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The cover depicts a detail of a portrait of Houedard by John Furnival. The exhibition catalogue lists 50 works by Houedard including eight plastic laminate poems. The introductory essay was written by Guy Brett. There are also extracts from Houedard's writings and a letter to David Medalla printed in the catalogue. -- Source of annotation: Marvin or Ruth Sackner.

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This is the first exhibition of visual poetry in Greece. Giovanni Fontana contributed a critical essay. A short biography of each participating artist is included. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents This exhibition was put together by Carlos Luis. Prior to theshow, the poets visited the Sackner Archive and put on a performance at Dorsch gallery in Miami. It was reviewed: Visual lessons for poetry translators JOSE ANTONIO EVORA The New Herald The New Herald Draw up of Man is both titled one of only notebooks exhibited in the Visual sample Poetry (visual Poetry), opened in the Durban-Segnini Gallery until the 29 of April. It is a volume of heavy laminae that seems devised to count pedigree of the exhibition, so and as one assumes that a familiarized spectator must understand less it with that current of the visual arts that with traditional techniques like the painting or the sculpture. The title is already suggestive: Tracks of man. Her author, Carol Steter, put of a same side from drawings of Altamira and hieroglyphics to transit signals and you will capitulate of the press, happening through pentagramas, images of skyscraper, maps and warnings of urban direction. When calling...

Scope and Contents Internet: Two cities and four institutional venues have more than one thousand works from various foundations and collections, with a total of one hundred and fifty Italian and foreign artists selected: these features make Visual Poetry the most important initiative dedicated to Visual Poetry, on the fiftieth anniversary of the founding of the Group 70 Florence, among the first and most effective propellers of this kind of art, who in 1964 coined the term, in fact, "Visual Poetry" in the climate of the turbulent bubbly and neo-avant-garde European Union. The Group was formed in '63 by Lamberto Pignotti and Eugenio Miccini, brought forward his artistic research in an interdisciplinary way, probing the possible relations between culture, language spoken, advertising and mass communication, between word and image, writing and painting, creating new meanings and complex systems, according to an idea of "‹"‹total art that characterized the research of various movements of the sixties...

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This exhibition was curated by Peter Frank. The Sackner Archive lent 12 pages of the "First Revised Edition of A Humument" to the exhibition. The catalogue includes essays by Arias-Misson, Frank, Miccini, and Sarenco as well as a chronology dealing with visual poetry. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents Weiss' book, "Visual Voices: The Poem as a Print Object," 1994 consists of poems appropriated from ancient and classic poems that have been rearranged or altered in their presentation as typed artpoe to convey new meanings mainly based mainly on concrete poetic or conceptual text expressions. He provided an explanation for each of 71 poems published in the book as well as 28 unpublished poems in the typed manuscript. He classified his styles of typed artpoe with headings such as zipperpoem, caressed and overloved poem, telegram poem, etc. He altered poems from such stalwarts as Andrew Marvell, William Wordsworth, Robert Browning , Alfred Tennyson, and John Keats among others. VISUAL POETRY BY IRVING WEISS Team Sonnet: 14 Lines by 14 Different Canonical Poets from Visual Voices: The Poem As a Print Object Appease this virtuous enemy of man (MARVELL) The way which thou so well hast learn'd below, (DRYDEN) And dwell, as in my center, as I can, (JONSON) As into air the purer...

Scope and Contents

These poems constitute those that were not used for the published book of Visual Voices. They have the same format as the published version, an introductory page (listed as laser generated, typed in media description) that provides an explanation and designation followed by Weiss' typewritten rearrangement presentation of the poem taken from classics. -- Source of annotation: Marvin or Ruth Sackner.

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This poem appears to be a melange of Weiss' own poetry. -- Source of annotation: Marvin or Ruth Sackner.

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This is a reprint of selected sections of the book with the same title. -- Source of annotation: Marvin or Ruth Sackner.

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Weiss defines concrete poetry as poetry "in which the word and sometimes the letter, and even unidentifiable but vaguely pseudo-alphabetical shapes become the basic element- syntax being mostly or entirely abandoned." In this volume, Weiss has rearranged, splintered, interfaced, shaped, cancelled conventional poetry composed by classic poets thereby "creating poems intended as self-conscious utterances whose purpose is to express the relation of traditional verse to its own medium of print." -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

Weiss defines concrete poetry as poetry "in which the word and sometimes the letter, and even unidentifiable but vaguely pseudo-alphabetical shapes become the basic element- syntax being mostly or entirely abandoned." In this volume, Weiss has rearranged, splintered, interfaced, shaped, cancelled conventional poetry composed by classic poets thereby "creating poems intended as self-conscious utterances whose purpose is to express the relation of traditional verse to its own medium of print." -- Source of annotation: Marvin or Ruth Sackner.

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This detailed survey of Japanese visual poetry accompanied the exhibition that was curated by Klaus Peter Dencker. -- Source of annotation: Marvin or Ruth Sackner.

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The book reproduces several examples of concrete and visual poetry and reprints several critical essays. -- Source of annotation: Marvin or Ruth Sackner.

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Each of the contributors is represented by characteristic works on several pages defining concrete and visual poetry modes in Germany and Austria. Concise biographies and bibliographies are provided for each of the poets. Critical texts were written by Eugen Gomringer, Heinz Gappmayr, Siegfried J. Schmidt, Klaus Peter Dencker and Christina Weiss. -- Source of annotation: Marvin or Ruth Sackner.

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Introduction to De Campos' performance at the Center for the Fine Arts, Miami, March 20, 1994. -- Source of annotation: Marvin or Ruth Sackner.

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Thirteen poems by Vladimir Mayakovsky and the graphic design of El Lissitzky are combined in this reprint version of this important Russian Avant Garde book, a set with one copy in Russian and the other translated to English. The Sackner Archive holds an original copy (1923). This set of books also includes one edited by Patricia Railing that features a reminiscence by David Burliuk, excerpts from an interview with El Lissitzky, notes on the visual translation of For the Voice, and an essay titled "For the Voice and For the Eye - Notes on the Aesthetics in For the Voice." Each poem by Mayakovsky is extensively annotated by several contributors. -- Source of annotation: Marvin or Ruth Sackner.