ArchivesSpace at the University of Iowa

Scope and Contents

This exhibition was curated by Guy Brett. He writes in his essay, "The Century of Kinesthesia," that the works in the exhibition represent a language of movement or the physiognomy and poetics of language. Writing about dom sylvester houedard, Brett describes him as a Benedictine monk, poet, artist, and one of the most remarkable intellectuals in Britain. He developed a unique compressed prose style to theorise the discoveries of kinetic art and concrete poetry. The catalogue includes an extensive, illustrated chronology of the kinetic movement from 1910 to 1975 and also an anthology of previously published, selected essays by the artists in the exhibition. The Sackner Archive lent nine typewriter, optical works by Dom Sylvestre Houedard to the exhibition. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This exhibition was curated by Guy Brett. He writes in his essay, "The Century of Kinesthesia," that the works in the exhibition represent a language of movement or the physiognomy and poetics of language. Writing about dom sylvester houedard, Brett describes him as a Benedictine monk, poet, artist, and one of the most remarkable intellectuals in Britain. He developed a unique compressed prose style to theorise the discoveries of kinetic art and concrete poetry. The catalogue includes an extensive, illustrated chronology of the kinetic movement from 1910 to 1975 and also an anthology of previously published, selected essays by the artists in the exhibition. The Sackner Archive lent nine typewriter, optical works by Dom Sylvestre Houedard to the exhibition. This copy differs from the other copy held by the Sackner Archive in that "Hayward Gallery" is printed on the spine, the second and final destination of this exhibition. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents Various paper stocks were used for the prints, viz., Centurian, Ferndown, Fibrex, Flexicover, Kendal and Soho cover boards, All British Cartridge, Astralux cast coated boards, and clear Acetate. According to Diane Kirpatrick (Eduardo Paolozzi, New York Graphic Society, 1969), the work was conceived as a giant file of text and image collages from the artist's voluminous collection. Each viewer is invited to 'edit' the book by experimenting with various arrangements of the sheets in the box. Paolozzi was concerned in this book between the relationship of Kitsch to technology. The color combinations of the inks are elegant with prodigious use of gold, silver, and copper metal inks. The moulded plexiglas box has a Dayglo pink color (other copies had this color or bright yellow or bright green). The images include movie stills and strips, There are several prints that include scientific, industrial, weather, and news photography. Images include graphs, advertisements, art...