ArchivesSpace at the University of Iowa

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This work was printed by Magnus Sandberg. It depicts a cluster of written words arranged in the shape of a hill. -- Source of annotation: Marvin or Ruth Sackner.

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The autoportrait of Burciaga as ashaped poem held by Sackner Archive was reproduced in this catalogue. -- Source of annotation: Marvin or Ruth Sackner.

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Includes a review of French shaped poetry written prior to Mallarme. In this book, calligraphic poems of Apollinaire have been translated into the Czech language -- Source of annotation: Marvin or Ruth Sackner.

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The exhibition consisted of 30 calligraphic poems cut from paper, numbers 19 to 25 were later published in a portfolio, "Siete Caligramas," a work also held by the Sackner Archive. In this catalogue, Zeller expains how he found the text for his first calligram in a dream. -- 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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Features examples of Arabic and Oriental shaped poems. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents The shapes of the poems in this book are composed of calligraphic text arranged to form human figures or parts of figures. In addition, line drawings of human figures overlay conventional poems to form picture poems. Finally, both line and calligraphic drawings of the same figurative shape are printed on some of the facing pages. This effect is analogous to the work of the Italian poet, Ketty La Rocca that was published in the seventies.Wikipedia: Pierre Bearn (15 June 1902 -- October 27, 2004) was a French writer. He was born Louis-Gabriel Besnard in Bucharest, Romania.He is known to Anglophones for his poem "Couleurs d'usine", which includes the line Metro boulot bistrots megots dodo zero (translation: "Subway work bars (cigarette) butts sleep nothing"). A multifaceted personality, at one time a journalist, novelist, poet, fabulist and humanist, at age nine Bearn began writing in French slang, his "natural" language. His father having died prematurely, at the age of 14 he became...

Scope and Contents The shapes of the poems in this book are composed of calligraphic text arranged to form human figures or parts of figures. In addition, line drawings of human figures overlay conventional poems to form picture poems. Finally, both line and calligraphic drawings of the same figurative shape are printed on some of the facing pages. This effect is analogous to the work of the Italian poet, Ketty La Rocca that was published in the seventies.Wikipedia: Pierre Bearn (15 June 1902 -- October 27, 2004) was a French writer. He was born Louis-Gabriel Besnard in Bucharest, Romania.He is known to Anglophones for his poem "Couleurs d'usine", which includes the line Metro boulot bistrots megots dodo zero (translation: "Subway work bars (cigarette) butts sleep nothing"). A multifaceted personality, at one time a journalist, novelist, poet, fabulist and humanist, at age nine Bearn began writing in French slang, his "natural" language. His father having died prematurely, at the age of 14 he became...

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The handcolored images from the exhibition catalog, Irene Lagut/Leopold Survage published in 1917, a book also held by the Sackner Archive, are depicted. -- Source of annotation: Marvin or Ruth Sackner.

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The two facing poems, based upon a calligram of Apollinaire, have the shape of trees but their French texts differ. One poem deals with Victor Hugo and the other has an obscure meaning. -- Source of annotation: Marvin or Ruth Sackner.

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The line drawings of a female nude with superimposed calligraphic text have a lettrist quality. Barbara O'Connelly aka Barb O'Connelly was D.r. Wagner's wife. -- Source of annotation: Marvin or Ruth Sackner.

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This poem is printed in Hirschman's book, "Black Alephs," in linear format. Here it is written within the shapes of Hebrew letters. -- Source of annotation: Marvin or Ruth Sackner.

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This poem is printed in Hirschman's book, "Black Alephs," in linear format. Here it is printed in two columns on a gray background of a William Blake Christian religious scene and overlaid with mandulas of a Kabbalistic Hebrew text written by Abraham Abulafia in the 13th century. -- Source of annotation: Marvin or Ruth Sackner.