Scope and Contents

A signed copy of this book is filed under Fontana. -- Source of annotation: Marvin or Ruth Sackner.

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This pamphlet was exhibited in Visualog 2, San Luis Obispu, California, an exhibition that was curated by Karl Kempton. -- Source of annotation: Marvin or Ruth Sackner.

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This exhibition was curated by Giovanni Fontana. -- Source of annotation: Marvin or Ruth Sackner.

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This exhibition was curated by Giovanni Fontana. This exhibition began in Brescia, Italy. The Gnazzo poem reproduced on one of the cards was depicted in the exhibition catalogue, "Spazi di-versi; segni e parole di poeti." -- Source of annotation: Marvin or Ruth Sackner.

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This exhibition was curated by Giovanni Fontana. It also included sound poetry recordings curated by John Giorno, Paul Vangelista, Charles Amirkhanian, and J.Wellman. The front cover was done by Karl Kempton and the back cover by Richard Kostelanetz. Although the title of this exhibition indicates the work of 55 American poets, several are of different nationalities, e.g., Canadian, French, British and German. -- Source of annotation: Marvin or Ruth Sackner.

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The exhibition was curated by Ugo Carrega. -- Source of annotation: Marvin or Ruth Sackner.

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Anna Guillot's "...Da Cui Cenere e Inizio...," a painting depicted in this catalog, is held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

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This book is also designated dismisuratesti No.12 and a copy is also filed with this series. -- 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 text of Caruso's writing was taken from a poem by Villa, "Il Fuori il Dentro del Signo."(1972) -- Source of annotation: Marvin or Ruth Sackner.

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

Scope and Contents

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

Scope and Contents

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

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Publication Of Antologia Polipoetica. -- Source of annotation: Marvin or Ruth Sackner.

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These prints were exhibited in Visualog 2, San Luis Obispu, California, an exhibition that was curated by Karl Kempton. -- Source of annotation: Marvin or Ruth Sackner.

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This copy is printed on beige paper stock, the other two copies on brown paper stock.This copy does not have a folded poster announcement wrapped around it. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This copy is printed on brown paper stock, another on white paper stock.This copy also has a folded poster announcement wrapped around it. -- Source of annotation: Marvin or Ruth Sackner.