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Cluver presents definitions of Concrete Poetry and its controversies. Robert Indiana's "LOVE" works and e.e. cummings poem "brIght" are analyzed. -- Source of annotation: Marvin or Ruth Sackner.

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David Seaman curated this exhibiton and contributed an essay tracing the routes of Lettrisme to the present day. The exhibition was reviewed in the Statesboro Herald. -- Source of annotation: Marvin or Ruth Sackner.

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This book was based upon proceedings of 17th annual workshop sponored by the Department of German at the University of Wisconsin-Madison. Reinhold Grimm wrote a detailed, historical, illustrated essay on emblem, concrete and shaped poetry titled, "Poems and/as Pictures: A Quick Look at Two and a Half Millennia of Ongoing Aesthetic Intercourse." Sixty five examples of such poems are depicted. Grimm provides several shaped poems by different authors from George Herbert to Eugen Gomringer on "meditative wings." A shaped poem by an anonymous author entiltled "Cube" (1710) is printed in German and Yiddish (Figure 29). ee cummings' poem "Grasshopper" (1935) is reprinted (Figure 32). Includes three erotic shaped poems by Reinhold Aman, editor of the magazine, Maledicta (Figures 62-64). -- Source of annotation: Marvin or Ruth Sackner.

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The author describes "The Naked One Among the Clad" as Kemensky's first ferroconcrete book of poetry. She also cites and translates into English "Futuristy-Hylaea" and "Constantinople" (probably the first ferroconcrete poem). Both are held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

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The exhibition travelled to Gallery Joe in Philadelphia. The sheet and card are the press release and invitation from the gallery. -- Source of annotation: Marvin or Ruth Sackner.

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This catalogue depicts 24 photo-realist, Fuck paintings. Martin Herbert's text describes the exhibition history of these paintings. -- Source of annotation: Marvin or Ruth Sackner.

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Edited by Ed Sanders. -- Source of annotation: Marvin or Ruth Sackner.

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This book documents artwork, posters, photographs, record covers, and writing of the punk rock movement mainly in California. It consists of written descriptions and photographs of concerts, posters and relevant artworks of many rock groups of the period. The book depicts several posters done by Raymond Pettibon for the bands, "Black Flag" and "The Circle Jerks." -- Source of annotation: Marvin or Ruth Sackner.

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Foreword for this anthology involving permutations of groups of four words, sentences &/or images was contributed by Pierre Garnier. The afterword was done by Dieter Mahlow. The 70 Roman numeral designated books were distributed to the artists (Sackner copy); the remaining 80 numbered copies were offered for sale. -- Source of annotation: Marvin or Ruth Sackner.

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Contains reproduction of "Sempre Futurismo" held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

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First published by the British Library in 2005. The English translations and/or annotations are printed at the bottom of the page that depicts these poems. This book reproduces pages of Kruchenykh & Khlebnikov's "A Game in Hell" (1914) on pages 40-41, and, Ilia Zdanevich's "Le-Dentyu as a Beacon" (1923) on pages 50-69. Pages from Lacerba, the futurist periodical, are reproduced on pages 118-131. Pages from L'Italia Futurista that ran from 1916-1918 are reproduced on pages 133-155. -- Source of annotation: Marvin or Ruth Sackner.

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The editor of this book is Francois Proia. David Seaman contributed an essay, "The Birth of an Avant-Garde in Italy Inismo." He defines the terms Internazionale Novatrice Infinitesimale and traces the beginning of Inismo from Paris in 1980, to its independence from Lettrisme in 1989, to its current energetic presence in Rome. Laura Aga-Rossi prepared an extensive bibliography. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents This issue has a long interview with Steven Heller in the period prior to his becoming a writer on design. Synopsis: Comics aren't just for kids, and illustrations don't merely transpose text into image. Picture stories can do more than just tell a simple, illiterate narrative, and design, well, design infiltrates the visual aspects of nearly everything that surrounds us. If these statements seems like truisms, they are, but they were hardly obvious conclusions just a few years ago, before the arts once considered merely commercial exploded into the mainstream. Unlike any other publication, the Ganzfeld gathers together a diverse sampling of recent design, illustration, and comics, together with essays that place them in a historical and critical context. Better still, this volume includes the first publication of comics genius Chris Ware's color sketchbooks; endpapers designed by nest editor Joseph Holtzman, covers by the Beastie Boys and GAP designer Mike Mills; an illustrated...