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Every Revolution Is a throw of the Dice by Daniele Huillet and Jean-Marie Straub describes the process of making "A Throw of the Dice..." by Mallarme into a film. Cha had a short life (1951-1982). She was murdered months after her marriage by a security guard in the Tuck Building NYC. -- Source of annotation: Marvin or Ruth Sackner.

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Schwenger provides a critical analysis of the book, "Codex Seraphinianus" by Luigi Serafini (a work held by the Sackner Archive) . -- Source of annotation: Marvin or Ruth Sackner.

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This work consists nine, unbound, folded prints which contains 68 plates each related to a page of Mallarme's Un Coup de Des. The interpretations are similar in concept to Marcel Broodthaers work (also held by the Sackner Archive) in which each phrase of the poem is cancelled with a solid black rectangle. In Fraenkel's interpretation, from the 1897 Cosmopolis version, the spaces between the cancelled text are reconstructed with hand-drawn markings. In the Schult modification of Fraenkel's presentation, varied colors rather than black are utilized. -- Source of annotation: Marvin or Ruth Sackner.

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Published on the occasion of an exhibition at workffortheeyetodo in London, April-May, 1994. -- Source of annotation: Marvin or Ruth Sackner.

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Subtitled "Essays, manifestoes, critical and theoretical writings" the author traces the developement of visual poetry from Mallarme to contemporary multi-media poets. The essays concentrate on holographic techniques and specific holopoems of the author. The book includes in depth interview of Kac. -- Source of annotation: Marvin or Ruth Sackner.

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This book provides a detailed historic survey of French poetry. -- Source of annotation: Marvin or Ruth Sackner.

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This is an anthology and critical review of illustrated books produced by the great art publishing houses of France, e.g., Ambrois Vollard, Henry Kahnweiler, Albert Skira, Aime Maeght, Iliazd, Teriade, Pierre Lecuire, Louis Broder, and Pierre Andre Benoit. Reproductions of books deaccssioned by the Sackner Archive include La Prose du Transsiberien by Sonia Delaunay and Blaise Cendrars and Maximiliana by Iliazd and Max Ernst. -- Source of annotation: Marvin or Ruth Sackner.

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The left sided portion of the book consist of bound pages that focuses on Mallarme's typographic treatment of the poem. The right side of the book consists of a portfolio of nine, unbound, folded prints which contains 68 plates each related to a page of Mallarme's Un Coup de Des. The interpretations are similar in concept to Marcel Broodthaers work (also held by the Sackner Archive) in which each phrase of the poem is cancelled with a solid black rectangle. In Fraenkel's interpretation, from the 1897 Cosmopolis version, the spaces between the cancelled text are reconstructed with hand-drawn markings. -- Source of annotation: Marvin or Ruth Sackner.

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DeCampos responds to a classification system proposed by Houedard by pointing out "visual organization of words, with an overemphasis on relations of proximity and resemblance between them, leads ineluctably to an equivalent overemphasis on sound, implying a dynamical use of paronomasia and alliteration that explains why Brazilian young musicians have been so much interested in many of our seeming eyepoems, and in the making of oral presentations for them." He states he wrote to Hugh Kennerabout Ezra Pound and received a sympathetic response. -- Source of annotation: Marvin or Ruth Sackner.

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This exhibition was curated by Roberto Antolini for the Trento Biblioteca Comunale and the Bolzano Museum. He contributed one essay "Il Nuovo Libro Futurista" and with Melania Gazzotti a second one titled "Le Sperimentazioni delle Neoavanguardie Nella Seconda Meta del Novecento." A section of the catalogue contains illustrations of artists' books mainly from the 1970's. the last part of the catalogue consists of correspondence between Fedele Azari and Fortunato Depero. Most of the works depicted in this catalogue were donated to the museum by Paolo Della Grazia. -- Source of annotation: Marvin or Ruth Sackner.

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This book was originally a dissertation presented at Yale University for the degree of Doctor of Philosophy. Cohn provides an in depth analysis of the 1914 poem, phrase by phrase, and also includes a copy of the poem in a pocket on the back cover. -- Source of annotation: Marvin or Ruth Sackner.

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The theme of the exhibition was "The Fly." It was curated by Kestutis Grigalinus. It includes several essays that illustrate and trace the international artist book movement. -- Source of annotation: Marvin or Ruth Sackner.

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The exhibition was carried out in conjunction with the Bibliotheque Litteraire Jacques Doucet in Paris. -- Source of annotation: Marvin or Ruth Sackner.

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This issue includes a review of Claude Melin's book, "Chansons de Geste." Valerie Marchand contributed an illustrated essay on the Chinese calligraphic work of Fabienne Verdier. Renaud Siegmann provided an illustrated revew of the Mail Art exhibition, "Le Coup du Mail 98," at Maison des Arts de Laon, France as well as an article on Fabienne Jouvin, a correspondence artist. Rubin Dupre-Marcellin contributed an illustrated article about artists who use writing in their paintings. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents This catalogue, edited by Robert A. Sobieszek, curator of photography at LACMA, was issued for an exhibition in 1996. It emphasizes the importance and influence of the painted and poetic works as well as the life of William Burroughs and his collaborator, Brion Gysin. In his preface Sobieszek writes that "Burroughs is far more than a writer of imaginative prose and speculative fiction. His revolutionary literary tactics have led him to margins of activity where genres cease to matter, where the distinctions between words and images blend together, where paragraphs become filmic montage, and where a shotgun blast is the same as a painting. At the core of Burroughs's art is the 'cut-up' technique that he and Brion Gysin developed following the appearance of Naked Lunch. While loosely related to the more traditional techniques of collage, photomontage, and text-image experiments used by modern artists, Burroughs's cut- up strategy inaugurated an essentially postmodern shift in the...

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This book consists of 72 essays or partial essays of established writers, poets and philosphers. Also included are five texts relating to perspectives of Pettibon by contemporary writers and critics. Pettibon's drawings that are dispersed throughout the texts, are described as "disjunctive, and all inclusive...His initial style relied on the carefully acquired tricks and conventions of cartoon illustration...Pettibon's genius rests on the mysterious alchemy of image and text that his drawings effect. His is a poetry that defies verbal of visual categories, but relies on effacing th boundaries of each." Walter Benjamin contributed an essay, "Unpacking My Library; A Talk about Book Collecting." -- Source of annotation: Marvin or Ruth Sackner.

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This book mostly depicts examples of early 20th century avant garde typographic from the major art movements in Europe. -- Source of annotation: Marvin or Ruth Sackner.