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This is a historic survey of women that have used language in art as well as women who are concrete and visual poets. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents Mavo was a self-proclaimed avant-garde constellation of artists and writers collaborating in a dynamic and rebellious movement that not only shook up the art establishment, but also made an indelible imprint on the art criticism of the times. Mavo artists cast themselves as social critics, strategically fusing modernist aesthtics with leftist politics and serving as a central voice for cultural anarchism in intellectual debates...While their work interrogated issues of asethetics, subjectivity, and mimesis, Mavo artists principally championed the reintegration of art into the social (and political) practice of everyday life.Book Description (dust Jacket): The radical Japanese art group Mavo roared into new arenas and new art forms during the 1920s, with work ranging from performance art to painting, book illustration, and architectural projects. Hurling rocks through glass roofs and displaying their rejected works, Mavo artists held peripatetic protest exhibitions against the...

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On page 147, Figure 10 depicts a hologram "Adrift" (1991) by Kac that is acknowledged to be in the collection of the Sackner Archive. Kac writes on page 145, "Adrift is composed basically of seven words that dissolve in space and into each other as the viewer reads them. In one case, the reader may be invited to start reading from the letter which is further away from him or her. In another case, the letter closer to the reader could be the starting point. The letters that make the words are floating irregularly along several Z axes, except for the word 'breathe', which is integrated into the overall light field. This word is blown by an imaginary wind as its letters actually move away from their original position to dissolve the light field. The movement of the letters in this word disrupts the apparent stability of the other words." -- Source of annotation: Marvin or Ruth Sackner.

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The duplicate copy is signed by Jozsef Biro on page 145. This catalogue represents an extensive listing of contemporary Hungarian visual and concrete poets with multiple reproductions of their works. The Sackner Archive holds the larger version of the concrete poetic photographs by Emoke Lipscey reproduced in this book. The duplicate copy is stored in a box. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents This is a well illustrated, historical survey of avante-garde cultural, art and political magazines and journals from the early 20th century to the present day. The magazines covered in this book include the following: Acephele, Alphabet and Image, Approches, Arcade, Argentzia, L'Art Brut, Aspen, Avant Garde, Baseline, Bief, Bit, Bizarre, Blast, TheBlindman, Bloc, Broom, Bulletin Dada, CA, Cahiers Dada Surrealisme, Cannibale, Cie, Club Dada, Le Coeur a Barbe, El Corno Emplumado, Dada, Der Dada, Dadaphone, Documenta-Sud, Dianamo-Futurista, Dyn, The East Village Other, L'Elan, Emigre, The Enemy, Evergreen Review, Eye, Fetish, Fluxus, Futura, Le Futurisme, Gazeta Futuristov, Geiger, Helix, Hot Lava, Huh, Information, Integral, Interview, L'Italia Futuristi, Jugend, K: Revue de las Poesie, KYW, Lava, The Little Review, Los Angeles Free Press, Mad, Der Malik, Maus, Mecano, Merz, Minotaure, Le Mot, Neon, Neue Jugend, New York Dada, The Next Call, Noi, Novyi Lef, Het Overzicht, Oz, Pan,...

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Provides a history of Hebrew micrography and a survey on its worldwide dissemination. -- Source of annotation: Marvin or Ruth Sackner.

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The cover was designed by Tom Phillips. -- Source of annotation: Marvin or Ruth Sackner.

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The dust jacket was designed by Tom Phillips. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents This detailed scholarly study of modern visual poetry defines and illustrates this international movement with particular emphasis on materials written in English, French, Italian, Spanish, German, and Catalan. Bohn writes, "For all intents and purposes, visual poetry can be defined as poetry that is meant to be seen - poetry that presupposes a viewer as well as a reader...Visual poems are immediately recognizable by their refusal to adhere to a rectilinear grid and by their tendency to flout their plasticity. In contrast to traditional poetry, they are conceived not only as literary works but also as works of art." Although the title of this book connotes 'visual poetry,' the examples chosen are verbal poems without incorporation of visual imagary . Bohn aptly dissects the meaning of several concrete and visual poems in this book. He is particularly enamored of the shaped poems of Jose Juan Tablada as well as the Spanish Futurists. The concrete poetry movement is researched in...

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This exhibitiontraced the history of photomontage in early 20th century life. It was divided into nine sections: Speed Up, War Machines, The City, Rapid Transit, The New Woman, the Artists Engagement with the Mass Media, the Body Refigured, the Political Spectrum of Montage and Film. -- Source of annotation: Marvin or Ruth Sackner.

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This exhibition was a very large, diversified survey of contemporary concrete and visual poetry. The catalogue includes several critical essays written in Portuguese along with English translations. It features essays on the poetry scene in Latin America and other countries. The pamphlet is a program of events held in conjunction with the exhibition. -- Source of annotation: Marvin or Ruth Sackner.

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This anthology was published to celebrate Max Bense's 60th birthday; the layout was designed by Hansjorg Mayer. In addition to including several concrete poetic works and conventional poems, the book contains several essays on asthetics and information theory, topics of great interest to Bense. -- Source of annotation: Marvin or Ruth Sackner.

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The text provides information on the Neoists, Plagiarists, Art Strikers and other obscure art groups formed in the eighties and nineties. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents Back cover: The experimental art and poetry of the last half of the twentieth century offers a glimpse of the emerging networked culture that electronic devices will make omnipresent. Craig J. Saper demarcates this new genre of networked art, which uses the trappings of bureaucratic systems-money, logos, corporate names, stamps-to create intimate situations among the participants. In Saper's analysis, the pleasures that these aesthetic situations afford include shared special knowledge or new language among small groups of participants. Functioning as artworks in themselves, these temporary institutional structures-networks, publications, and collective works-give rise to a gift-exchange community as an alternative economy and social system. Saper explains how this genre developed from post-World War II conceptual art, including periodicals as artworks in themselves; lettrist, concrete, and process poetry; Bauhaus versus COBRA; Fluxus publications, kits, and machines; mail art and...

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The text of this book surveys the experiments and achievements in the graphic arts from 1917 to 1929, traces the influence of Russian folk art, Futurist poetry, Cubist art and Dada and describes how graphics brought the Revolutionary message to the people. Rodchenko's photomontage for Pro Eto and Telingater's jacket for Kirsanov's novel (1930), held by the Sackner Archive are reproduced. -- Source of annotation: Marvin or Ruth Sackner.

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This book depicts printed and handwritten examples of Bonset's sound poems. Bonset is the alter-ego ofv van Doesburg. -- Source of annotation: Marvin or Ruth Sackner.

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Essays were originally delivered at the symposium "Modernism in the Low Countries 1915-1930," held at the University of Texas at Austin. Primary focus was on Dutch Modernist poetry, especially the work of VanOstaijen and Bonset. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents The Foreword was written by Renee Reise Hubert & Judd D. Hubert. Amazon.com commented: "This important history of the artist's book, a flourishing form which over the years has often been greeted with confusion by critics, collectors, historians, and artists, aims to spell out its role in contemporary art and to claim for it a vital and heretofore unacknowledged status since the blossoming of the artform in the 70s. Renowned scholar and curator Betty Bright takes an inclusive view of the varied field in order to redress its marginalization, identifying three distinct types: the fine press book, the deluxe book, and the bookwork. She covers crucial supporters of the form, like New York's Center for Book Arts, Franklin Furnace, and the Visual Studies Workshop Press in Rochester, New York, as well as key organizations and figures in Chicago, Atlanta, San Francisco, and Los Angeles. Bright examines how artist's books have responded to specific movements, such as Pop, Fluxus, and...