Scope and Contents

Fingerpainting by Blaine appears on title page above inscription and signature. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents The use of written language has been one of the most defining developments in visual art of the twentieth century. 'Art and Text' is a unique and timely survey of this most contemporary and relevant artistic tool, tracing the relationship between language and art, from early experiments with pictorial poetry, Futurist typography and Cubist collage, through Conceptual practices to the present day...'Art and Text' documents and contextualises the fascinating relationship between word and image, showcasing the many artists who continue to use text and expand its possibilities. The book contains an forward and three essays. In the first essay, The Schwitters Legacy: Language and Art in the Early Twentieth Century by Will Hill, the author uses the reproduction of the painting "Here We Exemplyfy" by Tom Phillips which is held by the Sackner Archive. Hill writes that Larry Rivers, Jim Dine and Jasper Johns use of stencilled letters "prefigured the finely articulated dialogue between word...

Scope and Contents

This catalogue consists of French art/poetry lent by the Sackner Archive to a Bass museum exhibition on Miami Beach. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

The exhibition was conceived on an original idea by Barbaralee Diamonstein-Spielvogel and curated by Andrea Rosen. The exhibition included the works of 341 artists and poets. Several works were lent by the Sackner Archive. The catalogue was a gift of Andrea Rosen and is a checklist of the exhibition including diagrams of the placement of the pictures in the gallery and an artist list index. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

The book was executed by Carolee Campbell. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents This detailed scholarly study of modern visual poetry defines and illustrates this international movement with particular emphasis on materials written in English, French, Italian, Spanish, German, and Catalan. Bohn writes, "For all intents and purposes, visual poetry can be defined as poetry that is meant to be seen - poetry that presupposes a viewer as well as a reader...Visual poems are immediately recognizable by their refusal to adhere to a rectilinear grid and by their tendency to flout their plasticity. In contrast to traditional poetry, they are conceived not only as literary works but also as works of art." Although the title of this book connotes 'visual poetry,' the examples chosen are verbal poems without incorporation of visual imagary . Bohn aptly dissects the meaning of several concrete and visual poems in this book. He is particularly enamored of the shaped poems of Jose Juan Tablada as well as the Spanish Futurists. The concrete poetry movement is researched in...

Scope and Contents

A major portion of this museum catalogue is devoted to the exhibition "Poesure et Peintrie." The Sackner Archive holds the exhibition catalogue. The introduction was written by Christian Poitevin (aka Julien Blaine), Deputy Mayor with responsibility for the Arts and Culture. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This is an unpublished essay dealing with Copithorne's personal involvement in visual poetry -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

Although the title suggests a broad based survey, the focus of this book is primarily Spanish and Catalonian Futurist and the Ultra Movement poetry. These early 20th century poems are in the style of concrete rather than visual poetry. Bohn also provides English translations and interpretations of several of them. -- Source of annotation: Marvin or Ruth Sackner.