Concrete poetry

Rampike: Sense/Sensuality. No.1 / Karl Jirgens, editor ; Altemus R ; Sutherland WM ; Kostelanetz R ; Stetser C ; Nations O ; bissett b ; Smith St ; Kantor I ; Winkler M ; Burgaud C ; Mancini D ; Baroni V ; Olbrich JO ; Niditch B ; Cullen B., 2005

Item

Identifier: CC-47919-68941

Dates: 2005

Found in: The Ruth and Marvin Sackner Archive of Concrete and Visual Poetry / Ruth and Marvin Sackner Archive of Concrete and Visual Poetry: Periodicals

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

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

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

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 / BOOKS / BOOKS (moved to alphabetical shelves)

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

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

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

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