Scope and Contents

Young includes a section on sound and concrete poetry entitled, " Post-Dada, Pop-Poetry, and the Literary Undergound." He highlights works by Henri Chopin, Bob Cobbing, Adrian Henri, Jeff Nuttall, Ian Hamilton Finlay, and Christopher Middleton. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

Pictured in the catalogue and held by the Sackner Archive are Apollinaire's "Calligrammes," Marinetti's "Les Mots en Liberte Futurist," "Der Dada No.3," "291," Picabia's "Le Cannibale," "Dada No.4-5," "Der Blutige Ernst," "Der Dada No.2," Huelsenbeck's "En Avant Dada," VanDoesburg's "Kleine Dada Soiree," Mayakovski/Lissitzky's "For the Voice," " Le Coeur a Barbe." Stephen Foster contributed an essay, "Dada: Back to the Drawing Board and Richard Sheppard a comprehensive Dada chronology. The exhibition was curated by Joann Moser. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents This is a copy of Seaman's Ph.D dissertation thesis that was later revised and published in the Series "Studies in fine arts. The avant-garde" by UMI Research Press in 1981, a book that is also held by the Sackner Archive. On pages 150-156, Seaman analyzes Rimbaud's "Voyelles." Seaman devotes Chapter V, pages 179-251, to Mallarme with particular attention to Un Coup de Des. Seaman provides an English translation of Tzara's recipe for making a dadaist poem in Breton's manifestos of Surrealism. Here Is Tzara's recipe:To make a dadaist poemTake a newspaper.Take a pair of scissors.Choose an article as long as you are planning to make your poem.Cut out the article.Then cut out each of the words that make up this article and put them in a bag.Shake it gently.Then take out the scraps one after the other in the order in which they left the bag.Copy conscientiously.The poem will be like you.And here you are a writer, Infinitely original and endowed with a sensibility that is charming though...

Scope and Contents This book is subtitled "La Figuration dans l'alphabet latin du huitieme siecle a nos jours." Raymond Queneau contributed a preface. This is a new and augmented edition with the dust jacket cover by Andre Francois. The anthology, with text by Massin, is divided into three main sections. The first section is a discussion of the letter itself, the letter as symbol and the history of letters. The next section contains figurative verse and calligrams, shaped poetry and prose throughout history. The final section of the book examines the use of letters in fine art and how the letter form has grown in importance throughout the history of art. The diverse illustrations are international in scope and range from early Christian prayer books and Gothic alphabets to contemporary works.On the title page, the caption that this is a new and expanded edition appears; the first edition was published in 1970. The dust jackets differ between the two second editions. -- Source of annotation: Marvin or...

Scope and Contents

The loose sheet is an errata sheet. Caws reprints Mallarme's Un Coup de Des in English translation. Tom Phillips' manifesto deals with the nature of postcards. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents This detailed scholarly study of modern visual poetry defines and illustrates this international movement with particular emphasis on materials written in English, French, Italian, Spanish, German, and Catalan. Bohn writes, "For all intents and purposes, visual poetry can be defined as poetry that is meant to be seen - poetry that presupposes a viewer as well as a reader...Visual poems are immediately recognizable by their refusal to adhere to a rectilinear grid and by their tendency to flout their plasticity. In contrast to traditional poetry, they are conceived not only as literary works but also as works of art." Although the title of this book connotes 'visual poetry,' the examples chosen are verbal poems without incorporation of visual imagary . Bohn aptly dissects the meaning of several concrete and visual poems in this book. He is particularly enamored of the shaped poems of Jose Juan Tablada as well as the Spanish Futurists. The concrete poetry movement is researched in...

Scope and Contents

Both copies are missing pages 80-82 and 88-92 that do not appear to have been torn ou tof the catalogue.The missing poems are those by Jandl, Joshi, Katuje, Kolar and Kriwet. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

Several works held by the Sackner Archive are reproduced in this exhibition catalogue. These include Apollinaire's personal handcolored copy (the Sackners also have a handcolored copy) of the Exhibition Catalogue of Leopold Survage and Irene Lagut (page 91), Angelo Rognoni's Parole in Liberta, "Bombardeo en la Costa," on page 102, Schwitters and Van Doesberg's poster, "Programa de la Kleine Dada Soiree," and Schwitters book, "Die Scheuche Marchen." Includes essays on Erik Satie and Henri Michaux among others. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents It should be noted that Bohn does not differentiate concrete poetry (words only in Sackner's definition) from visual poetry (integrated words and images in Sackner's definitions). Bohn also includes a chapter on digital poetry. The back cover reads the following. "Visual poetry can be defined as poetry that is meant to be seen. Combining painting and poetry, it attempts to synthesize the principles underlying each discipline. Visual poems are immediately recognizable by their refusal to adhere to a rectilinear grid and by their tendency to flout their plasticity. In contrast to traditional poetry, they are conceived not only as literary works but also as works of art. Although they continue to provide visual cues that aid in deciphering the text, they function simultaneously as visual compositions. Whether the visual elements form a rudimentary pattern or whether they constitute a highly sophisticated design, they transform the poem into a picture. Reading Visual Poetry examines...

Scope and Contents

Although this book deals mainly with ancient poetry, attention is also paid to contemporary poetry. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

The authors include lengthy discussions of the bookworks of Tom Phillips, Elisabeth Broel, Harry Reese, Ruth Laxson, Paul Zelevansky, Henri Chopin, Joelle Dautricourt, John-Eric Broaddus, and Scott McCarney among others. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This critical text focuses on three themes in the late 19th and early 20th centuries: 1) the relation of experimental typography used by the artistic avant garde to linguistic theories, 2) the divergence of experimental typography from visual images, and 3) the work of four influential practitioners of experimental typography and their debt to advertising copy, viz., Marinetti, Apollinaire, Tzara, and Zdanevich. -- Source of annotation: Marvin or Ruth Sackner.