Scope and Contents

Includes a 24 page section entitled "Antologia Di Poesia Visiva" that cionists of several critical texts and 49 illustrations printed in B&W of visual poems. The usual proponents are depicted as a well as a large number of poets not ususall cited. -- Source of annotation: Marvin or Ruth Sackner.

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This is the second edition of this extensive international anthology of concrete and visual poetry which was first printed by Munt Press in 1977. -- Source of annotation: Marvin or Ruth Sackner.

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Includes several articles by Kapadia on ancient Indian shaped poetry. Some poems are printed in red and black colors. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents In this book, pages 115, 126, 133, 140, 244, 323, and 334 of Tom Phillips' "A Humument" are reproduced in black and white.In his introduction, Kostelanetz defines the title of his book: A new art necessarily demands a new name, and the art of incorporating word within image has recently inspired a spate of new names "calligrams," "concrete poetry," "ideograms," "pattern poems," "concretism." They all are intended to identify artifacts that are neither word nor image alone but somewhere or something between. Since each of the terms in actual usage defines a particular strain of word-image art, there is a need for a more general yet discriminating term. My choice is "word-imagery," which encompasses the two major genres of the form"”imaged words and worded images. The distinction depends upon whether word or image is the base. In imaged words, a significant word or phrase is endowed with a visual form, so that language is enhanced through pictorial means. In worded images, in...

Scope and Contents This book is divided into five sections that celebrate "the scope and prodigality of linguistics speculation in the West going back to the pre-Socratics." Part one, "Revolution of the Word," anchors the anthology to international modernism. Part two, "Oralities, Rituals, and Colloquies" extends sound poetry into a broader field of orality. Part three, "Lost and Found in Translation" addresses the theme of linguistic boundaries. Part four, "Letters to Words" charts language's elements, parts and particles in the form of script and scripture. Part five, "Matter and Atom" corroborates linguistic microparticles and the activity of letters.The book is made up of vignettes from essays or books dealing with aspects of language by writers that are accompanied by critical analysis by the editors. In addition, attention is also directed to specific journals and movements along these lines such as Transition and Oulipo. Illustrations from books that are reproduced in this book and held by the...

Scope and Contents

Angelo Merante's painting "Apollinaria Signa" (1994) that is reproduced as a black and white photograph in this catalogue is held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This anthology consists of a collection of concrete poems worldwide with a focus on Canadian poets. -- Source of annotation: Marvin or Ruth Sackner.

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Bernd Lobach, the editor and curator, contributes an essay, "Postage stamps as a medium for artists' creative messages" that explains the rational and traces the history of the stamp art movement from Robert Watts' fluxus stamps. The book was translated by Peter Kustrermann. Each page depicts a photocopied reproduction of the artist's contribution. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

Privides a listing of International concrete poets by country along with a comment about their major categories of work, e.g., visual concrete poetry; visual, typewriter and concrete poetry, etc. ICPA Supplements No.1-4 are the unbound pages that list new items into the collection. In the introduction, P.Claire thanks the Sackners for sharing information about their Archive. -- Source of annotation: Marvin or Ruth Sackner.

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This pamphlet served as a catalogue for an exhibition entitled, "Visual Poetry International," held at Centre 't Hoogt, Utrecht, The Netherlands in 1975. T -- Source of annotation: Marvin or Ruth Sackner.

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Curated by Mari Carmen Ramirez and Hector Olea who organized this first large-scale overview of the avant-garde in Latin America during the twentieth century. Many Latin American works predated artistic works from Europe and the United States and challenged traditional notions of art and science. the catalogue and exhibition are organized into six conceptual areas or "constellations": Universal and Vernacular: Play and Grief; Progression and Rupture; Vibrational and Stationary; Touch and Gaze; Cryptic and Committed. Leon Ferrari contributed an illustrated essay "The Written Word." Hector Olea's illustrated essay on Leon Ferrari is titled "From the Drawing to Texts to the Texture of Poetry." -- Source of annotation: Marvin or Ruth Sackner.

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This exhibition was curated by Luiggi Ballerini who organized it into two sections:1912 to 1940 and 1941 to 1972. Jan van der Marck contributed a lively and scholarly description of the work of Gianfranco Bauchello.The Sackner Archive holds a layered box by Baruchello which alludes to the science mentioned in the essay. Mary Ellen Solt writes about Carlo Belloli's work. The catalogue contains an anthology of essays relating to works in the exhibition; these include texts by F.T. Marinetti, Anna and Martino Oberto, Ugo Carrega, Miccini, and Perfetti. These Italian visual poets are also accomplished critics of the visual poetic scene. Fortunato Depero's books, "Compari 1931" and "Depero Futurista," and, Marinetti's Zang Tumb Tuuum," and D'Albissola's "L'Anguria Lirica," are held by the Sackner Archive among others included in this exhibition. The the breadth of material presented in this genre was outstanding. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This is a survey of medieval, Latin shaped poetry with critical text. Several pages by Rabano Mauro (Hrabamus Maurus) are reproduced from a book that is also held by the Sackner Archive. The marginata was inserted by Dick Higgins, the previous owner of this book. -- Source of annotation: Marvin or Ruth Sackner.

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Kitasono's Komposition B (1967), a b&w photograph of unknown copies that is held by the Sackner Archive is reproduced in this catalogue. -- Source of annotation: Marvin or Ruth Sackner.

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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

This book traces the history of concrete-visual-shaped poetry from ancient times to the earl avant garde movements of the 20th century and concludes with Hungarian works. -- Source of annotation: Marvin or Ruth Sackner.