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These letters to Duchamp are signed with the anagram of Eugenio Miccini. The book placed in a blue slip case with "RRose Selavy Eccetera" by Miccini and Eros Bonamini. -- Source of annotation: Marvin or Ruth Sackner.

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The Sackner Collection is mentioned as holding Guillot's work. -- Source of annotation: Marvin or Ruth Sackner.

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This essay traces the history of concrete and visual poetry through time and geography, including poesia visiva, fluxus, lettrisme, futurism, pattern poetry, constructivism and vorticism. It was written as an introduction to an exhibition catalogue of the four artists/poets. -- Source of annotation: Marvin or Ruth Sackner.

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The collages are tipped-in, printed visual poems. -- Source of annotation: Marvin or Ruth Sackner.

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The collages are tipped-in, printed visual poems; the reprint has three more collaged pages than the original edition. -- Source of annotation: Marvin or Ruth Sackner.

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This exhibition was curated by Anna Boschi. The following Archives for artist books were featured in this exhibition: Archivio libro d'artista del MUSINF - Museo d'Arte Moderna e dell'Informazione di Senigallia-AN; Achivio UROBURO - Parma; Archivio Libri d'Artista/Artist's Books Archives - Milano; Archivio E.O.N. (Ethereal Open Network) - Viareggio; VERBAMANENT - Presidio del libro - Archivio "DROSOS" - Sannicola-LE; GALA - Gruppo Attivo Libri d'Artista - Civitanova Marche-MC; Archivio Libri d'artista "OFFERTA SPECIALE" -Torino; M.A.M.A. - Mailartmeeting Archives - Castel S. Pietro Terme-BO. -- Source of annotation: Marvin or Ruth Sackner.

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Edited by Luciano Caruso and Sonia Puccetti. The sound poem accompanying the collage was composed by Luciano Caruso. -- Source of annotation: Marvin or Ruth Sackner.

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Each page depicts a photographic reproduction of a box construction by Miccini. Three, held by the Sackner Archive, are depicted, viz., La Poesia Entre Nella Vita, Ex Libris and Museo, are held by Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

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This issue is dedicated to "areas of art that openly disregard boundaries and deal quite explicitly with contaminations - of painting and sign, of sign and sound, of sculpture and installation, of space and event. The themes of sound and silence - which typically relate to music - rank now as one of the central concerns of contemporary research in the arts. This issue is extensively illustrated with works of the featured artist/poets, e.g., a suite of calligraphic drawings by Guillot and visual poetic collages by Miccini. -- Source of annotation: Marvin or Ruth Sackner.

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The first section of 62 pages consists of critical texts and b&w photographs documenting the exhibitions, periodicals of poesia visiva and Miccini's involvement in chronologic orderyear by year beginning from 1959 and ending in 2004. The photographs in the first section depict Miccini and the European visual poets of the day. The subsequent section depicts 256 reproductions of Miccini's concrete (the first two in 1962) and visual poems through 2003. -- Source of annotation: Marvin or Ruth Sackner.

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This book reproduces 297 visual poems from 1962-2005. None of the Sackner Archive's large collage, visual poems are depicted. Photographs of all the multiple editions of artist books and objects held by the Sackner Archive are reproduced in this volume. -- Source of annotation: Marvin or Ruth Sackner.

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About one half of the book deals with artists working in a constructivistic manner and the other half with concrete and visual poets. -- Source of annotation: Marvin or Ruth Sackner.

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This program of year long exhibitions was curated by Michele Lambo. This exhibition also depicted Apolloni's book objects like the one held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents The two copies of this piece are identical except for different colored paper stock onto which the poems were printed. The original pieces came in a stapled plastic bag that deteriorated with time.Wikipedia: Eugenio Miccini (1925 in Florence "“ 2007 in Florence) is considered to be one of the fathers of Italian visual poetry. Graduated in Pedagogy, in 1963 he founded together with poets, musicians and painters Gruppo '70, creating the Italian term "poesia visiva" (visual poetry). Visual poetry is an art research characterized by predominance of the image on the typographical text, aimed to obtain compositions where words and images, signs and figures, are integrated without solution of continuity on the semantic plane (Dizionario della lingua italiana Devoto-Oli, Le Monnier). In Italy the Sixties have been rich of activities of Gruppo 70, starting from two meetings organized in Florence in 1963, focusing on "Art and Communication" and in 1964 "Arte and Technology", where discussion...