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 Subject
Subject Source: Sackner Database

Found in 249 Collections and/or Records:

PEYOTE / Depew, Wally., 1984

 Item
Identifier: CC-15174-15495
Scope and Contents

The layouts of the copies differ among them. -- Source of annotation: Marvin or Ruth Sackner.

Dates: 1984
Found in: The Ruth and Marvin Sackner Archive of Concrete and Visual Poetry / Ruth and Marvin Sackner Archive of Concrete and Visual Poetry: Books

Phi / Pena, Alonso Barros ; Moholy-Nagy L., 1993

 Item
Identifier: CC-04833-4926
Scope and Contents

Pena lists his poems in the index according to Mayan hieroglyphics. The letters of the words of the poems are presented in varied colors and the shapes reference the calligrams of Apollinaire. A page with musical notation depicts words in different size typefaces & spacing akin to Mallarme's Un Coup de Des. These points were raised in a review of this book by Rodolfo Alonso that accompanies it. Finally, the box for the book contained paper to make it usable for an H-P computer driven printer.This book might have been composed with a typewriter. -- Source of annotation: Marvin or Ruth Sackner.

Dates: 1993
Found in: The Ruth and Marvin Sackner Archive of Concrete and Visual Poetry / Ruth and Marvin Sackner Archive of Concrete and Visual Poetry: Books

Photos of Word Paintings / Beery, Gene B.., 1991

 Item
Identifier: CC-23106-23543
Dates: 1991
Found in: The Ruth and Marvin Sackner Archive of Concrete and Visual Poetry / Ruth and Marvin Sackner Archive of Concrete and Visual Poetry: Various Formats

Poetamenos 1953 1973 / De Campos, Augusto., 1973

 Item
Identifier: CC-16358-16708
Scope and Contents

This is the second edition of poems that were composed from January to July 1953 and first published in Noigandres 2, 1955, a periodical held by the Sackner Archive. The colored text of these poems has its origins in the musical melodies of Anton Webern. The images accompanying this record include three scans of the originals from 1953 donated to the Sackner Archive by Augusto De Campos and three offset prints from this 2nd edition of poetamenos as well as two reproduced poems in Emmett Williams' "Antholology of Concrete Poetry." -- Source of annotation: Marvin or Ruth Sackner.

Dates: 1973
Found in: The Ruth and Marvin Sackner Archive of Concrete and Visual Poetry / Ruth and Marvin Sackner Archive of Concrete and Visual Poetry: Various Formats

Poinsettia / Cutts, Simon., 1979

 Item
Identifier: CC-18064-18434
Scope and Contents

This is the third edition and was made with name-tapes. -- Source of annotation: Marvin or Ruth Sackner.

Dates: 1979
Found in: The Ruth and Marvin Sackner Archive of Concrete and Visual Poetry / Ruth and Marvin Sackner Archive of Concrete and Visual Poetry: Various Formats

Poinsettia / Cutts, Simon., 1973

 Item
Identifier: CC-19095-19474
Dates: 1973
Found in: The Ruth and Marvin Sackner Archive of Concrete and Visual Poetry / Ruth and Marvin Sackner Archive of Concrete and Visual Poetry: Various Formats

Presto 1 / Depew, Wally., 1985

 Item
Identifier: CC-15178-15499
Scope and Contents

There are two words on most of the pages that are formed with the same letters but the lower differs from the upper by the addition or subtraction of another letter. -- Source of annotation: Marvin or Ruth Sackner.

Dates: 1985
Found in: The Ruth and Marvin Sackner Archive of Concrete and Visual Poetry / Ruth and Marvin Sackner Archive of Concrete and Visual Poetry: Booklets

Prostkarten mit Bruchstaben [E] / Becker, Heinz., 1999

 Item
Identifier: CC-36096-37875
Scope and Contents

The four cards arranged properly create the letter E. -- Source of annotation: Marvin or Ruth Sackner.

Dates: 1999
Found in: The Ruth and Marvin Sackner Archive of Concrete and Visual Poetry / Ruth and Marvin Sackner Archive of Concrete and Visual Poetry: Various Formats

Prostkarten mit Bruchstaben [F] / Becker, Heinz., 1999

 Item
Identifier: CC-36097-37876
Scope and Contents

The four cards arranged properly create the letter F. -- Source of annotation: Marvin or Ruth Sackner.

Dates: 1999
Found in: The Ruth and Marvin Sackner Archive of Concrete and Visual Poetry / Ruth and Marvin Sackner Archive of Concrete and Visual Poetry: Various Formats

Prostkarten mit Bruchstaben [G] / Becker, Heinz., 1999

 Item
Identifier: CC-36098-37877
Scope and Contents

The four cards arranged properly create the letter G. -- Source of annotation: Marvin or Ruth Sackner.

Dates: 1999
Found in: The Ruth and Marvin Sackner Archive of Concrete and Visual Poetry / Ruth and Marvin Sackner Archive of Concrete and Visual Poetry: Various Formats

Prostkarten mit Bruchstaben [H] / Becker, Heinz., 1999

 Item
Identifier: CC-36099-37878
Scope and Contents

The four cards arranged properly create the letter H. -- Source of annotation: Marvin or Ruth Sackner.

Dates: 1999
Found in: The Ruth and Marvin Sackner Archive of Concrete and Visual Poetry / Ruth and Marvin Sackner Archive of Concrete and Visual Poetry: Various Formats

qbdp: 3 views of It. No.2/Apr / Geof Huth., 2004

 Item
Identifier: CC-42984-45029
Scope and Contents

The text of the card is printed in large block letters. -- Source of annotation: Marvin or Ruth Sackner.

Dates: 2004
Found in: The Ruth and Marvin Sackner Archive of Concrete and Visual Poetry / Ruth and Marvin Sackner Archive of Concrete and Visual Poetry: Periodicals

qbdp: ee. No.29/Sep / Geof Huth., 2004

 Item
Identifier: CC-43738-45828
Scope and Contents

Huth discusses the weather and notes that a fourth hurrucane is appoaching Florida. -- Source of annotation: Marvin or Ruth Sackner.

Dates: 2004
Found in: The Ruth and Marvin Sackner Archive of Concrete and Visual Poetry / Ruth and Marvin Sackner Archive of Concrete and Visual Poetry: Periodicals

qbdp: my. No.28/Sep / Geof Huth ; Grumman B., 2004

 Item
Identifier: CC-43737-45827
Scope and Contents

Huth mentions his developing upper respiratory tract infection tha tmight respond to Chicken Soup. -- Source of annotation: Marvin or Ruth Sackner.

Dates: 2004
Found in: The Ruth and Marvin Sackner Archive of Concrete and Visual Poetry / Ruth and Marvin Sackner Archive of Concrete and Visual Poetry: Periodicals

qbdp: { ] [ }. No.50/Apr / Geof Huth., 2005

 Item
Identifier: CC-43794-45890
Dates: 2005
Found in: The Ruth and Marvin Sackner Archive of Concrete and Visual Poetry / Ruth and Marvin Sackner Archive of Concrete and Visual Poetry: Periodicals

qbdp: {signs}. No.200/Apr / Geof Huth., 2008

 Item
Identifier: CC-47838-68858
Scope and Contents

This card includes the last Geof Huth stamps which will not be repeated until "postal rates change." This piece plays with the letterforms of non-signs. -- Source of annotation: Marvin or Ruth Sackner.

Dates: 2008
Found in: The Ruth and Marvin Sackner Archive of Concrete and Visual Poetry / Ruth and Marvin Sackner Archive of Concrete and Visual Poetry: Periodicals

Quotes On Cage / Visser, Carel., 1968

 Item
Identifier: CC-60003-63631
Scope and Contents Internet: Kees Visser (b. 1948) has gradually created his own self-taught path over the last forty years. Parting from his native Holland, where in the mid-1970s he had worked in a vein oscillating between abstraction and Fluxus, Kees Visser left to settle in Iceland, where he lived for nearly twenty years. In Iceland, he was not only in contact with a nature that profoundly marks his work, but also an incredibly cosmopolitan art scene where artists such as Dieter Roth, Donald Judd, Richard Serra, Roni Horn, Hrein Fridffinson, Adrian Schiess, Gunther Umberg, Richard Long, etc. often crossed paths. Co-founder with a group of Icelandic artists of the Living Art Museum in Reykjavik in 1978, Kees Visser became a prominent figure in the Icelandic art world, present in most of the public and private collections in the country. Invited for a residency in Paris in the mid-1990s, it was then in France that Kees Visser developed his work on series, shape and color, creating the monochrome...
Dates: 1968
Found in: The Ruth and Marvin Sackner Archive of Concrete and Visual Poetry / Ruth and Marvin Sackner Archive of Concrete and Visual Poetry: Various Formats

Rapel: 10 fauve and suprematist poems / Finlay, Ian Hamilton., 1963

 Item
Identifier: CC-11674-11892
Scope and Contents Missing one print, "ballad," a poem dealing with the theme of sailors. Includes a poem entitled "Homage to Malevich" in which a square is made up of the words black and block printed with a bold black typeface. This poem has been critically analyzed by Stephen Scobie (Earthquakes& Explorations, Toronto, Canada: University of Toronto Press, 1997, hard cover book, pp 182-189) as pivotal to the understanding of Finlay's work. "The letter to Garnier indicates also the extent to which Finlay's aesthetic was formed by the artistic movements of the early twentieth century; its reference points are Cubism, Fauvism, and Suprematism. The recourse to painting arose, the letter explains, at the point where verbal language in itself seemed inadequate: 'with the extraordinary (since wholly unexpected) sense that the syntax I had been using, the movement of language in me, at a physical level, was no longer there.' Painting - or, more generally, 'visual language' - provided (for Finlay, and...
Dates: 1963
Found in: The Ruth and Marvin Sackner Archive of Concrete and Visual Poetry / Ruth and Marvin Sackner Archive of Concrete and Visual Poetry: Various Formats

Rapel: 10 fauve and suprematist poems / Finlay, Ian Hamilton., 1963

 Item
Identifier: CC-11675-11893
Scope and Contents Includes a poem entitled "Homage to Malevich" in which a square is made up of the words black and block printed with a bold black typeface. This poem has been critically analyzed by Stephen Scobie (Earthquakes& Explorations, Toronto, Canada: University of Toronto Press, 1997, hard cover book, pp 182-189) as pivotal to the understanding of Finlay's work. "The letter to Garnier indicates also the extent to which Finlay's aesthetic was formed by the artistic movements of the early twentieth century; its reference points are Cubism, Fauvism, and Suprematism. The recourse to painting arose, the letter explains, at the point where verbal language in itself seemed inadequate: 'with the extraordinary (since wholly unexpected) sense that the syntax I had been using, the movement of language in me, at a physical level, was no longer there.' Painting - or, more generally, 'visual language' - provided (for Finlay, and for many other poets at the time) a way out of this impasse: not by...
Dates: 1963
Found in: The Ruth and Marvin Sackner Archive of Concrete and Visual Poetry / Ruth and Marvin Sackner Archive of Concrete and Visual Poetry: Various Formats

Reflections / Roth, Dieter; Lewis, C. Day., 1969

 Item
Identifier: CC-42581-44597
Scope and Contents

This print is Roth's typographical riff on C. Day Lewis' poem "Reflections." It was one of a series of seven designs commisioned by the Plastics Division of ICI to demonstrate the potentialities of stamping foils in graphic design. Other designers include Alan Fletcher, Jean-Michel Folon, Norman Ives, Pieter Brattinger and Armin Hofmann. -- Source of annotation: Marvin or Ruth Sackner.

Dates: 1969
Found in: The Ruth and Marvin Sackner Archive of Concrete and Visual Poetry / Ruth and Marvin Sackner Archive of Concrete and Visual Poetry: Various Formats

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