Scope and Contents

This book is an anthology of visual and picture poems made by students from kindergarten to the 12th grade living in Seattle, Washington. The poems and teaching methods are analyzed by the author who was a poet-in-residence in the school system in Seattle. In the final chapter, he presents and comments on poems by established adult poets. -- Source of annotation: Marvin or Ruth Sackner.

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Portrays Apollinaire as rendered by Louis Marcoussis. -- Source of annotation: Marvin or Ruth Sackner.

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Soroka presents his biography and a reprint "Visual Poetry in Ukrainian Literature," from the Ukrainian Review, 1998, Vol.45, No.1. There are also examples from early Ukrainian and European visual poetry and the recent works of Soroka. -- Source of annotation: Marvin or Ruth Sackner.

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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.

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In addition to artworks, the catalogue includes extensive descriptions of Dada and Surrealism periodicals. -- Source of annotation: Marvin or Ruth Sackner.

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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.

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This is the catalogue for a major Dada exhibition that travelled from the Pompidou Center to the National Gallery in Washington to MoMA in New York. The exhibition presents many forms of Dada in the principle cities of Zurich, Berlin, Hanover, Cologne, New York and Paris. The chief curator was Laurent Le Bon. The facsimile ticket "Etiquette de bagage" by Marcel Duchamp was made by Mike Bidlo. Includes several photographic portraits of the Dada artists/poets as well as complete reproductions of Dada periodicals. -- Source of annotation: Marvin or Ruth Sackner.

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An exhibition of books, mauscripts, graphics and objects from the Howard L. & Muriel Weingrow Fine Arts Collection. Written and compiled by Haim Finklestein. -- Source of annotation: Marvin or Ruth Sackner.

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Auction catalogue. This auction featured several works held by the Sackner Archive including Peintures de Leopold Survage by Apollinaire, La Fin du Monde by Blaise Cendrars and Fernand Leger, 291, Blast, Dada reviews, Le Coeur a Barbe, Languria Lirica, Depero Futurista, Les Mots en Liberta Futuristes by Marinetti, and Pour la Voix by El Lissitzky, -- Source of annotation: Marvin or Ruth Sackner.

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Auction catalog. -- Source of annotation: Marvin or Ruth Sackner.

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Auction catalogue. -- Source of annotation: Marvin or Ruth Sackner.

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This historical anthology of experimental poetry was a part of the series "Der Andere Bibliothek" edited by Magnus Enzensberger. -- Source of annotation: Marvin or Ruth Sackner.

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In "Destruction Was My Beatrice" modernist scholar Jed Rasula presents the first narrative history of Dada, showing how this little-understood artistic phenomenon laid the foundation for culture as we know it today. Although the venue where Dada was born closed after only four months and its acolytes scattered, the idea of Dada quickly spread to New York, where it influenced artistsl like Marcel Ducahmp and Man Ray to Berlin where it inspired painters George Grosz and Hannah Hoch: and to Paris, where it dethroned previous avant-garde movements like Fauvism and Cubism while inspiring early Surrealists."THIS WAS THE LAST BOOK THAT RUTH SACKNER READ AND CATALOGUED. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents Synopsis review: Digital Currents explores the growing impact of digital technologies on aesthetic experience and examines the major changes taking place in the role of the artist as social communicator. Just as the rise of photographic techniques in the mid 1800s shattered traditional views about representation, so too have contemporary electronic tools catalysed new perspectives on art, affecting the way artists see, think, and work, and the ways in which their productions are distributed and communicated. Digital Currents explores the growing impact of digital technologies on aesthetic experience and examines the major changes taking place in the role of the artist as social communicator. Margot Lovejoy recounts the early histories of electronic media for art making - video, computer, the internet - in the new edition of this richly illustrated book. She provides a context for the works of major artists in each media, describes their projects, and discusses the issues and...

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According to text on the dust jacket, this book "examines some of the most interesting and experimental contemporary writers whose work forms a counterpoint to the mainstream writing of our time." -- Source of annotation: Marvin or Ruth Sackner.

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Jackman demonstrates in a drawing the dimensions of the chair used in the her piece held by the Sackner Archive, The Poet Assassinated, that its basis was Picasso's Maquette for a Monument to Guillaume Apollinaire. -- Source of annotation: Marvin or Ruth Sackner.

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Auction catalogue. -- Source of annotation: Marvin or Ruth Sackner.

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Auction catalogue. -- Source of annotation: Marvin or Ruth Sackner.

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Karl Riha edited the series that included this book. -- Source of annotation: Marvin or Ruth Sackner.