Concrete poetry
Found in 6395 Collections and/or Records:
Poetry / Poets. Painters. Composers.., 1985
Poetry Review University of Tampa: First Anniversary Issue. No.4 / Duane Locke, R. Morris Newton, editors ; Antin D ; Blackburn P ; Blazek D ; Eigner L ; Harwood L ; Heliczer P ; Inman W ; Levertov D ; levy da ; Malanga G ; Taylor K ; Wakoski D ; Zinnes H., 1965
Poetry Toronto Newsletter. No.66/Jun / Amann E., 1981
Poet's Lament / UU, David., 1991
Poezie in Fusie / De Vree, Paul ; Arias-Misson A ; Bann S ; Blaine J ; Bory JF ; DeCampos A ; DeCampos A ; Carrega U ; Chopin H ; Claus CF ; Cobbing B ; Finlay IH ; Furnival J ; Garnier P ; Houedard DS ; Kolar J ; Kriwet F ; Mayer HJ ; Solt ME ; Spatola A ; Ulrichs T., 1968
poezien, 1971
This book depicts an sampling of De Vree's poetic styles. Two original typed pages held by the Sackner Archive are reproduced in this book, "mier mens" page 17 and "picnic" page 25. -- Source of annotation: Marvin or Ruth Sackner.
poezja konkretna / concrete poetry, 2000
Critical essays on Finlay's work and specific poems are provided by Piotr Rypson and Tadeusz Slawek, respectively. The illustrations in this catalogue depict prints and cards of Finlay's work. -- Source of annotation: Marvin or Ruth Sackner.
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.
Poinsettia / Simon Cutts., 1973
Poinsettia / Simon Cutts., 1973
Points on a Hazard Map / Vieira, John., 1999
Polar Bear Poster Poem, 1965
In this poem, Furnival plays with permutations of bear, the personal pronouns, ours & nous (we in English from the French), and son using his distinctive calligraphic printed letterform style. This print is depicted in Furnival's "Lost For Words" (2011) page 56. -- Source of annotation: Marvin or Ruth Sackner.
Polartis. No.2 / pete spence, editor ; DeHay M ; Bertola C ; spence p ; Viera L ; Weigel T ; Duke JH ; Lakner S ; Vleeskens C ; Grumman B ; Reichert B ; Vitacchio A ; lefler P ; Seifert J ; Pearse N ; Upton L ; Hill C ; Cobbing B ; Moio G., 2002
Pontelux, 1974
Ponto. No.1 / Wlademir Dias Pino, Alvaro De Sa, editors ; DeSa A ; Santos AJ ; Tacla A ; Smith G ; DeSa N ; Dias-Pino W ; Cirne M ; Serafini JL ; Varela D ; Fernandes A., 1967
This magazine is one of the earliest to use semiotic signs for its poems. It was published by a group of Brazilian poets who wanted to be more avant garde than the current style of concrete poetry popularized by the Noigandres group. -- Source of annotation: Marvin or Ruth Sackner.
Ponto. No.2 / Wlademir Dias Pino, Alvaro De Sa, editors ; DeSa A ; Branco J ; Carvalho S ; DeSa N ; Ribeiro P ; DasPino W ; Cirne M ; DeLuxan Gurierrez J ; Tacla A ; Serafini JL ; Pinto JA., 1968
This copy has an additional 8 unbound pages (compared to other copy in Archive) by Nei Leandro De Castro regarding a semiotic poem for the third world. He states, "In terms of my encounter with these semiotic poems that consist of constructivistic-shaped ideograms & Portuguese translations, I read them with the same feelings as I do with Japanese visual poems that are presented to the West as Japanese ideograms and English translations." -- Source of annotation: Marvin or Ruth Sackner.