This performance video is the reading of nine poems from Emmett Williams' "An Anthology of Concrete Poetry." Using a musical background, and interpretive photography, the emphasis is on the visual aspect of the words and not on the linguistic. The film was donated to the Anthology Film Archives and transferred to DVD in 2006. According to 2006 media standards, the film should be considered quaint, historic and dated. -- Source of annotation: Marvin or Ruth Sackner.

This performance video is the reading of nine poems from Emmett Williams' "An Anthology of Concrete Poetry." Using a musical background, and interpretive photography, the emphasis is on the visual aspect of the words and not on the linguistic. The film was donated to the Anthology Film Archives and transferred to DVD in 2006. According to 2006 media standards, the film should be considered quaint, historic and dated. -- Source of annotation: Marvin or Ruth Sackner.

This performance video is the reading of nine poems from Emmett Williams' "An Anthology of Concrete Poetry." Using a musical background, and interpretive photography, the emphasis is on the visual aspect of the words and not on the linguistic. -- Source of annotation: Marvin or Ruth Sackner.

Francesco Conz contributed an essay "Winterreise" about his visits to Fluxus artists in Europe. Hannah Higgins writes about "Fluxus and the Sensible Thought c. 2001." -- Source of annotation: Marvin or Ruth Sackner.

Cluver presents definitions of Concrete Poetry and its controversies. Robert Indiana's "LOVE" works and e.e. cummings poem "brIght" are analyzed. -- Source of annotation: Marvin or Ruth Sackner.

This was an exhibition of Ranier Verlag's publications 1966-1989. -- Source of annotation: Marvin or Ruth Sackner.

Curated by Wendy Woon. Nancy Tousley contributed an essay tracing the history of artists' books in Canada and the United States. Felipe Ehrenberg's essay describes his work as a book artist in England and Mexico. -- Source of annotation: Marvin or Ruth Sackner.

The exhibition was curated by Enrico Mascelloni who wrote the introduction to this exhibition. -- Source of annotation: Marvin or Ruth Sackner.

Includes many reproductions of Hansjorg Mayer's publications. -- Source of annotation: Marvin or Ruth Sackner.

This is the 2nd edition of the catalogue whose content appears to be the same as the 1st edition (also held by the Sackner Archive). Several works held by the Sackner Archive are reproduced in this extensive international anthology of shaped, concrete and visual poetry, including among others Iliazd & Ernst "Maximilliana," Hrabamus Maurus, Journal Amusant, Mallarme's "Un Coup De Des," Fraenkel's "Visual Interpretations of Un Coup De Des," Apollinaire's "Calligrammes," Lurcat's "Le Bestiaire Fabuleux," King's "Alphabeta Concertina," and Johns and Beckett's "Fizzles." The ancient shaped poems predominate from German sources. The 1986 bibliography of the Sackner Archive is cited as one of the references. -- Source of annotation: Marvin or Ruth Sackner.

This is the 1st edition of the book which differs from the 2nd edition (also held by the Sackner Archive) in terms of the description on the publication page. For example, it has a caption that reads, "Gedruckt mit Unterstutzung der Bergischen Univesitat - Gesamthochschule Wupperthal und des Westfiels College, London." Several works held by the Sackner Archive are reproduced in this extensive international anthology of shaped, concrete and visual poetry, including among others Iliazd & Ernst "Maximilliana," Hrabamus Maurus, Journal Amusant, Mallarme's "Un Coup De Des," Fraenkel's "Visual Interpretations of Un Coup De Des," Apollinaire's "Calligrammes," Lurcat's "Le Bestiaire Fabuleux," King's "Alphabeta Concertina," and Johns and Beckett's "Fizzles." The ancient shaped poems predominate from German sources. The 1986 bibliography of the Sackner Archive is cited as one of the references. -- Source of annotation: Marvin or Ruth Sackner.

Emmet Williams writes in the forward, "Over the years, the artist [Ann Noel] accumulated a "vocabulary" of images printed from the inked ends of thousands of [wine] corks. The prints of the cork ends resemble wood cut prints in texture. For each print in the present selection, four enlarged cork images in different colours were superimposed over one another into a colored. background." -- Source of annotation: Marvin or Ruth Sackner.