Scope and Contents

This book reprints Tablada's poems published in periodicals and books in chronologic order. Tablada's book, Li-Po y Otros Poemas published in Caracas in 1920 with a visual poem by Marius de Zayas is reprinted in entirety. The poems of this 30 page book are printed mainly in a calligraphic font and are reminiscent of the calligrames of Apollinaire. Thereafter, up until the last poems written in 1933, Tablada returned to conventional poems. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

The exhibition was carried out in conjunction with the Bibliotheque Litteraire Jacques Doucet in Paris. -- Source of annotation: Marvin or Ruth Sackner.

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Newell devotes entire chapters to the analysis of works by Apollinaire and Dylan Thomas. -- Source of annotation: Marvin or Ruth Sackner.

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This back cover of Invisible City No.9, 1973, depicts a shaped poem (flask) by Mallarme that was translated and written in his own hand by Jack Hirschman. -- Source of annotation: Marvin or Ruth Sackner.

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This issue includes a review of Claude Melin's book, "Chansons de Geste." Valerie Marchand contributed an illustrated essay on the Chinese calligraphic work of Fabienne Verdier. Renaud Siegmann provided an illustrated revew of the Mail Art exhibition, "Le Coup du Mail 98," at Maison des Arts de Laon, France as well as an article on Fabienne Jouvin, a correspondence artist. Rubin Dupre-Marcellin contributed an illustrated article about artists who use writing in their paintings. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

Almost all of this anthology is devoted to linear poetry with the following exceptions: 1) Stepjane Mallarme's concrete poem, "Cette Adorable Bague" (1866) on page 684, 2)William Blake's "Laocoon," a calligraphic picture pom on page 709, 3) Shaker visionary drawings (1843) on pages 710-711, 4) Edward Lear's callgraphic visual poems (1864), on oage 713, 5) Lewis Carroll's shaped calligraphic poem, "A Mouse" on page713 and 6) Apollinaire's concrete poem, "The Bleeding Heart..." -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

Almost all of this anthology is devoted to linear poetry with the following exceptions: 1) Stepjane Mallarme's concrete poem, "Cette Adorable Bague" (1866) on page 684, 2)William Blake's "Laocoon," a calligraphic picture pom on page 709, 3) Shaker visionary drawings (1843) on pages 710-711, 4) Edward Lear's callgraphic visual poems (1864), on oage 713, 5) Lewis Carroll's shaped calligraphic poem, "A Mouse" on page713 and 6) Apollinaire's concrete poem, "The Bleeding Heart..." -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents This catalogue, edited by Robert A. Sobieszek, curator of photography at LACMA, was issued for an exhibition in 1996. It emphasizes the importance and influence of the painted and poetic works as well as the life of William Burroughs and his collaborator, Brion Gysin. In his preface Sobieszek writes that "Burroughs is far more than a writer of imaginative prose and speculative fiction. His revolutionary literary tactics have led him to margins of activity where genres cease to matter, where the distinctions between words and images blend together, where paragraphs become filmic montage, and where a shotgun blast is the same as a painting. At the core of Burroughs's art is the 'cut-up' technique that he and Brion Gysin developed following the appearance of Naked Lunch. While loosely related to the more traditional techniques of collage, photomontage, and text-image experiments used by modern artists, Burroughs's cut- up strategy inaugurated an essentially postmodern shift in the...

Scope and Contents

A major portion of this museum catalogue is devoted to the exhibition "Poesure et Peintrie." The Sackner Archive holds the exhibition catalogue. The introduction was written by Christian Poitevin (aka Julien Blaine), Deputy Mayor with responsibility for the Arts and Culture. -- Source of annotation: Marvin or Ruth Sackner.

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Introduction written by Axel Clark. Two of Brennan's previously unpublished works related in form to Mallarme's "Un Coup De Des" are reproduced in this volume. -- Source of annotation: Marvin or Ruth Sackner.

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This book consists of 72 essays or partial essays of established writers, poets and philosphers. Also included are five texts relating to perspectives of Pettibon by contemporary writers and critics. Pettibon's drawings that are dispersed throughout the texts, are described as "disjunctive, and all inclusive...His initial style relied on the carefully acquired tricks and conventions of cartoon illustration...Pettibon's genius rests on the mysterious alchemy of image and text that his drawings effect. His is a poetry that defies verbal of visual categories, but relies on effacing th boundaries of each." Walter Benjamin contributed an essay, "Unpacking My Library; A Talk about Book Collecting." -- Source of annotation: Marvin or Ruth Sackner.

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This book mostly depicts examples of early 20th century avant garde typographic from the major art movements in Europe. -- Source of annotation: Marvin or Ruth Sackner.

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This is an exhibition review of French Art from the Sackner Archive held at the Bass museum. -- Source of annotation: Marvin or Ruth Sackner.

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This exhibition catalogue dealt with published and unpublished examples of Parole In Liberta. One such poem by Jamar 14 (aka Piero Gigli), "Villa T.B.C.," had the theme of a stay in a Tuberculosis Sanatorium. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

In this book, Marrocchi provides an extensive analysis of Mallarme's "Un Coup de Des." The final section of the book depicts reproductions of concrete and visual poems. -- Source of annotation: Marvin or Ruth Sackner.

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Cooper prints a brief paragraph in the center of a page about notions dealing with the alphabet, words, punctuations, and phonemes on the center of the left side of the page in a calligraphic typeface. For example, "Words led back to their origins, which is the twenty-six letters of the alphabet, so gifted with infinity that they will finally consecrate language. Everything is caught up in their endless variations and then rises out of them in the form of principle. Thus typography becomes a rite." This same paragraph is printed on the facing right side page but in a bolder typeface and with irregular spacing between the lines of the text. -- Source of annotation: Marvin or Ruth Sackner.

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This exhibition commemorated the 100th anniversary of Stephane Mallarme' s publication of "Un Coup de Des." Nobel also lent his own works and pieces from his collection. He designed costumes with his wife Kathy Bruce and wore them in a performance. The Sackner Archive lent several books to this exhibition. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

The collaged pages are tipped in colored illustrations of several bookbindings. -- Source of annotation: Marvin or Ruth Sackner.