Scope and Contents

Newell devotes entire chapters to the analysis of works by Apollinaire and Dylan Thomas. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

Almost all of this anthology is devoted to linear poetry with the following exceptions: 1) Stepjane Mallarme's concrete poem, "Cette Adorable Bague" (1866) on page 684, 2)William Blake's "Laocoon," a calligraphic picture pom on page 709, 3) Shaker visionary drawings (1843) on pages 710-711, 4) Edward Lear's callgraphic visual poems (1864), on oage 713, 5) Lewis Carroll's shaped calligraphic poem, "A Mouse" on page713 and 6) Apollinaire's concrete poem, "The Bleeding Heart..." -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

Almost all of this anthology is devoted to linear poetry with the following exceptions: 1) Stepjane Mallarme's concrete poem, "Cette Adorable Bague" (1866) on page 684, 2)William Blake's "Laocoon," a calligraphic picture pom on page 709, 3) Shaker visionary drawings (1843) on pages 710-711, 4) Edward Lear's callgraphic visual poems (1864), on oage 713, 5) Lewis Carroll's shaped calligraphic poem, "A Mouse" on page713 and 6) Apollinaire's concrete poem, "The Bleeding Heart..." -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This anthology traces the historic roots of concrete and visual poetics through numerous illustrations to contemporary times. Franz Mon's "Collage" of 1965 (Decollage) depicted on page 81 is held by the Sackner Archive. The originals of Ruutsalo's "Textfilm" reproduced on page 96 are also held by the Sackner Archive. The book includes a section that shows employment of concrete and visual poems in commercial advertisements. The cover depicts a reproduction of a collage by Jochen Gerz. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This anthology traces the historic roots of concrete and visual poetics through numerous illustrations to contemporary times. Franz Mon's "Collage" of 1965 (Decollage) depicted on page 81 is held by the Sackner Archive. The originals of Ruutsalo's "Textfilm" reproduced on page 96 are also held by the Sackner Archive. The book includes a section that shows employment of concrete and visual poems in commercial advertisements. The cover depicts a reproduction of a collage by Jochen Gerz. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents This book explores the ways in which books represent art and literature, and how the marriage of word and image can create a work of art in its own right. Chapters include the following: Illumination, Bindings, Documentary Manuscripts, Children's Books, Comics, Poetry and Experimental Typography, Book Art and Contemporary Art and Publishing. It also includes a history of the National Art Library in the Victoria and Albert Museum. Several examples of the books depicted in this catalogue are held by the Sackner Archive. In addition, several of the contemporary artist/poets works are represented in the Archive.Some definitions are of the book/poetry forms are not in the mainstream of classification. For example, Bob Cobbing's abstract sound poetry scores are classified as visual poetry in contrast to the more usual classification of visual poetry along the lines of poesia visiva.Under the citation of the John-Eric Broaddus book, Marvin Sackner's comments about his working methods are...