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The introductory essay was written by Jeffrey Abt. The catalogue was designed by Buzz Spector. -- Source of annotation: Marvin or Ruth Sackner.

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This is a review of the exhibition at the New York Public Library "French Book Arts / Livres d'Artistes: Artists and Poets in Dialogue." The show originates from the collection of the Biblioteque Litteraire Jacques Doucet in Paris along with many items from the NYPL special collections. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents This poem-object-book-work was created by Albert Dupont in tribute to the 100th anniversary of the publication of "Un Coup de Des" by Stephane Mallarme in 1897. A wooden box contains the book with five removable, acrylic cubes positioned on the spine. Each cube is incised and colored in ink on all surfaces with Lettrist symbols or texts. The book consists of a portfolio paper cover and a nine page essay. A second book consists of translucent acetate pages with handdrawn Lettrist symbols and words within a plastic slipcase. A third translucent acetate book is an actual reproduction of "Un Coup de Des." Because of the transparent quality of the pages, it is possible to view the literary text in a deeper, emerging three dimensional form.In homage to Mallarme, Dupont writes, "Since the famous poem 'Un Coup de des n'abolira le hasard', published at the end of the 19th Century, Stephane Mallarme has opened up the field of all the poetic researches of the 20th Century, specially by...

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Published on the occasion of an exhibition at workffortheeyetodo in London, April-May, 1994. -- Source of annotation: Marvin or Ruth Sackner.

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This exhibition consisted of bookbindings submitted for competition to a prize. It included a binding by Alan Frederick Wood of "The Heart of a Humument" by Tom Phillips. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents Ruth Sackner contributed an essay to this issue titled "the Avant-Garde Book: Precursor of Concrete and Visual Poetry and the Artist's Book." Writing about Tom Phillips' A Humument, she stated "The blending of literature, poetry, and visual art is extremely successful in the work of Tom Phillips. In the main, his work derives from personal intellectual explorations, mythological languages, historic paintings, postcard images, and classical literature and poetry. These are presented in an amazing variety of artistic formats. Tom Phillips has used the book in particular to span the distinction between word and image, for as he says, "in a sense, because A Humument is less than what it started with, it is a paradoxical embodiment of Mallarme's idea that everything in the world exists in order to end up as a book."" "Ending as a book" may very well be the credo of contemporary book artists who knowingly continue the ideas of the avant-garde and the concrete and vis-ual poets into our...

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This catalogue depicts images of each one of the works offered for sale. -- Source of annotation: Marvin or Ruth Sackner.

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This exhibition was curated by Roberto Antolini for the Trento Biblioteca Comunale and the Bolzano Museum. He contributed one essay "Il Nuovo Libro Futurista" and with Melania Gazzotti a second one titled "Le Sperimentazioni delle Neoavanguardie Nella Seconda Meta del Novecento." A section of the catalogue contains illustrations of artists' books mainly from the 1970's. the last part of the catalogue consists of correspondence between Fedele Azari and Fortunato Depero. Most of the works depicted in this catalogue were donated to the museum by Paolo Della Grazia. -- Source of annotation: Marvin or Ruth Sackner.

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This catalogue consists of critical texts that are presented in experimental typographic layouts. A check list of contributors to the exhibition is also included. -- Source of annotation: Marvin or Ruth Sackner.

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The theme of the exhibition was "The Fly." It was curated by Kestutis Grigalinus. It includes several essays that illustrate and trace the international artist book movement. -- Source of annotation: Marvin or Ruth Sackner.

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Auction catalogue. -- Source of annotation: Marvin or Ruth Sackner.

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Broodthaers cancelled text of poem with solid black rectangles to emphasize the typographical design of the poem. The images are printed on opaque paper in this ordinary edition. The cover and page layout follow the 1914 revised version of the poem printed after Mallarme's death but the version he preferred. -- Source of annotation: Marvin or Ruth Sackner.

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This presentation is derived from Broodthaers conception of cancelling the lines of Mallarme's poem with solid black printed rectangles. A photograph of its installation in the Rodeo Gallery, Istanbul is stored in the box. -- Source of annotation: Marvin or Ruth Sackner.

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Zboya writes that he used a computer progam to manipulate the text of Mallarme's poem to produce "non-Euclidean kernals of meaning." -- Source of annotation: Marvin or Ruth Sackner.

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Tom Phillips designed the cover using a Humument page. Germano Celant contributed an essay, "Artists' Manifestos & Magazines." -- Source of annotation: Marvin or Ruth Sackner.

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The book consists of an long essay on the history of word-image works begining with Mallarme's "Un Coup de Des..." to Concrete Poetry by A. Schug. The folding of the book is similar to Cendrars and Delauney's "Transsiberian Railway." The latter is reproduced in color as a facsimile in the same dimensions when this catalogue is fully opened. -- Source of annotation: Marvin or Ruth Sackner.

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The German word, Wurfelwurf, meaning throw of the dice, is printed in large capital letters in red, brown, and gray inks as a border around the folded and cut pages of this book. Rather than reprinting Mallarme's Un Coup de Des, Nasshan prints fragments of personal interest along with his impressions of the poem. Here the poem is subservient to Nasshan's creation of an artist book. -- Source of annotation: Marvin or Ruth Sackner.