Scope and Contents

Philip Meggs has written the most throughly illustrated, definitive history of graphic communications. In the epilogue, Meggs notes the following: "At the time of this writing human affairs are undergoing a new revolution comparable to the industrial revolution that launched the machine age. Electronic circuitry, microprocessors, and computer-generated imagery threaten to radically alter our culture's images, communications processes,and the very nature of the work itself. Graphic design, like many other sources of human activity, is undergoing profound changes." -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This second edition attempts to provide a conceptual and pictorial overview of significant graphic-design accomplishments. The book is organized into five general chronological sections: The Prologue to Graphic Design; A Graphic Renaissance; The Industrial Revolution; The Modernist Era; The Information Age. Each section is then divided thematically into chapters. This edition has expanded content, revised format and typography, timelines for each section and an expanded bibliography. In keeping with the Epilogue in the first edition, Meggs designed the dust jacket of this second edition using computer generated graphics. Although the number of pages in the second edition is slightly smaller than the first edition, this is because the font size is smaller; actually, the text has been expanded to cover recent contemporary trends in graphic design. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This third edition provides hundreds of new full-color illustrations and new material in areas such as alphabets, Japanese and Dutch graphics, and the computer revolution. The book is organized into five sections: The Prologue to Graphic Design; A Graphic Renaissance; The Industrial Revolution; The Modernist Era; The Age of Information. Each section is then divided thematically into chapters. This edition has expanded content, revised format and typography, timelines for each section and an expanded bibliography. In keeping with the Epilogue in the first and second editions, Meggs designed the dust jacket of this second edition using computer generated graphics. The expansion in this revision relates mainly to th edigital revolution in typography and the new "dirty" typography. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This printing of a Doctural thesis deals mainly with Swedish concrete poets, most notably Fahlstrom. Olsson visited the Sackner Archive in the early 2000s to scan material for this thesis. He is also one of the Co-Editors-In-Chief of Oei magazine. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This book was edited by Aimee Selby. Two works of Tom Phillips held by the Sackner Archive are depicted in this book: the Painting 'Here We Exemplify' on page 18 and the print of the Humument Page 6 drawing on page . -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents The first of what was to have been a two volume work; the author died before completing Volume Two. This first volume covers the classic age of collage, prior to WW II and contains some material on the 1950's and 1960's. The author, Dr. Herta Wescher, was the friend of many Bauhaus and other collage artists.Her writing embodies the enthusiasm, humor, affection, and personal comprehension of a participant in the lively and contentious circles she frequented. Assiduously she tracked down reminiscences and forgotten works from those tumultuous times, rescuing from oblivion much previously unpublished material. Thanks to her research, the reader may not only see the output of world-famous collagists, but also may meet the brilliant but often neglected Czech adherents of Futurist and later styles; the Russian Avant Garde; the loners from various parts of the world, all of whom helped make collage one of the most direct and unguarded forms of expression in the long history of art." --...

Scope and Contents

Bayard, in her Ph.D. dissertation, traces the beginning, growth and development of concrete poetry in Canada and focuses on styles of concrete poetry. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This book is an anthology of visual and picture poems made by students from kindergarten to the 12th grade living in Seattle, Washington. The poems and teaching methods are analyzed by the author who was a poet-in-residence in the school system in Seattle. In the final chapter, he presents and comments on poems by established adult poets. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

Young includes a section on sound and concrete poetry entitled, " Post-Dada, Pop-Poetry, and the Literary Undergound." He highlights works by Henri Chopin, Bob Cobbing, Adrian Henri, Jeff Nuttall, Ian Hamilton Finlay, and Christopher Middleton. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

In addition to artworks, the catalogue includes extensive descriptions of Dada and Surrealism periodicals. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

Pictured in the catalogue and held by the Sackner Archive are Apollinaire's "Calligrammes," Marinetti's "Les Mots en Liberte Futurist," "Der Dada No.3," "291," Picabia's "Le Cannibale," "Dada No.4-5," "Der Blutige Ernst," "Der Dada No.2," Huelsenbeck's "En Avant Dada," VanDoesburg's "Kleine Dada Soiree," Mayakovski/Lissitzky's "For the Voice," " Le Coeur a Barbe." Stephen Foster contributed an essay, "Dada: Back to the Drawing Board and Richard Sheppard a comprehensive Dada chronology. The exhibition was curated by Joann Moser. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This historical anthology of experimental poetry was a part of the series "Der Andere Bibliothek" edited by Magnus Enzensberger. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents This is a copy of Seaman's Ph.D dissertation thesis that was later revised and published in the Series "Studies in fine arts. The avant-garde" by UMI Research Press in 1981, a book that is also held by the Sackner Archive. On pages 150-156, Seaman analyzes Rimbaud's "Voyelles." Seaman devotes Chapter V, pages 179-251, to Mallarme with particular attention to Un Coup de Des. Seaman provides an English translation of Tzara's recipe for making a dadaist poem in Breton's manifestos of Surrealism. Here Is Tzara's recipe:To make a dadaist poemTake a newspaper.Take a pair of scissors.Choose an article as long as you are planning to make your poem.Cut out the article.Then cut out each of the words that make up this article and put them in a bag.Shake it gently.Then take out the scraps one after the other in the order in which they left the bag.Copy conscientiously.The poem will be like you.And here you are a writer, Infinitely original and endowed with a sensibility that is charming though...

Scope and Contents

The catalogue began with an historical introduction to text based works and included reproduced images of 20th century artists whose works are held by the Sackner Archive such as Apollinaire, Marinetti, Sabatier, Indiana, Kriwet, Augusto de Campos, Furnival, Finlay, Gomringer, Klaus-Peter Dienst, and Schuldt. The exhibition itself featured several artists whose works are held by the Sackner Archive, viz., Barton Lidice Benes, Howard Finster, Werner Hartmann, Stephanie Brody Lederman, Betty Tompkins, Regina Vater -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This exhibition was curated by Enrico Baj, Vincenzo Accame and Enuli Brunella. The Sackners saw this show in Milan and purchased works exhibited by Roberto Sanesi and Vincenzo Accame (pp125-126). -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

The thesis of this book is that Concrete Poems can e a basis for the learning of a forfeign language. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents This book is subtitled "La Figuration dans l'alphabet latin du huitieme siecle a nos jours." Raymond Queneau contributed a preface. This is a new and augmented edition with the dust jacket cover by Andre Francois. The anthology, with text by Massin, is divided into three main sections. The first section is a discussion of the letter itself, the letter as symbol and the history of letters. The next section contains figurative verse and calligrams, shaped poetry and prose throughout history. The final section of the book examines the use of letters in fine art and how the letter form has grown in importance throughout the history of art. The diverse illustrations are international in scope and range from early Christian prayer books and Gothic alphabets to contemporary works.On the title page, the caption that this is a new and expanded edition appears; the first edition was published in 1970. The dust jackets differ between the two second editions. -- Source of annotation: Marvin or...

Scope and Contents

Carumuel emerges in this book as the strongest practitioner of pattern poetry. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

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.