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Visual poetry

 Subject
Subject Source: Sackner Database

Found in 4852 Collections and/or Records:

Visual Poetry: Mail Art Project / Luc Fierens, curator ; Matsumoto A ; deAraujo A ; Restrepo T ; Rose M ; Adasme ; Galdamez J ; Paz H ; Altemus R ; Pontes H ; Kostelanetz R ; Marlowe W ; Todorovic M ; spence p ; Nakamura K ; Perkins S ; Pittore-Eurifico C ; Izumi N ; Ebel G ; Padin C ; Vleeskens C ; Stetser C ; Boschi A ; Bulatov D ; Chirot D ; Bentivoglio M ; Bennett JM ; Ferrando B ; Calleja JM ; Basinski M ; Garnier P ; Nikonova R ; Rabascall J ; Aguiar F ; Gappmayr H ; Pelati L ; Dencker KP ; DeVree F ; Sarenco ; Blaine J ; Castellin P ; Warnke U., 2002

 Item
Identifier: CC-54934-990349
Scope and Contents Klaus Peter Dencker contributes an essay, From Concrete to Visual Poetry with a Glance into th Electronic Future: Since the 1960s I have established myself in the middle ground between literature, visual art, and film, practically and theoretically; what has been especially exciting has been investigating the origin and history of these border zones. Thus, beginning with the origins of writing, the picture alphabets, we have examples of the mixing of image &nd text from the Greek magical papyri to the early figure poems of the Greek bucolic poets, Porfiry's Latin gris poems, the variants of the successors to the Carolingean Renaissance, the Baroque text figures, the scrolls of the sixteenth century and their predecessors up to the free text-pictures of the turn of the century somewhat as in Mallarme and Apollinaire, which the experiments of the futurists and dadaists followed, continued, and expanded, to entirely unique forms brought through by the artists of concrete and...
Dates: 2002

Visual Poetry: Nobody loves me / Izumi, Noboru., 1990

 Item
Identifier: CC-52405-73530
Scope and Contents

For the most part, the texts are printed on one side of glossy paper. Six pages deal with the history of visual/concrete poetry. -- Source of annotation: Marvin or Ruth Sackner.

Dates: 1990

Visual Poetry / Peter Frank ; Arias-Misson A ; Bentivoglio M ; Blaine J ; Bory JF ; Carrega U ; Claus CF ; Finlay IH ; Miccini E ; Phillips T ; Sarenco ; Takahashi S ; Frank P ; Curtay JP., 1990

 Item
Identifier: CC-00758-777
Scope and Contents

This exhibition was curated by Peter Frank. The Sackner Archive lent 12 pages of the "First Revised Edition of A Humument" to the exhibition. The catalogue includes essays by Arias-Misson, Frank, Miccini, and Sarenco as well as a chronology dealing with visual poetry. -- Source of annotation: Marvin or Ruth Sackner.

Dates: 1990

Visual Poetry Poster Series: Holding. No.1 / Helen White., 2009

 Item
Identifier: CC-49289-70331
Scope and Contents

The image depicts a hand holding string which when projected as a shadow to the background spells the word, "holding." -- Source of annotation: Marvin or Ruth Sackner.

Dates: 2009

Visual Poetry Poultry, 1998

 Item — Box 307: [Barcode: 31858073143616]
Identifier: CC-29604-30976
Scope and Contents

The sculptural image is a stylized chicken with mostly illegible, fragmented, writings and rubberstamped phrases with dada and fluxus content on its surface. The name of the bird/birdlike chararcter is Loplop who is featured in prints, collages and paintings by Max Ernst. Lopllop was an alter ego which Ernst developed and functioned as a familiar animal. Loplop first appeared in Ernst's collage novels La Femme 100 Tetes and in Une Semaine de Bonte in the role of a narrator and commentator. The cardboard box base has illegible handwriting on its lid, rubberstamped words DADA and stylized chicken heads on its sides, and rubberstamped, stylized heads of chickens within the inside bottom of the box. -- Source of annotation: Marvin or Ruth Sackner.

Dates: 1998

[Visual Poetry Prints aka 5 postcards] / Oberto, Anna., 1971

 Item
Identifier: CC-41680-43672
Scope and Contents

The Anna Oberto photographs are housed in the same envelope. -- Source of annotation: Marvin or Ruth Sackner.

Dates: 1971