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.

This book was purchased from Paula Claire at a luncheon meeting she hosted with the Sackners in London in September 2013. It provides an in depth review of the eight artist/poets works featured in this catalogue. -- Source of annotation: Marvin or Ruth Sackner.

This exhibition was intended to provide an overview of poesia visiva in Italy 1960-1990. -- Source of annotation: Marvin or Ruth Sackner.

The title of this book translates to "Visual poetry tells it first - visual poetry tells it better." Pignotti's first poetic-visual collages date from the early 1960's and are connected to his theories of technological poetry. This term alludes to a new artistic genre based on the reuse of words and images taken from mass magazines, advertisements and comics. The Gruppo 70 arose from these activities in 1963 in Florence. Pignotti and Eugenio Miccini were the founders later joined by Luciano Ori, Michele Perfetti, Lucia Marcucci, Ketty La Rocca, Giuseppe Chiari and others. The Sackner Archive holds Pignotti's artist book "Il Mondo" depicted on page 139 as well as several other books. In his most recent visual poems (2009-2010), Pignotti incorporates photographs of fashion models from popular magazines into visual poetic collages. -- Source of annotation: Marvin or Ruth Sackner.

Eugenio Miccini contributed an essay,"Mantova e la Poesia Visiva." -- Source of annotation: Marvin or Ruth Sackner.

The Sackner Archive is listed under Archives and Centers of Documentation holding Gini's works. -- Source of annotation: Marvin or Ruth Sackner.

The Sackner Archive is listed under Archives and Centers of Documentation holding Gini's works. -- Source of annotation: Marvin or Ruth Sackner.

This catalogue features documents of the avant-garde. -- Source of annotation: Marvin or Ruth Sackner.

This book was published in an edition of 20 copies with almost identical content. The differences relate to minor use of newspaper clippings and offset photographs from periodicals in the collage material. Further, since the collage material was glued onto the pages, an imprecise process, all of the books are slightly different. -- Source of annotation: Marvin or Ruth Sackner.

This exhibition that was curated by Lucilla Sacca is subtitled "Firenze: Storia di una Rivoluzione Colta (1960-1980). In Ori's biography, it is mentioned that the Sackner Archive holds his works. The works in the exhibition catalogue are extensively annotated by the curator. -- Source of annotation: Marvin or Ruth Sackner.

This exhibition catalogue was utilized for three venues; the covers are identical except for the color schema. -- Source of annotation: Marvin or Ruth Sackner.

This exhibition catalogue was utilized for three venues; the covers are identical except for the color schema. -- Source of annotation: Marvin or Ruth Sackner.

This exhibition catalogue was utilized for three venues; the covers are identical except for the color schema. -- Source of annotation: Marvin or Ruth Sackner.