Showing Records: 21 - 40 of 189
An Anthology of Concrete Poetry / Williams, Emmett, editor ; Simkover, Rachel, editor ; Achleitner F ; Artmann HC ; Bremer C ; DeCampos H ; Cobbing B ; Dohl R ; Finlay IH ; Garnier I ; Garnier P ; Gomringer E ; Grogerova B ; Hirsal J ; Grunewald JL ; Houedard DS ; Mayer H ; Mon F ; Neilson H-J ; Pazarkaya Y ; Pignatari D ; Ruhm G ; Saroyan A ; Spatola A ; DeVree P ; Williams E., 2013
This is a re-edited book by Rachel Simkover from the original Something Else Press edited by Emmett Williams in 1967. -- Source of annotation: Marvin or Ruth Sackner.
An Opera / Williams, Emmett., 1963
A note in Fluxus Codex indicates that this work was included in several Fluxus assemblage boxes and also sold separately. -- Source of annotation: Marvin or Ruth Sackner.
an opera / Williams, Emmett., 1986
A text-score signed, ("The libretto in this Hundertmark Edition is original from 1960...") an original photo and a magnifier. -- Source of annotation: Marvin or Ruth Sackner.
AQ: How We Met or a Mocrodemystification. No.16 / Silke Pauli, Herve Wurz, editors ; Moore P ; Ay-O ; Ben ; Brecht G ; Filliou R ; Higgins D ; Maciunas G ; Saito T ; Spoerri D ; Watts R ; Williams E ; Shiomi M., 1977
Peter Moore's photograph appears on the cover. -- Source of annotation: Marvin or Ruth Sackner.
Art is Life/Life is Art / Roth, Dieter ; Spector B ; Edwards K ; Williams E ; Mayer HJ ; Higgins D ; Drucker J ; Phillpot C., 1999
In her essay "The Myth and the Mythmaker," curator Kathleen Edwards wrote that Roth was influenced by Dadaism, Surrealism, Pop Art, Abstract Expressionism, Fluxus and Conceptual Art. Buzz Spector contributed an essay "The Artist as Archivist, The Book as Body: Dieter Roth's Gesammelte Werke." He defined an Archive as a "repository of texts and/or images organized around a given subject. It provides for a relation of general equivalence between its components, and for a means of sorting through their accumulation. Unlike dictionaries or encyclopedias, which define words or ideas in relation to general linguistic or cultural models, and whose cognitive "force" is directed centrifugally, toward the margins of a discursive terrain, the force of the archive is centipetal, drawing in traces of its concern that coalesce to form clearer - which is to say, denser, more focused - insights into the meaning of its subject." -- Source of annotation: Marvin or Ruth Sackner.
Art / Power / Works / Lischke A ; Williams E ; Noel A ; Radzinski R., 2002
Russell Radzinski edited the catalogue and contributed an introductory essay "Art/Power/Works and the Approach to Conceptual Art." For the exhibition Emmett Williams presented a new version of his Alphabet Symphony. It was conducted by his wife Ann Noel. -- Source of annotation: Marvin or Ruth Sackner.
Artist and the Book in England, The / Lucie-Smith E ; King R ; Williams E ; Phillips T ; Roth D ; Paolozzi E ; Tyson I ; Hirschman J ; Henry M ; Furnival J ; Cobbing B ; Houedard DS ; Nuttall J ; Mills N., 1971
Artists' Book Collection / Flasch, Joan; Baroni V; Critical Art Ensamble; Deschamps F; McCarney S; Williams E; Perneczky G; Roth D; Zwicker T., 2002
These cards describe the scope of the collection -- Source of annotation: Marvin or Ruth Sackner.
Artists Books: Schutzengel Aktro-Passiv. No.20 / Emmett Williams., 1985
Stored on shelf with Hundertmark material. -- Source of annotation: Marvin or Ruth Sackner.
Autumn / Mayer, Hansjorg, editor ; Phillips T ; Roth D ; Williams E., 1987
Autumn / Mayer, Hansjorg, editor ; Roth D ; Williams E ; Hamilton R ; Duchamp M ; Thomkins A ; Wewerka S ; Ranier A ; Latham J ; Phillips T ; Dohl R ; Lax R., 1992
Different parts of Tom Phillips' poster print, "Benches" are collaged onto the covers of the catalogues. -- Source of annotation: Marvin or Ruth Sackner.
Books To Burn / Trusky T ; Ingberman J ; Lavater W ; Williams E., 1989
Exhibition was curated by Tom Trusky. The cover and pages are in the the shape of oversize matches. -- Source of annotation: Marvin or Ruth Sackner.
Borborigmi. No.1 / Bell M ; Higgins D ; Williams E., 1970
buchstablich Nurenberger wortliche Tage / Glasmeier M ; Heidsieck B ; Pimenta A ; Schauffelen KB ; Williams E ; Gomringer E ; Weiss C ; Nannucci M ; Kapielski T ; Butzmann F ; Johansson S ; Verweyen T ; Mon F ; Dohl R ; Bremer C ; Mayer HJ ; Thomkins A ; Achleitner F ; Solt ME ; Ulrichs T ; Kriwet F ; Garnier P ; Albert-Birot P ; Schwitters K ; Aragon L ; Jandl E ; Pignatari D ; Maurus H ; Ruhm G ; Hirsal J ; Grogerova B ; Vroom I ; Gappmayr H ; Saroyan A ; Claus CF ; Kolar J ; Ben ; Gerz J ; Porphyrii PO ; Simmias of Rhodes., 1990
Theodore Verweyen contributes an essay in which he compares examples of Baroque figurative poetry to examples of modern concrete poetry. Eugen Gomringer writes an essay that compares examples of modern German concrete poetry to examples from poets in other countries. -- Source of annotation: Marvin or Ruth Sackner.
Bulletin No.B56: A Short-Title List of Selected Works from the Avant-Garde / Lake, D & E ; General Idea ; Hansen A ; Knizak M ; Sharits P ; Williams E ; Banana A ; Gomringer E ; Rothenberg J ; Higgins D ; Lipski D ; MacLow J ; Nannucci M ; Ben ; Beuys J ; Kaprow A ; Coleman V ; Brecht G ; Maciunas G ; Penck A ; Roth D ; Trasov V ; Morris M., 1993
[Card to Ann & Emmett Williams] / Steen, Vagn; Noel A; Williams E., 1970
The verso of the card is Steen's offset poem "the poem begins here." The message from Steen to Williams deals with the time of arrival in New York from a Copenhagen flight. -- Source of annotation: Marvin or Ruth Sackner.
[Card to Emmett Williams] / Merton, Thomas; Williams E., 1968
The letterhead is Abbey of Gethsemani. The card reads, "Dear Emmett: Here are a few loose sheets from MPond (Monks Pond) which will show which concretes I took from author - & 'embellished.' Hope the magazine will be on its way soon." -- Source of annotation: Marvin or Ruth Sackner.
[Card to Emmett Williams] / Merton, Thomas; Williams E., 1968
This card of December 10, 1968, eight days before Merton's death, was typed by Patrick Hart, secretary to Thomas Merton. He gives permission to Williams to use poems in a forthcoming anthology that was never published. -- Source of annotation: Marvin or Ruth Sackner.
[Card To Emmett Williams] / Nannucci, Maurizio; Williams E., 1978
The card is written on the verso of "sixty natural greens," a conceptual art piece. Nannucci asks Williams to make a contribution to his magazine, Mela. -- Source of annotation: Marvin or Ruth Sackner.