Scope and Contents

This anthology is a collection of critical texts giving an overview of the was in which Situationism has been "historicized" in the Anglo-American world. Contributing writers include underground legends, art theorists, ultra-leftists and academics. Bob Black writes, ...Greil Marcus, after being tutored by pro-situ Tom Ward, ended the media blackout of situationism with an article in the Village Voice. Situationism was now on its way to becoming, if not quite a household word, an avant-hip buzzword. Marcus followed up on his article with the 1989 volume Lipstick Traces, an uncritical, disorganized, but not uninformative treatment of situationism, punk rock, etc...." -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This book, that has over 2000 well-selected black and white and color illustrations, is divided into three sections. The When section starts in the present and works back to the origins of writing. The Who section names, in alphabetical order, people and institutions that have contributed to typography as designers and inventors, teachers and calligraphers, entrepreneurs and theorists, publishers and artists, and schools and archives. The How section explores production of text and typography, with tools and aids such as the hand-axe, pen, chisel, etc. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This catalogue consists mostly of a large number of photographs documenting Fluxus performances in Wiesbaden, West Germany. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

The exhibition demonstrates the word in "the environment, as sign and structure...as juxtaposition...as narrative...as socio-political commentary." The checklist includes exhibitions, books, articles and catalogues on word/image relationships. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

Venetia Porter curated the exhibition and edited this book. The Sackner Archive holds works by all the artist/poets cited as other contributors with the exception of Chada Amer. The brief biographies in the final section is accompanied by a photograph of the individuak -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This catalogue covers "Text and Image in the Art of the Twentieth Century," in four sections, 1900-1940, 1940,-1970, and 1970-1990 and contains numerous reprinted essays as well as those written especially for the exhibition. Topics include Concrete and Visual Poetry, Language relating to Fluxus and Dada, and texts on Marcel Broodthaers, A.R. Penck, Neil Jenney, Nancy Dwyer, Tim Rollins and KOS, Ken Lum, and Barbara Kruger among others. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

Tipping's multiple 'Airpoet' that is held by the Sackner Arcive is depicted on page 19. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents Kenneth Goldsmith Amazon.com "In 1959, Brion Gysin famously claimed that poetry was fifty years behind painting. Gysin's prophecy still holds true: half a century later, contemporary poetry is just beginning to explore ideas forged by language-based artists in the 1960s. As such, this book is a roadmap, bursting at the seams with inspiration and ideas for current literary practices. By embracing an intermedia approach--one where music, photography, visual art, poetry and performance all live in the same room--Liz Kotz elegantly creates a compelling portrait of our digitized networked present. The implications are radical: by gazing backwards, this book predicts the future."Craig Dworkin Amazon.com "Words to Be Looked At is a landmark account of the central story of post-war art: the first sustained investigation of the 'linguistic turn' that has defined the arts since the 1960s. As Kotz details with unequalled authority and insight, language became a primary media for artists in...

Scope and Contents This book is the first sustained consideration of the manifold infiltrations of the written word into the visual arts from the nineteenth century to the present day.Publisher: "From the cut-up Cubist collages of Picasso to the monumental filmic narratives of Fiona Banner, and from the schoolboy subversion of Magritte to the demotic scrawl of Cy Twombly, the use of words is one of the defining features of modern art. Indeed, with many contemporary works, only those without text are remarkable. Exploring the strange, unsettling, and often humorous results when words escape their traditional confines and inhabit artworks, this book is the first sustained consideration of the manifold infiltrations of the written word into the visual arts from the nineteenth century to the present day. Simon Morley traces the growing bond between word and image, explaining how artists have harnessed the resulting tension to form identities, challenge authority, and make sense of a world in constant...

Scope and Contents

This is the first volume of three planned for the series. Each of the artists/poets contributed an in-depth essay describing their works and philosophy.There is a photograph of Karl Young holding his book, "Make a Joyful Noise" that is held by the Sackner Archive. The Sackner Archive helped support publication of this book. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

Defining Zaum as a language beyond the other side or "beyond sense," Janecek traces the history of this Russian sound-language poetry through the works of its most prominent writers. He writes that "what might seem to be a minor episode in Russian avant-garde poetry has very broad implications and a historical scope that ranges from Plato to current theories of language and literature (e.g., Deconstructivism). Janecek gave this book to Marvin Sackner at the Eye Rhymes conference in Edmonton, Canada, May 1997. Janecek acknowledges that the image of Figure 25, page 279, a page from Zdanevich's "Dunkee for Rent." was reproduced by courtesy of the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This is an anthology of mostly undated Russian concretel poetry with numerous examples. The ink, handwritten additions are corrections to the poems and text. The author's name is probably misspelled in English from the Russian. -- Source of annotation: Marvin or Ruth Sackner.