Scope and Contents This publication was produced as a reference for an exhibition on artist books held at the Nigel Greenwood Gallery. In an introductory essay, Celant analyzes the artist book through the movements of conceptual art, happenings, arte povera, minimal art, and lays particular emphasis on the bookworks of Joseph Kosuth. 6 Decades Books: "Book as Artwork 1960/1972 was the first catalogue devoted to the then new medium of the artist's book and it remains a canonical reference (though one that, due to its scarcity, is not as well known as it should be). This publication started as an article and a list of about 80 artists' books which appeared in 1970 in the first issue of the Italian magazine Arte. Not long after it was translated and published in Interfunktionen. Then in 1972 the Nigel Greenwood Gallery in London mounted an exhibition of artists' books and issued a catalogue with an updated text by Celant and a greatly expanded bibliography (now nearly 300 titles) jointly compiled by...

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The introductory essay was written by Jeffrey Abt. The catalogue was designed by Buzz Spector. -- Source of annotation: Marvin or Ruth Sackner.

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The exhibition was based upon the "Metamorphoses des Kunstlerbuches" that was presented as part of Documenta VI in 1977 in Kassel, West Germany. The text was written in German by Rolf Dittmar and translated to English and Farsi for this catalogue. -- Source of annotation: Marvin or Ruth Sackner.

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This is the second revised edition that includes the proceedings of a symposium in which the Sackners took part. Timothy Eaton curated this comprehensive exhibition of book art and in the preface acknowledges the Sackner Archive as "the premier contributors with the loan of fifty works..." -- Source of annotation: Marvin or Ruth Sackner.

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Indicates that the National Exhibition of Concrete Art "which was displayed in December 1956 in Sao Paulo and February 1957 in Rio de Janeiro as the first exhibition of Concrete Poetry." Its catalog is held by the Sackner Archive. Cluver analyzes Haroldo DeCampos' poem "Nascemorer." He mentions that Vladimir Dias Pino and Ferreira Gullar broke away from the Noigandres group after its founding to create an ill-defined "Neo-Concretismo" movement. -- Source of annotation: Marvin or Ruth Sackner.

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Introduction by E. Brasil and W. Smith features a discussion of concrete poetry in Brazil. Includes notes by H. DeCampos about his book "Transient Servitude," and poem, "Nekuia." -- Source of annotation: Marvin or Ruth Sackner.

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Exhibition organized by Walter Hamady. Catalog includes reproductions of Joni Mabe's "Elvis Presley Scrapbook;" Buzz Spector's "The Outline of Art;" and Morrie Warshawski's "Patterns of Oppression," all held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

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Organized by Silvie Turner and Ian Tyson who co-authored the catalog essay which discusses T. Phillips' "Dante's Inferno," held by the Sackner Archive. Ron King's "White Alphabet" and JoE Tilson's "Alchera," are also held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

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The introduction was written by Sigrid Farten. -- Source of annotation: Marvin or Ruth Sackner.

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The exhibition Included Jochen Gerz's "Buchobjekt" which is held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

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This is a major exhibition of concrete and visual poetry organized by Michael Glasmeier. Almost every classification of visual/verbal imagery was represented in this catalogue. This catalogue depicts 71 dom sylvester houedard, eight Ladislav Novak typewriter poems. This catalogue depicts images of works included in several Hansjorg Mayer portfolios of concrete poetry. It also depicts images from runs of periodicals such as Affiche, Futura, POTH, Rot, Revue Ou, Rhinozeros, etc. Most of the works in this exhibition are also held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents This massive anthology presents English translations of avant garde poems of the earky 20th century written in foreign languages that often appeared in small editions of periodicals. This book took the editors several years to compile; the translations were written by the editors and others including Jack Hirschman. As John Bradley indicated in his review of the book in Rain Taxi Vol.17, No.2, 2012 "This anthology is a major publishing event..."Amazon.com: BURNING CITY acts as a "multisensory Baedecker" to the many incarnations of international modernism from 1910-1939. Inspired by the abandoned plans of the early avant-garde poet Yvan Goll to write a history of modernity through the poetry of that era, scholars Jed Rasula and Tim Conley have carried out Goll's project, scouring the small journals and magazines of the period for both lost and seminal texts. BURNING CITY is organized not just according to the cities which inspired the texts"”Paris, Cracow, Buenos Aires, and so...

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This book is one of the most extensive collection of word-image material with emphasis on concrete poems ever commercially published. The text is brief, e.g., a preface by Jean-Francois Bory and a postface by Isabelle Maunet-Salliet. Each image is printed one to a page. Although the emphasis is on French poets, there are images from poets all over the world. Significant omissions that are bound to occur in such a large undertaking include among others d.a. levy, Dick Higgins, Dom Silvester Houedard, Steve McCaffery, bill bissett, Edgardo-Antonio Vigo, Leon Ferrari, Mira Schendel, Ana Hatherly, Herman de Vries, Ernesto M. de Melo e Castro, Ben, Herman Damen, Enzo Miglietta, Carlfriedrich Claus, Alan Riddell, and Rachid Koriachi. -- Source of annotation: Marvin or Ruth Sackner.

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A major part of this book deals with the craft of calligraphy. Another section is concerned with the origins of calligraphy beginning with Egyptian hieroglyphics and commencing through various alphabets such as Cretian, Phoenician, Etruscan, Greek, and Latin to the Roman. Another section deals with cursive scripts. The book deals with individual European calligraphers from the Renaissance onward with a few Americans such as William Dwiggens mentioned. The final section of the book is devoted to the relationship of some forms of contemporary calligraphy and abstract expressionistic painting.The author, Claude Mediavilla, is a painter/calligrapher who is a Professor at the School of Decorative Arts in Paris. -- Source of annotation: Marvin or Ruth Sackner.

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This is a profusely illustrated, critical anthology of worldwide pattern poems prior to the 20th century. It complements and extends the information provided by Dick Higgins in his book on Pattern Poetry (1987). This book includes large chapters on Jewish, Hindi and Chinese texts. -- Source of annotation: Marvin or Ruth Sackner.

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Includes English translation of Chernikov's book "The Construction of Architectural and Machine Forms. -- 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." --...