ArchivesSpace at the University of Iowa

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This work is also designated Mat Mot No.6. The piece consists of six words written by Gertrude Stein, "when this you see remember me," a color assigned to each word. Each print doubles the number of words from the previous plate such that in the final print the 24,516 words fuse together. The work was made by handstamping the work on 72 plates, and the integrated result visible only after 78 operations of the color press. The stamping was done at full speed to achieve the fusion of words, not the spreading of color. -- Source of annotation: Marvin or Ruth Sackner.

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Depicts a reproduction of Finlay's silkscreen poster/poem. -- Source of annotation: Marvin or Ruth Sackner.

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The drawing consists of the word "all" written repetitively in several colors lined up in a 16 x 15 grid. A varient of this drawing with a vertical orientation is depicted in de vries book, "eschinau sutra" (2002). -- Source of annotation: Marvin or Ruth Sackner.

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Exhibited in Visualog 2, San Luis Obispu, California. Exhibition was curated by Karl Kempton. -- Source of annotation: Marvin or Ruth Sackner.

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This is a reprinting in colored rubberstamped letters of a Houedard version of Basho's frog pond plop. The verso contains a quotation from DMF (?), "One day I will have to acknowledge that the only story is the world, and action the only language in which to tell it." -- Source of annotation: Marvin or Ruth Sackner.

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Each page is a print depicting geometric arrangements of the letters listed in the title. -- Source of annotation: Marvin or Ruth Sackner.

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Taken from pete spence's Archive 1998. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents The card is an instruction sheet for assembling the panel from pages in the book; the loose sheet is an errata sheet.In the introduction to Carnival Panel Two, McCaffery comments on Panel One. "Carnival is planned as a multi-panel language environment, constructed largely on the typewriter and designed ultimately to put the reader, as perceptual participant, within the center of his language.The roots of Carnival go beyond concretism (specifically that particular branch of concrete poetry termed the `typestract' or abstract typewriter art) to labyrinth and mandala, and all related archetypal forms that emphasize the use of the visual qualities in language to defend a sacred centre. Pond's vorticism also forms part of the grid of influences, and on one level at least, Carnival can be seen as an attempt to abstract, concretize and expand Pound's concept of the image as the circular pull of an intellectual and emotional energy. Above all it is a structure of strategic...

Scope and Contents The card is an instruction sheet for assembling the panel from pages in the book; the loose sheet is an errata sheet.In the introduction to Carnival Panel Two, McCaffery comments on Panel One. "Carnival is planned as a multi-panel language environment, constructed largely on the typewriter and designed ultimately to put the reader, as perceptual participant, within the center of his language.The roots of Carnival go beyond concretism (specifically that particular branch of concrete poetry termed the `typestract' or abstract typewriter art) to labyrinth and mandala, and all related archetypal forms that emphasize the use of the visual qualities in language to defend a sacred centre. Pond's vorticism also forms part of the grid of influences, and on one level at least, Carnival can be seen as an attempt to abstract, concretize and expand Pound's concept of the image as the circular pull of an intellectual and emotional energy. Above all it is a structure of strategic...

Scope and Contents This print reproduces a page from a multiple page poem written on graph paper. The work was composed by Castoro in 1969. Castoro was the first wife of Carl Andre who also used Castro as her last name. Broadway 1602 Gallery: Rosemarie Castoro (1939-)was a central protagonist among of the New York Minimalists and one of the few highly recognized female painters in this milieu. In the early 1960s Castoro found her initial inspiration in modern dance. She collaborated with Minimal Dance pioneer Yvonne Rainer and at Pratt Institute she got intensely involved with choreography. "When I danced I leapt through the air and continued to remain up there"¦I felt a self-propelled air- stretch. It was a way to leave this earth, to bring coherence to reality, to find a path again, to deeper the grooves and push the forest of the half blind." This highly evolved early practice served Castoro to explore three-dimensional space. By 1964 she decided to channel her central aesthetic concerns focusing...

Scope and Contents

This print reproduces a page from a multiple page poem written on graph paper. The work was composed by Castoro in 1969. Castoro was the first wife of Carl Andre who also used Castro as her last name. -- Source of annotation: Marvin or Ruth Sackner.

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Also designated Wrecking Ballzark No.57. This is also card #32. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

Also designated Wrecking Ballzark No.57 and card #32. -- Source of annotation: Marvin or Ruth Sackner.