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Concrete poetry

 Subject
Subject Source: Sackner Database

Found in 6454 Collections and/or Records:

e colony / Cobbing, Bob., 1970

 Item
Identifier: CC-49971-71030
Scope and Contents

All the large calligraphic markings are formed from the letter "e." -- Source of annotation: Marvin or Ruth Sackner.

Dates: 1970

Early Photographs, Recent Books, Chess Sets and Concrete Poems / Hornor, Dave ; Higgins D., 2006

 Item
Identifier: CC-62513-47666
Scope and Contents

Includes a card by Dick Higgins (reprint?) dated 1978 entitled "Seven Stars for English Professors." -- Source of annotation: Marvin or Ruth Sackner.

Dates: 2006

Earmouth / Mayer, Peter., 1972

 Item
Identifier: CC-38131-40024
Scope and Contents

The book includes a reproduction of "man?;" the original collage is held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

Dates: 1972

Earthquakes & Explorations, 1997

 Item
Identifier: CC-30349-31764
Scope and Contents This book is about how language deals with the non-verbal and about linguistic resposes to painting. Scobie writes that the unity in this book lies "in its relation to a central complex of ideas - the interaction between language and painting: the specific case of Cubism; the extension of Cubism into Concrete Poetry." Scobie provides an excellent background of Cubism's beginnings with emphasis on the roles of Apollinaire and Daniel Kahnwieler, the art dealer. He discusses the placing of fragmented words into Cubist paintings as word-play and puns.In his chapter on concrete poetry, Scobie "attempts to situate the international movement of the 1950's and 1960's within larger cultural tendencies, such as the transition from modernism to post modernism," and he reviews the collaboration between bp Nichol, the Canadian poet and Barbara Caruso, the Canadian artist. In the following chapter, Scobie deals with sound and visual poetry and concludes this section with an analyses of the...
Dates: 1997

Earthship / Ian Hamilton Finlay; Alistair Cant., 1965

 Item
Identifier: CC-12477-12704
Scope and Contents

Nineteen cards printed with text at their bottom edge were bent into a curved shape and stapled together. This poem object can be positioned in different configurations to create the image of a ship that in Finlay's vision might be adapted for travel on land. The text includes such words as "fin, bow, number, sail, etc." as locations for the various aids to make this "Earthship." The cardboard box has a few waterstains but the poem object is undamaged. According to Paul Robertson (catalogue: he patted), only 25 of these poem objects might have been actually made with the printed box. 3 -- Source of annotation: Marvin or Ruth Sackner.

Dates: 1965

Earthship / Ian Hamilton Finlay; Alistair Cant., 1965

 Item
Identifier: CC-12477-12704
Scope and Contents

Nineteen cards printed with text at their bottom edge were bent into a curved shape and stapled together. This poem object can be positioned in different configurations to create the image of a ship that in Finlay's vision might be adapted for travel on land. The text includes such words as "fin, bow, number, sail, etc." as locations for the various aids to make this "Earthship." The cardboard box has a few waterstains but the poem object is undamaged. According to Paul Robertson (catalogue: he patted), only 25 of these poem objects might have been actually made with the printed box. 3 -- Source of annotation: Marvin or Ruth Sackner.

Dates: 1965

Eat - Fat, 1992

 Item — Box 296: [Barcode: 31858072460755]
Identifier: CC-00789-808
Scope and Contents

The work consists of two large painted letters, "A" & "T." The third Letter, an "F" can be converted to an "E" by adding a fourth piece, a bar to the "F." In that way, the sculpture can be read as EAT or FAT. -- Source of annotation: Marvin or Ruth Sackner.

Dates: 1992