Chopin, Henri, 1922-2008
Dates
- Existence: 1922-06-18 - 2008-01-03
Found in 137 Collections and/or Records:
Gratte-Ciel N* 116 / Chopin, Henri., 1987
The English translation of the title is skyscraper. -- Source of annotation: Marvin or Ruth Sackner.
Henri Chopin's Two Imperatives, 1978
Nicholas Zurbrugg's review of the poetry of Henri Chopin
Henri et Jean, 1977
The large letters, H and J, stand for Henri and Jean as a celebration of their 25th wedding anniversary. -- Source of annotation: Marvin or Ruth Sackner.
Hep Hep Hep Cesar, 1970
ICI RADIO VERONA, 2010
I've Got to See a Man about a Dog, 1975
Phrases in this print include: red as a tomato, stubborn as a mule, mad as a hatter, etc. -- Source of annotation: Marvin or Ruth Sackner.
J'Attends l'Homme!, 1969
The text of this print consists of several repetitions of the word, joie (joy) with a single word, jois, placed near the bottom. -- Source of annotation: Marvin or Ruth Sackner.
La Danse Des Oh!, 1992
The Letter "O" has been typed as an overlay to create Moire effects. -- Source of annotation: Marvin or Ruth Sackner.
La Poesie Sonore, 1990
L'Aigle Blanc; L'URSS Agrippe l'Ordre, 1974
Landscape for Marvin and Ruth, 1981
Le Bibelot, No. 18: Poeme Froufroutant Electronique, 1991
Le Dernier Roman du Monde , 1970
Le Dernier Roman du Monde, 1970
Le Grand Monde de la grande poesie, 2004
In this book, Chopin provides the basis for sound poetry -- Source of annotation: Marvin or Ruth Sackner.
Le Mot D'Or, 1991
Le Palais Acoustique
Gérard-Georges Lemaire's review of the poetry of Henri Chopin
Le Temps Aujourd'hui, 1972
This print is divided into an upper half that depicts a typewriter poem with a typed frontal view of a face. The lower half depicts the tItle in bold typography and a collage of an eye and dentures. -- Source of annotation: Marvin or Ruth Sackner.
Lecture for Eyear, 1964
Houedard in his introduction states that this is the first lecture (concrete poetry) delivered in the English speaking world. He presents an extensive critical analysis of Gomringer's poems including "Avenidas," "Silencio,"etc. and DeCampos poetry. Calligrammes were inspired by Mallarme's "Un Coup De Des" as well the music of Webern. He discusses the basis for Ultra-Lettrisme and Sound Poetry and provides a chronology for Sound Poetry. -- Source of annotation: Marvin or Ruth Sackner.
Les Cercles de Fees, 1984
The number 84 was typed repetitively to achieve the desired visual effect. -- Source of annotation: Marvin or Ruth Sackner.
