Documentation
Found in 3450 Collections and/or Records:
[Letter to Jean-Paul Curtay] / Brown, Jean; Higgins D; Frank P; Williams J; Friedman K., 1982
Complains in a good natured way about the visitors to her Archive. -- Source of annotation: Marvin or Ruth Sackner.
[Letter to Jean-Paul Curtay] / Brown, Jean; Lemaitre M., 1982
Agrees with Curtay's assessment of her as a competitive collector. Mentions that she is disappointed by the tone of a letter written to her by Lemaitre's sister. -- Source of annotation: Marvin or Ruth Sackner.
[Letter to Jean-Paul Curtay] / Brown, Jean; Truck F; Cole D; Zelevansky P., 1982
Describes visit from Fred Truck, Paul Zelevansky and David Cole. -- Source of annotation: Marvin or Ruth Sackner.
[Letter to Jean-Paul Curtay] / Buck, Paul., 1981
Describes his attitude toward sound poetry. -- Source of annotation: Marvin or Ruth Sackner.
[Letter to Jean-Paul Curtay] / Caws, Mary., 1982
Caws thanks Curtay for sending her his book La Poesie Lettriste. -- Source of annotation: Marvin or Ruth Sackner.
[Letter to Jean-Paul Curtay] / Chopin, Henri., 1981
Chopin advises Curtay to get things in order and finish particular projects. -- Source of annotation: Marvin or Ruth Sackner.
[Letter to Jean-Paul Curtay] / Cole, David., 1981
The text is superimposed on surrealistic figures drawn by Cole. Cole praises Curtay's sound poetry performance. -- Source of annotation: Marvin or Ruth Sackner.
[Letter to Jean-Paul Curtay] / Cole, David., 1985
Incorporates Cole's typical iconography. -- Source of annotation: Marvin or Ruth Sackner.
[Letter to Jean-Paul Curtay] / Cole, David., 1981
The letter is written on a print depicting a visual poetic interpretation of the 64 hexagrams of I Ching. The loose sheet is a photocopy of a letter officially announcing his resignation from the Board of Higher Education, NYC. -- Source of annotation: Marvin or Ruth Sackner.
[Letter to Jean-Paul Curtay] / Cook, Geoffrey., 1980
Invites Curtay to visit and give a performance. -- Source of annotation: Marvin or Ruth Sackner.
[Letter to Jean-Paul Curtay] / Dupont, Albert., 1981
[Letter to Jean-Paul Curtay Feb 25, 1981] / Claire, Paula., 1981
Claire dscusses performances and sound poetry. -- Source of annotation: Marvin or Ruth Sackner.
[Letter to Jean-Paul Curtay] / Fencott, P.C.., 1981
Indicates that he was sorry to miss Curtay's performance at I.C.A. -- Source of annotation: Marvin or Ruth Sackner.
[Letter to Jean-Paul Curtay] / Haj; Valeskay, Daniel; Valeskay, Elke., 1982
[Letter to Jean-Paul Curtay] / Keppler, Joseph., 1983
Invites Curtay to give a performance. -- Source of annotation: Marvin or Ruth Sackner.
[Letter to Jean-Paul Curtay] / Lora-Totino, Arrigo., 1981
Requests material for the cassette periodical, BaoBab' -- Source of annotation: Marvin or Ruth Sackner.
[Letter to Jean-Paul Curtay] / Lora-Totino, Arrigo; Cage J., 1980
Asks Curtay for information about his "body poetry." -- Source of annotation: Marvin or Ruth Sackner.
[Letter to Jean-Paul Curtay] / Marcus, Greil; Wolman G., 1984
Mentions that he is more interested in the Ultra-Lettrist movement than Lettrisme in relation to Situationism, as background for his book (Lipstick Traces). -- Source of annotation: Marvin or Ruth Sackner.
[Letter to Jean-Paul Curtay] / Musgrove, Victor; Wolfli A., 1983
Musgrove, a British poet with a collection of Outsider Art (the outsider archive) writes about Adolf Wolfli: "It is also of particular importance that Wolfli was ahead of everybody - he invented collage combinations with painting around the turn of the century, included a Campbell soup can in a painting in 1904 and the sound poems were begun before DADA, and so on." -- Source of annotation: Marvin or Ruth Sackner.
[Letter to Jean-Paul Curtay oct.1, 1980] / Dutton, Paul., 1980
Mentions that he is unable to write about sound poetry for publication in Berenice. -- Source of annotation: Marvin or Ruth Sackner.