Scope and Contents

Exhibition was curated by Julio Plaza, Gabriela Suzana Wilder, and Calcida Teixeira da Costa. Includes several essays on the topic in both Portuguese and English. This is a good compendium of contemporaneous, international mail art activities. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

Depicts a black and white reproduction of a colored collage from Baroni's "Omaggio A Spatola", a suite of collages held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

Depicts a black and white reproduction of a colored collage from Baroni's "Omaggio A Spatola", a suite of collages held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This book consists of conventional poems and photographic reproductions of visual poems. Balestrini's piece is a political text recounting the sixties political climate in Milan. The story is laid out in two columns without any punctuation. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents This exhibition was curated by Adriano Spatola and Giovanni Fontana. It is extensively illustrated with examples of concrete and visual poetry and also depicts covers of small magazines published in this field. It provides the largest listing of contemporaneous concrete and visual poets working throughout the world. There is also a section on record jackets of sound poetry recordings. Niccolai and Spatola provide an introductory essay into concrete and visual poetry as follows: "The formulas "concrete" poetry and "visual" poetry are the most widepread in the world but they are only the tip of an iceberg up of at least a hundred definitions, for example: evident poetry, elementary poetry, gestural poetry, symbiotic poetry, ideographic poetry, spatial poetry, artificial poetry, casual poetry and so on. But to simplify matters, in writing this present statement, we will keep ourselves to the trade mark concreto & visuale. This exhibition is both a hypothesis of research and a...

Scope and Contents This exhibition was curated by Adriano Spatola and Giovanni Fontana. It is extensively illustrated with examples of concrete and visual poetry and also depicts covers of small magazines published in this field. It provides the largest listing of contemporaneous concrete and visual poets working throughout the world. There is also a section on record jackets of sound poetry recordings. Niccolai and Spatola provide an introductory essay into concrete and visual poetry as follows: "The formulas "concrete" poetry and "visual" poetry are the most widepread in the world but they are only the tip of an iceberg up of at least a hundred definitions, for example: evident poetry, elementary poetry, gestural poetry, symbiotic poetry, ideographic poetry, spatial poetry, artificial poetry, casual poetry and so on. But to simplify matters, in writing this present statement, we will keep ourselves to the trade mark concreto & visuale. This exhibition is both a hypothesis of research and a...

Scope and Contents

The Sackner Archive is mentioned in a listing of archives of visual poetry. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

Nerida Newbigin contributed an essay "Giulia Niccolai, Adriano Spatola & the creation of the Poesia Visiva Collections" and Maria Tornataore Loong an essay on "Poesia Visiva." -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

The front cover and first page are dedicated to an exhibition "Poesia Visiva: Italian Concrete and Visual Poetry of the 1960s and 1970s." -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

The catalogue lists periodicals and their contents of Italian small press works dealing with concrete and visual poetry. -- Source of annotation: Marvin or Ruth Sackner.