Concrete poetry
Found in 6487 Collections and/or Records:
Report of a Journey / Pignatari, Decio; Sackner RK; Sackner MA., 1993
Pignatari mentions experiences of Miami visit and the encounter with the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.
Republikanische Gedichte 2nd Ed / Marti, Kurt., 1971
Requiem In Memory Of Our Fathers & Elder Brothers by Robert Rodzhdestvensky / Hirschman, Jack A.; Jack A. Hirschman, translator., 1977
This is a political poem dedicated to the Soviet army by Robert Rodzhdestvensky that was translated by Hirschman so that the English and Russian versions stand side by side. It appears to be printed on light sensitive brown paper. -- Source of annotation: Marvin or Ruth Sackner.
Res: Digital Culture. No.1/Fall / Abess M ; Mulholland M ; Sackner RK ; Sackner MA ; Pignatari D ; Solt ME ; Nichol bp ; Olson C., 2006
Mathew Abess contributes an essay dealing with digital archiving of concrete poetry. -- Source of annotation: Marvin or Ruth Sackner.
Resistance / Thalia., 1993
Resor I Inre Landskap 1952-1987 / Hodell, Ake ; Fahlstrom O ; Johnson BE ; Klintberg B., 1987
Responses: Prepare Your Mind before Turning the Page. No.4 / Bob Cobbing., 1992
rest/make (051064) / Houedard, Dom Sylvester., 1964
This typing is matted and framed with another typing by Houedard entitled "[Parentheses (41164)]." -- Source of annotation: Marvin or Ruth Sackner.
Retrospective / Stubbing, N.H. (Tony) ; Klein Y ; Tapie M ; Arman ; Goeritz M ; Hobbs R., 2000
According to his widow, Stubbing composed concrete poems in the late forties and early fifties both in English and Spanish. However, he is best known for his palm print abstract paintings. He might have became influenced in concrete poetry by Mathias Goeritz with whom he knew in the School of Altamura, Spain in 1949-1950. However, Goeritz's concrete poetry was published over a decade later from the Spanish experience. An original concrete poetic collage and typing "Poema Vociferado" c.1949 is held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.
Return of the Scops: English Poetry Performance Since 1960 / Johnson, Josephine; Mottram E; Bunting B; Cobbing B; Horovitz M; Nuttall J; Harwood L; Mitchell A; Thomas DM; Horovitz F; Voznesensky A; Fisher A., 1981
Reverence / Burgess, Mali aka Burgess, Molly., 1975
[Review of Poemografias] / curry, jw; Aguiar F; Pestana S., 1985
This is a favorable review of this book that surveys Portuguese concrete poetry and its antecedents; the book is held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.
Review of Poemografias edited by Fernando Aguiar and Silvestre Pestana / curry, jw; Aguiar F., 1985
This article appeared in What #5. -- Source of annotation: Marvin or Ruth Sackner.
Revolutie, 1968
This is among the most widely reproduced concrete poems of Paul De Vree. The word "Revolutie," printed in a circular way in red color has been fractured across its middle and placed slightly to the right of its top half to give an optical sense of movement. -- Source of annotation: Marvin or Ruth Sackner.
Revolution / Gerz, Jochen., 1971
The wooden blocks spell REVOLUT with three final letters, 'd' 'f' & 'n' separated and turned as if to revolt against themselves! This is a sepia toned photograph of a unique three dimensional book object designated No.609 in Gerz's Catalogue Raisonee Volume III. -- Source of annotation: Marvin or Ruth Sackner.
Revolution/Virtue/Eloquence/Transparency / Finlay, Ian Hamilton; Stirling, Annet., 1993
The work is composed of 4 prints each a single word formed from a collage of packets of commercial plant seeds. The height of all the prints is the same with the width smaller or larger depending on the number of the letters in the word. -- Source of annotation: Marvin or Ruth Sackner.
Revue internationale pour la poesie exp. No.20/Apr / Shin Tanabe, editor ; Sawada S ; Garnier P ; Blaine J ; Padin C ; Agrafiotis D ; Linschinger J ; Yarita M ; Aguiar F ; Takahashi S ; Tanabe S ; Vigo EA ; Deisler G ; Cobbing B., 2004
Rhapsodomancy / Eckhoff, Kevin Mepherson., 2010
In Rhapsodomancy, Eckhoff remembers Pitman Shorthand and Unifon, a 40 character phonetic alphabet. "Using these two phonic alphabets as image, his poems tease out a relationship between voice and words and visual poetry." According to Geof Huth, "His is a visual poetry at the edge of the textual and fully visual, resplendant with fragmentary bits of language and formal games filled with humor...We learn from this book that play is the deepest form of learning." -- Source of annotation: Marvin or Ruth Sackner.