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Checklist for the exhibition of works from international experimental artists and writers curated by Barbara Moore and Jon Hendricks. -- Source of annotation: Marvin or Ruth Sackner.

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This print on canvas is a reproduction of a rubberstamped drawing on canvas by de Charmoy from 1994-1995 that was lost when the artist moved her studio. It consists of the names of visual poets and artists who were important to de Charmoy. The names are rubberstamped in blue in an irregular pattern falling from abstract blue, undulating painted marks at the top of the canvas. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

One thousand copies of this book were published; 800 were signed and numbered, 200 were not. This copy is from the 200 which were unnumbered; however, both Mayrocker and Gomringer signed the book. The book consists of Mayrocker's poems with an afterward by Gomringer. -- Source of annotation: Marvin or Ruth Sackner.

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This is an anthology of contemporary concrete poetry mainly from German speaking poets. -- Source of annotation: Marvin or Ruth Sackner.

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This book documents and illustrates Goeritz's career beginning in Germany and continuing mainly in Mexico. A chapter consisting of six pages depicts his concrete poems from 1959 - 1968. This definitive biography of Goeritz was written by Lily Kassner. -- Source of annotation: Marvin or Ruth Sackner.

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Auction catalogue. Rolf Dittmar was a very famous collector of avant garde literature and poetry, artist books and magazines, and visual arts who lived in Wiesbaden Germany. He was a practicing attorney who enjoyed establishing collections on a specific theme, selling them and starting another collection thereafter. This auction catalogue is a copy of Hanns Sohm with his handwritten selections. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents Eugen Gomringer contributes an essay "Aspects of a Gesamtkunstwerk: Vera Rohm's oeuvre in Time and Space" Stephen Bann's essay is titled "Erganzung: Integration." He writes the following. Visiting Vera Rohm's studios in Darmstadt a few days prior to a lecturing engagement in Brighton set off a series of conjunctions and coincidences in my mind. It was in the centre of Brighton that I had organized a Concrete Poetry Exhibition to coincide with the first Brighton Festival in April 1967. Brighton Square, in the middle of the Lanes, had its perky modern architecture offset by two typographical installations involving Perspex screens and constructions, the first being a communal project on the 'five vowels' produced by the students of Bath Academy of Art under the direction of John Furnival, and the second a set of 'typographical columns' by the German Hansjorg Mayer. In the spaces around the Royal Pavilion, banners designed by the typographer Edward Wright displayed Concrete poems by...

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In this book, Padin analyzes concrete poems composed by Gomringer and Jandl using Boolean algebra. -- Source of annotation: Marvin or Ruth Sackner.

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This catalogue provides one of the most intellligent reviews of concrete and visual poetry. -- Source of annotation: Marvin or Ruth Sackner.

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The book reproduces several examples of concrete and visual poetry and reprints several critical essays. -- Source of annotation: Marvin or Ruth Sackner.

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Each of the contributors is represented by characteristic works on several pages defining concrete and visual poetry modes in Germany and Austria. Concise biographies and bibliographies are provided for each of the poets. Critical texts were written by Eugen Gomringer, Heinz Gappmayr, Siegfried J. Schmidt, Klaus Peter Dencker and Christina Weiss. -- Source of annotation: Marvin or Ruth Sackner.

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This book, printed in Gomringer's preferred lower case futura typography, contains sections on ideograms, poetic hommages to artists that include Josef Albers, Max Bill, Paul Lohse, and Gunther Uecker, books, book of hours, etc. Karl Riha contributed an afterward. -- Source of annotation: Marvin or Ruth Sackner.

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Director Glenn Lowry writes in the catalogue forward that "Dieter Roth was an endlessly inventive and thought-provoking artist whose substantial body of work, made over the course of nearly five decades, is both prodigious and idiosyncratic. In his experiments with forms, materials, and language, Roth challenged the boundaries not only between mediums but between art and everyday life." Curator Sarah Suzuki writes that "it is easier to describe what he is not than what he is : Above all, he is not a propagandist, and he is not a prophet. He is neither a moralist nor an immoralist. And he is no joiner...He is a member of no ism, group or movement, although many movements, groups, and isms would like to claim him as one of their own." -- Source of annotation: Marvin or Ruth Sackner.

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This work was published for the session on "Innovation and the Carnivalesque in Postmodern Canadian Poetry" at the Northeast Modern Language Association. The text is designed in short spaced paragraphs in two columns. The loose sheet contains variations of Gomringer's poem Silencio by Christian Wagenknecht. -- Source of annotation: Marvin or Ruth Sackner.