Concrete poetry

Random Axis / Frazer, Vernon., 2010

Item

Identifier: CC-52347-73470

Dates: 2010

Found in: The Ruth and Marvin Sackner Archive of Concrete and Visual Poetry / Ruth and Marvin Sackner Archive of Concrete and Visual Poetry: Books (unprocessed)

Random Modulator [1] / Finch, Peter., 1975

Item

Identifier: CC-12840-13127

Scope and Contents

Photograph depicts a sculptural plant-like object with each leaf having a single word, e.g., mouths, songs, faces, space, etc. -- Source of annotation: Marvin or Ruth Sackner.

Dates: 1975

Found in: The Ruth and Marvin Sackner Archive of Concrete and Visual Poetry / Ruth and Marvin Sackner Archive of Concrete and Visual Poetry: Various Formats(unprocessed)

Random Modulator [2] / Finch, Peter., 1975

Item

Identifier: CC-12841-13128

Scope and Contents

Photograph depicts a detail view of this work. -- Source of annotation: Marvin or Ruth Sackner.

Dates: 1975

Found in: The Ruth and Marvin Sackner Archive of Concrete and Visual Poetry / Ruth and Marvin Sackner Archive of Concrete and Visual Poetry: Various Formats(unprocessed)

Random Sightings [Reprint], 1999

Item

Identifier: CC-33510-35159

Scope and Contents

Several poems are word portraits of artists that include Francis Bacon, William Baziotes, James Ensor, Paul Gauguin, Turner, and Robert Motherwell. The book also includes reprints of levy's introductory essay to 306, 5 Cleveland Poems, you murders with your indifference, and the "IN" Group. The cover was designed by Alan Horvath, the publisher. -- Source of annotation: Marvin or Ruth Sackner.

Dates: 1999

Found in: The Ruth and Marvin Sackner Archive of Concrete and Visual Poetry / Ruth and Marvin Sackner Archive of Concrete and Visual Poetry (processed) / BOOKS / BOOKS (moved to alphabetical shelves)

Random Sightings (The Egyptian Stroboscope Sessions), 2000

Item

Identifier: CC-52257-73379

Scope and Contents

Most of the copies of the first printing in an edition of 108 copies were confiscated by the Cleveland Police in the notorious raid of Jim Lowell's book store in 1966. The second printing by grass coin publishing in 1967 had a different cover, a modified title page & did not contain an index section. This third posthumous printing presented here is a reproduction of the original, the unique page from the second edition as well as the original manuscript pages. The cover silkscreen of this third printing was done by Mike Schaefer. -- Source of annotation: Marvin or Ruth Sackner.

Dates: 2000

Found in: The Ruth and Marvin Sackner Archive of Concrete and Visual Poetry / Ruth and Marvin Sackner Archive of Concrete and Visual Poetry (processed) / ARTIST BOOKS AND POETRY/BOOK OBJECTS / d.a. levy

Rape of Reality / Trubaj, Vasyl., 1997

Item

Identifier: CC-41234-43217

Dates: 1997

Found in: The Ruth and Marvin Sackner Archive of Concrete and Visual Poetry / Ruth and Marvin Sackner Archive of Concrete and Visual Poetry: Books (unprocessed)

Rape of Reality / Trubaj, Vasyl., 1997

Item

Identifier: CC-43471-45535

Dates: 1997

Found in: The Ruth and Marvin Sackner Archive of Concrete and Visual Poetry / Ruth and Marvin Sackner Archive of Concrete and Visual Poetry: Books (unprocessed)

Rapel: 10 fauve and suprematist poems / Finlay, Ian Hamilton., 1963

Item

Identifier: CC-11674-11892

Scope and Contents Missing one print, "ballad," a poem dealing with the theme of sailors. Includes a poem entitled "Homage to Malevich" in which a square is made up of the words black and block printed with a bold black typeface. This poem has been critically analyzed by Stephen Scobie (Earthquakes& Explorations, Toronto, Canada: University of Toronto Press, 1997, hard cover book, pp 182-189) as pivotal to the understanding of Finlay's work. "The letter to Garnier indicates also the extent to which Finlay's aesthetic was formed by the artistic movements of the early twentieth century; its reference points are Cubism, Fauvism, and Suprematism. The recourse to painting arose, the letter explains, at the point where verbal language in itself seemed inadequate: 'with the extraordinary (since wholly unexpected) sense that the syntax I had been using, the movement of language in me, at a physical level, was no longer there.' Painting - or, more generally, 'visual language' - provided (for Finlay, and...

Dates: 1963

Found in: The Ruth and Marvin Sackner Archive of Concrete and Visual Poetry / Ruth and Marvin Sackner Archive of Concrete and Visual Poetry: Various Formats(unprocessed)

Rapel: 10 fauve and suprematist poems / Finlay, Ian Hamilton., 1963

Item

Identifier: CC-11675-11893

Scope and Contents Includes a poem entitled "Homage to Malevich" in which a square is made up of the words black and block printed with a bold black typeface. This poem has been critically analyzed by Stephen Scobie (Earthquakes& Explorations, Toronto, Canada: University of Toronto Press, 1997, hard cover book, pp 182-189) as pivotal to the understanding of Finlay's work. "The letter to Garnier indicates also the extent to which Finlay's aesthetic was formed by the artistic movements of the early twentieth century; its reference points are Cubism, Fauvism, and Suprematism. The recourse to painting arose, the letter explains, at the point where verbal language in itself seemed inadequate: 'with the extraordinary (since wholly unexpected) sense that the syntax I had been using, the movement of language in me, at a physical level, was no longer there.' Painting - or, more generally, 'visual language' - provided (for Finlay, and for many other poets at the time) a way out of this impasse: not by...

Dates: 1963

Found in: The Ruth and Marvin Sackner Archive of Concrete and Visual Poetry / Ruth and Marvin Sackner Archive of Concrete and Visual Poetry: Various Formats(unprocessed)