Concrete poetry
Found in 90 Collections and/or Records:
Open and Closed Book, The: Contemporary Book Arts / Quentin Blake, curator ; Adler J ; Chopin H ; Christie J ; Cobbing B ; Crozier R ; Cutts S ; Finlay IH ; Furnival J ; Gibbs M ; Heidsieck B ; Houedard DS ; King R ; Mayer P ; Mon F ; Phillips T ; Tilson Jo ; Torok K ; Williams E ; Williams J ; Claire P ; Antonucci E ; d'Arbeloff N ; Bal E ; Ballard J ; Bann S ; Beckett S ; Benes BL ; Benveniste A ; Benveniste P ; Boyle M ; Brattinga P ; Burroughs WS ; Cage J ; Campbell K ; Carroll L ; Castro L ; Chopin J ; Clark L ; Clark TA ; Corso G ; Creeley R ; Crozier R ; Degottex J ; Duncalf S ; Elmslie K ; Erro ; Fidler M ; Fisher A ; Fisher R ; Furnival A ; Gardner I ; Gilbert & George ; Gerz J ; Gill E ; Greenham L ; Griffiths B ; Schraenen G ; Haacke H ; Hamilton R ; Mayer HJ ; Harvey M ; Hausmann R ; Hockney D ; Hollo A ; Horovitz M ; Howe N ; Johns J ; Joyce J ; Kindersley D ; Kitaj R ; Laforgue J ; Latham J ; Lax R ; Logue C ; Long R ; Lucie-Smith E ; MacLow J ; Martin K ; Merton T ; Mon F ; Moore AD ; Morgan E ; Morgenstern C ; Novak L ; Perse SJ ; Piech PP ; Phillips J ; Radin B ; Raworth T ; Riddell A ; Rimbaud A ; Roberts K ; Roth D ; Rothenberg J ; Sackett C ; Self C ; Seuphor M ; Smith P ; Spencer H ; Summers R ; Themerson F ; Themerson S ; Tremlett D ; Tyson I ; Ungerer T ; Vonna-Mitchell E ; Waldrop K ; Weaver M ; Weiner L ; White K ; Willats S ; Winkfield T ; Yevtushenko Y ; Zurbrugg N., 1979
The exhibition was curated by R C Kenedy. Tom Phillips designed the cover of this catalogue of British book arts. Sections are devoted to private presses, fine binding, typography and concrete poetry. Particular mention is paid to John Furnival "who paints builds whole landscapes from semantic elements" and Ian Hamilton Finlay "who creates poetry through providing words with a rigorously controlled and potently significant environment." Page 230 depicts John Christie's Word Clock III (1978) that is held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.
Ou ce Ou est a tour ceux qui ne sont pas istes, 1968
Petite Livre des Riches Heures: Signistes et Sinores d' Henri Chopin / Chopin, Henri., 1987
Philosophie / Chopin, Henri., 1985
Philosophie / Chopin, Henri., 1985
Plakat: Semiotic Drawing. No.3 / John Furnival ; Chopin H., 1965
This card is depictd in Furnival's "Lost for Words" (2011) page 14 and was first published in 'Revue Ou' in 1964. -- Source of annotation: Marvin or Ruth Sackner.
Poeme: / Chopin, Henri., 1980
Poesia della Voce e del Corpo: 1st Festival Internazionale di Poesia / Matteo D'Ambrosio, curator ; Felice Piemontese, curator ; Balestrini N ; Chopin H ; Costa C ; Lora-Totino A ; Spatola A ; Villa E ; Cangiullo F ; Bisinger G ; Kemeny T ; Piemontese F., 1980
Poesia Experimental. No.2 / Antonio Aragao, E.M. de Melo e Castro, Herberto Helder, editors ; Chopin H ; Finlay IH ; Xisto P ; Garnier P ; Hatherly A ; Braga E ; Villa E ; DeCampos H ; Weaver M ; Tavares S ; Aragao A ; deMelo e Castro EM ; Helder H., 1966
This periodical was published in two issues. The Sackner Archive holds only issue No.2. -- Source of annotation: Marvin or Ruth Sackner.
Poesie Objective / Chopin, Henri., 1960
This collage depicts a prototypical concrete-visual poem. -- Source of annotation: Marvin or Ruth Sackner.
Poesie Visuelle / Chopin H ; Furnival J ; Gerz J ; Mustill N ; Nannucci M ; Williams C., 1972
The cover of the card depicts Emmett Williams' poem "SolDIEer." -- Source of annotation: Marvin or Ruth Sackner.
Poetry on the Road / Conz F ; Williams E ; Chopin H ; Rotella M ; Spoerri D ; Higgins D., 1990
poi / Chopin, Henri., 1966
Wikipedia: Poi refers to both a style of performing art and the equipment used for engaging in poi performance. Poi originated from the MÄori people of New Zealand as a performance art that involves swinging tethered weights through a variety of rhythmical and geometric patterns. Poi artists may also sing or dance while swinging their poi. Poi can be made from various materials with different handles, weights, and effects (such as fire). Poi originated with the MÄori people of New Zealand, where it is still practiced today. Poi has also gained a following in many other countries. The expansion of poi culture has led to a significant evolution of the styles practiced, the tools used, and the definition of the word "poi." Poi is not a French word. -- Source of annotation: Marvin or Ruth Sackner.
Press Release: Concrete Poetry Exhibition / Chopin, Henri., 1972
This is a retraction for a claim made by the exhibitors about Chopin's work in the show, Concrete Poetry Exhibition, St Pancras Library, July 1972. -- Source of annotation: Marvin or Ruth Sackner.
Projected Buildings 50 m. High / Chopin, Henri., 1990
This work was commissioned for "The Beauty In Breathing" exhibition. The typed phrases repetitively utilized by Chopin in linear and Moire arrangements, reading from top to bottom include No Smoking, Breath Of Life, Poisonous Danger, Poison, and Yes. The impossibility of constructing a building with sound engineering principles designed in this image may reflect Chopin's frustrations with the smoking public. -- Source of annotation: Marvin or Ruth Sackner.
Right Hemisphere Left Ear, 1979
Right Hemisphere Left Ear, 1979
Sans Limite / Chopin, Henri; Hausmann R., 1974
Some Myths of Concrete Poetry / Cobbing, Bob; Mayer, Peter; Chopin H; Bann S; Finlay IH; Mills S; Belloli C; Finch P; Gomringer E; Wright E; Fahlstrom O; Themerson S; Jandl E; Morgan E; Furnival J., 1972
Reprinted from Stereo Headphones No.5, 1972. The authors debunk the assertion of Stuart Mills who in Akros No.18, 1972 stated that the poem-poster was introduced by Ian-Hamilton Finlay. They go on to further describe the pioneers of Concrete Poetry in their opinion. Rebuttals to their conclusions by Stephan Bann and Henri Chopin are also published. Mentions that Ernest Fenellosa, who died in 1908, used the term 'concrete poetry' in an essay, 'The Chinese Character as a Medium for Poetry' in 1901. -- Source of annotation: Marvin or Ruth Sackner.