ArchivesSpace at the University of Iowa

Scope and Contents

This a critical text dealing with issues after the exhibition, "Between Poetry and Painting" at the ICA in London 1966. -- Source of annotation: Marvin or Ruth Sackner.

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Auction catalog. -- 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.

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

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This recording consists of the original soundtracks by the the avant garde poets included in this anthology. Macha Poynder did the abstract drawing on the label of the compact disc. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This recording consists of the original soundtracks by the the avant garde poets included in this anthology. Macha Poynder did the abstract drawing on the label of the compact disc. -- Source of annotation: Marvin or Ruth Sackner.

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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.

Scope and Contents

Review of "Between Poetry and Painting" at the ICA in London. Lucie-Smith states "Concrete poetry is difficult to describe but easy to recognize." Stored with other material about this exhibition. Stored with material dealing with the Archive of "Between Poetry and Painting." -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

Webster states that the four main poets discussed in this book, that was originally a doctural thesis, were not influenced by Mallarme's Un Coup de Des. In the case of Marinetti, he points out the structural typographic differences and similarities between Un Coup de Des and Parole In Liberta. Webster uses the term, visual poetry, as synonymous with concrete poetry. An appendix depicts several poems descibed in the book. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents This book explores the ways in which books represent art and literature, and how the marriage of word and image can create a work of art in its own right. Chapters include the following: Illumination, Bindings, Documentary Manuscripts, Children's Books, Comics, Poetry and Experimental Typography, Book Art and Contemporary Art and Publishing. It also includes a history of the National Art Library in the Victoria and Albert Museum. Several examples of the books depicted in this catalogue are held by the Sackner Archive. In addition, several of the contemporary artist/poets works are represented in the Archive.Some definitions are of the book/poetry forms are not in the mainstream of classification. For example, Bob Cobbing's abstract sound poetry scores are classified as visual poetry in contrast to the more usual classification of visual poetry along the lines of poesia visiva.Under the citation of the John-Eric Broaddus book, Marvin Sackner's comments about his working methods are...

Scope and Contents

This catalogue depicts copious illustratIons of his works througout his lifetime. It is mentioned that Kriwet wrote his first book, "Rotor," in 1961 as a continuous text without capital letters, stops and commas at age 19 years. This book is analyed on pages 53-55 by Christoph Benjamin Schulz. A 1981 solo exhibition was the last one for 23 years until 2004 when rgw BQ gallery in Cologne showed old and recent works. And until 2011 when the Kunsthalle Dusseldorf held this retrospective. Pages 57-103 depict examples of Kriwet's typewritten poetry beginning at age 14 years with convention poetry and progresssing to concrete poetry. -- Source of annotation: Marvin or Ruth Sackner.