Scope and Contents

This issue includes particularly good examples of typewritten concrete poetry. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This issue Includes concrete poetic broadsides by Ivy Sky Rutzky, "Blade Rein," and several by Haig & Regina Shekerjian that were acquired as seperate items by the Sackner Archive. Ann Noel [Williams] contributed a positive/negative reversal of the characteristics of letters poem, recto-verso, in a style after another example held by the Sackner Archive which begins, "After you have selected..." -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

Covers by Cole. All contributors to this issue responded to the question "If you could apply for a grant of $500,000, what precisely would you propose to do?" -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents Dana Atchley's "Notebook 1," an Assembling, was published in March 1970 about the same time as Assembling No.1. Ed Ruscha contributed a piece entitled, "Chocolate" that consists of the word "Chocolate" printed on one page and a hand applied chocolate smear on the following sheet. This is the first periodical to utilize the term, "Assembling." Contemporary Assembling magazines arouse from the topology of correspondence art. As common reference points for its geographically dispersed participants, they functioned as alternative spaces for exhibiting work, places where invitations for projects could be broadcast and coupled with the growing practice of listing contributor's addresses, initiators of community building. Equally important, they provided correspondence art with an image of itself, a momentary snapshot that illuminated the scope and breadth of its activities. Self-published in small print runs, utilizing available print technologies, these periodicals were distributed...

Scope and Contents

Compiled by Scott Helmes, Richard Kostelanetz and David Cole. A visual/verbal biography is provided by David Cole. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents Craig Saper curated this exhibition through loan of "Assemblings" entirely from the Sackner Archive. It might have been the largest exhibition of assemblings in a gallery space to date. His extensive essay describes the history of this international, alternative distribution system with its roots in Fluxus, Lettrisme, Situationism, Conceptualism and Cobra. Circumventing the established art gallery system, bookmakers, artists, visual poets, media artists send from 50 to 100 works to an assembler or compiler who distributes the assemblings to the participants and to subscribers. Worldwide networking systems developed, basically using the postal system and a few avant garde institutions, in an attempt to reach a wide audience and democratize art making. Assemblings combine both crafts and mechanized reproduction. Saper writes, "The artists cherish the production of carefully constructed individualized visual poems and constructions as well as the insistence that readers recuperate,...

Scope and Contents Craig Saper curated this exhibition through loan of "Assemblings" entirely from the Sackner Archive. It might have been the largest exhibition of assemblings in a gallery space to date. His extensive essay describes the history of this international, alternative distribution system with its roots in Fluxus, Lettrisme, Situationism, Conceptualism and Cobra. Circumventing the established art gallery system, bookmakers, artists, visual poets, media artists send from 50 to 100 works to an assembler or compiler who distributes the assemblings to the participants and to subscribers. Worldwide networking systems developed, basically using the postal system and a few avant garde institutions, in an attempt to reach a wide audience and democratize art making. Assemblings combine both crafts and mechanized reproduction. Saper writes, "The artists cherish the production of carefully constructed individualized visual poems and constructions as well as the insistence that readers recuperate,...

Scope and Contents Craig Saper curated this exhibition through loan of "Assemblings" entirely from the Sackner Archive. It might have been the largest exhibition of assemblings in a gallery space to date. His extensive essay describes the history of this international, alternative distribution system with its roots in Fluxus, Lettrisme, Situationism, Conceptualism and Cobra. Circumventing the established art gallery system, bookmakers, artists, visual poets, media artists send from 50 to 100 works to an assembler or compiler who distributes the assemblings to the participants and to subscribers. Worldwide networking systems developed, basically using the postal system and a few avant garde institutions, in an attempt to reach a wide audience and democratize art making. Assemblings combine both crafts and mechanized reproduction. Saper writes, "The artists cherish the production of carefully constructed individualized visual poems and constructions as well as the insistence that readers recuperate,...