Punctuation poem
Found in 140 Collections and/or Records:
for jn furnival (130763) [periods for furnival] / Houedard, Dom Sylvester; Furnival J., 1963
Form & Perception in visual poetry / Lopez-Fernandez, Laura ; Barthes R ; Campal JL ; Fores X ; Pinya J ; Martinez I Carpio M ; Beltran JC ; Calleja JM ; Canals X ; Millan F., 2008
From Zero to One / John R. Colombo, translator ; Robert Zend, translator., 1973
Fror / Simoes. Ronaldo Periassu., 1975
Only one copy at the Getty Institute was found in on intenet search. -- Source of annotation: Marvin or Ruth Sackner.
gag order / Segay, Serge ; Freeman, Jesse., 2006
Freeman was responsible for textural poems and Segay for the abstract markings and punctuation poems in this collaboration. -- Source of annotation: Marvin or Ruth Sackner.
Ganglia 5 Cent Mimeo Series: Electric Pussyfoot. No.15 / David UU., 1969
Ganglia 5 Cent Mimeo Series: Rain Mountains & A French Church Wedding. No.7 / rah Smith., 1970
Ganglia Press, 35 Cent Mimeo Series: 8 Sonnets. No.1 / Jiri Valoch., 1969
Ganglia Press, 35 Cent Mimeo Series: 8 Sonnets. No.1 / Jiri Valoch., 1969
Ganglia Press, 35 Cent Mimeo Series: Wall 2nd Ed. No.3 / bp Nichol., 1982
GAP: Sha(u)nt Basmajian. / Greg Evason., 1990
GAP signifies Guardian Angel Press. This was done as a memorial poem for Sh(a)nt and was taken from "portrait in words." -- Source of annotation: Marvin or Ruth Sackner.
Gratte-Ciel N* 116 / Chopin, Henri., 1987
The English translation of the title is skyscraper. -- Source of annotation: Marvin or Ruth Sackner.
Gronk Intermediate Series: Ship Sands Island. No.8a / Gerry Shikatani., 1976
The theme of this poem is the activities of the Great Blue Heron. The first issue carried the issue number 8a and an unknown number of copies circulated as No.10. -- Source of annotation: Marvin or Ruth Sackner.
GUSTAVUS ADOLPHUS REVIEWS HIS ARMY FIRST VIEW / Mott, Michael., 1971
Have Come, Am Here / Villa, Jose Garcia., 1942
The artist Robert Indiana was influenced by the poetry of Villa who presented a new system of rhyming in this book. -- Source of annotation: Marvin or Ruth Sackner.
HERALDIC ORDERS FOR THE COMPUTER CATHEDRAL / Mott, Michael., 1971
The artist composed the work on an Olympia Splendid 99. In a personal communication to Marvin Sackner in 2013, Mott stated that the his typewritings were inflenced by Margaret, his first wife's (died in 1990) weavings plus reading on knots, quipu, etc and not by the reading of Monk's Pond that he was unaware of until the 1980s. He further mentioned that he employed "various degrees of pressure to give variations and life to the work." Mott mentionsthat this piece was to pay a tribute to one of his favorite painters of Church Interiors, Pieter Jamsz Saenredam.. -- Source of annotation: Marvin or Ruth Sackner.
Hommage to Mondrian V / Valoch, Jiri., 1966
Image is formed from typed dashes. -- Source of annotation: Marvin or Ruth Sackner.
Hourglass: The Rhythm of Traces / Sandri, Giovanna ; Guy Bennett, translator., 1998
The poet describes his work as visual/musical rhythms. The left pages are mostly composed of punctuation marks of varied type dimensions and the right pages are mostly poems with arrangements of words in clusters. Also designated Seeing Eye ooks Series II, Book 2. Some of the images in this book are also printed Sandri's "Capitolo Zero." a book also held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.
Housepress Spur: 3 bashos for n.m. hennessy. No.3/Apr / Derek Beaulieu., 1999
This is a variation of a haiku poem popularized by Dom Sylvester Houedard. -- Source of annotation: Marvin or Ruth Sackner.
Housepress Spur: ripples. No.4 / Derek Beaulieu., 1999
Beauleau composed an adaptation of Bosho's haiku, pond - frog - plop, by substituting several letters of this poem with parentheses. -- Source of annotation: Marvin or Ruth Sackner.