

Adler has a drawn a small calligraphic, handcolored poem on the cover. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents Amazon.com: The avant-garde movements of Central Europe were an integral part of modernism's evolution as it reached its peak throughout the continent during the 1920s. Written documents--manifestoes, artists' statements, and reviews--were the lifeblood of these movements and, during the periods when political events conspired to isolate them, one of their few means of communication and exchange. Much of this crucial evidence has become lost to us, and the artistic avant-gardes of Central Europe have been a blind spot of modernist studies. Until their narratives have been recovered, the story of modernism will remain incomplete. In this book an international team of scholars has selected an essential compendium of documents that take an important step toward regaining this lost perspective.Between Worlds contains primary documents of the avant-gardes in Austria, the Czech lands, Germany, Hungary, Poland, Romania, and Yugoslavia from 1910 to 1930. The manifestoes and magazines of...

Scope and Contents

This catalogue is subtitled "in Athen" owing to the location of the event. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

Each page depicts clusters of small colored circles and Wolfgang Schmidt did the printing. The book of 100 copies is out of print and not held byh the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents Amazon.com: TCentral European Avant-Gardes presents the first interpretive overview of the complex webs of interaction among the artists and intellectuals of early twentieth-century Central Europe. The key stylistic transformation of the period was from Expressionism to Constructivism, as artists and writers, against a volatile background of war and revolution, saw the opportunity literally to construct a new world through their work. The borders between the visual arts, photography, film, architecture, poetry, and typography were obliterated, as artists sought to transcend the forces of traditionalism to forge an elemental visual language that would overcome national and linguistic boundaries. Yet at the same time that these artists advocated pluralism and unity, their work engaged issues such as nationalism and tradition that still resonate in artistic circles today.The book, which accompanies a major exhibition organized by the Los Angeles County Museum of Art and curated by...

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Designated Wallet Number Two. Includes the following pamphlets: 1) Bob Cobbing: Windwound, 2) Jennifer Pike: Slack stack, 3) Herbert Burke: Cinquains, 4) Jeramy Adler:The Little Fruit Gum Memory Book, 5) Jean Trevor: Wind whirled, 6) Stan Trevor: HE, 7) Betty Radin: Journeys, 8) Fernando Setti: News, 9) ee vonna-mitchell: Seam, and 10) Bill Griffiths: Sun-Card. -- Source of annotation: Marvin or Ruth Sackner.

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The collage was done in the style of Schwitters Merz pieces. -- Source of annotation: Marvin or Ruth Sackner.

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Printed by Bill Griffiths. -- Source of annotation: Marvin or Ruth Sackner.

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The prints making up this catalogue were those that were displayed as the exhibition. They were reproduced from prior publications. Several originals by Dom Sylvester Houedard, Peter Mayer, Jeff Nuttall, and Tom Phillips from this exhibition are held by the Sackner Archive. There was no bound catalogue published on this exhibition. Therefore, the totality of this catalogue is unique. The work is an excellent reference for the examples of concrete and poetry done in the 60's and 70's. Edith Kalman did three micrographic calligraphic prints that have been scanned into this citation. The pamphlet lists the location of the works displayed. The prints comprising the exhibition are stored in their own box withing the cobbing matrial. -- Source of annotation: Marvin or Ruth Sackner.

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The author analyzes English Renaissance pattern poetry from George Herbert, Robert Herrick, Richard Willis and its relationship to the classical shaped poetry, Christian models, and emblem forms. -- Source of annotation: Marvin or Ruth Sackner.

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This book is the sequel to the exhibition catalogue, "British Artist's Books since 1970." Simon Ford provides a section on Definitions of Artist Books that includes a statement by Marvin Sackner from "The Altered Page" catalogue. The major portion of this book is a listing and description of the books that include among others Phillips, Dante's Inferno, The Heart of A Humument, and Where are They Now by Tom Phillips as well as Langlands and Bell's The Crisis of Western Education. -- Source of annotation: Marvin or Ruth Sackner.

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The lettering appearance of the poem is reminiscent of some of the calligraphic pieces by Jan Baker. -- Source of annotation: Marvin or Ruth Sackner.

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Adler has used red, yellow and black colors to create an abstract alphabet formed from inked, constructivistic-like, line drawings on each of the pages of this leaflet. -- Source of annotation: Marvin or Ruth Sackner.

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The festival was organized by Fernando Aguiar "to present, for the first time in Portugal, recent words by a group of the most significant international avant-garde poets..to provide a widened vision of...poetry with experimental features." Essays on Visual, Concrete and Performance Poetry and Mail Art were contributed by De Melo e Castro, Aguiar, Bory, Heidsieck, Arias-Misson, Ferrando, Hatherly, Higgins, Kac, Olbrich, de Kroon, Miccini, Pimenta & Zink. 177 small mags and documents related to the theme are listed in the final section of this catalogue. The pages of this book have become unbound from the spine. -- Source of annotation: Marvin or Ruth Sackner.