Concrete poetry
Subject
Subject Source: Sackner Database
Found in 43 Collections and/or Records:
Visual Language / Kostelanetz, Richard., 1970
Item
Identifier: CC-37072-38913
Scope and Contents
This book consists of concrete poems, one to each page. The signed, limited edition book has a cover printed on red paper stock whereas the trade edition is printed on white paper stock. -- Source of annotation: Marvin or Ruth Sackner.
Dates:
1970
Wordworks: Poems Selected and New / Kostelanetz, Richard., 1993
Item
Identifier: CC-08121-8282
Scope and Contents
Publishers Weekly: "In 1967, when critic Kostelanetz began publishing his own visual poetry, he was one of the most accessible practitioners of the form. A poem composed of the single word "lollypop" travels vertically down the page, the first O huge so the whole looks like a lollipop. A five-page tribute to Henry Ford is composed entirely of the letters A and T. Later work pulls apart words and places them back together, as in "relationship," the central I and O forming the knot of a bowtie-like shape formed by the other letters. "I seem to have . . . characteristic ways of handling language that extend from print into other media," Kostelanetz says as he moves from visual to aural poetry, then on to film and video poems. Short, conversational prefaces to each of this book's 15 sections help pave the way for uninitiated readers (though as the work becomes more difficult to appreciate on the page, his introductions become more technical and complex). These commentaries threaten to...
Dates:
1993
Wordworks: Poems Selected and New / Kostelanetz, Richard., 1993
Item
Identifier: CC-08122-8283
Scope and Contents
Publishers Weekly: "In 1967, when critic Kostelanetz began publishing his own visual poetry, he was one of the most accessible practitioners of the form. A poem composed of the single word "lollypop" travels vertically down the page, the first O huge so the whole looks like a lollipop. A five-page tribute to Henry Ford is composed entirely of the letters A and T. Later work pulls apart words and places them back together, as in "relationship," the central I and O forming the knot of a bowtie-like shape formed by the other letters. "I seem to have . . . characteristic ways of handling language that extend from print into other media," Kostelanetz says as he moves from visual to aural poetry, then on to film and video poems. Short, conversational prefaces to each of this book's 15 sections help pave the way for uninitiated readers (though as the work becomes more difficult to appreciate on the page, his introductions become more technical and complex). These commentaries threaten to...
Dates:
1993