Williams, Emmett, 1925-2007
Dates
- Existence: 1925 April 4 - 2007 February 14
Nationality
American
Found in 7 Collections and/or Records:
Artists Books: Schutzengel Aktro-Passiv. No.20 / Emmett Williams., 1985
Stored on shelf with Hundertmark material. -- Source of annotation: Marvin or Ruth Sackner.
Holdup / Godard, Keith ; Williams, Emmett., 1980
The book depicts black and white photographs of fingers and thumbs from different individuals on each page that increase in number as the story progresses. Each digit engages in brief conversations about voyeurism. -- Source of annotation: Marvin or Ruth Sackner.
Holdup / Godard, Keith ; Williams, Emmett., 1980
The book depicts black and white photographs of fingers and thumbs from different individuals on each page that increase in number as the story progresses. Each digit engages in brief conversations about voyeurism. -- Source of annotation: Marvin or Ruth Sackner.
Schutzengel aktiv - passiv. Angegardien actif - passif. Guardian Angel / Williams, Emmett., 1985
Schutzengel aktiv - passiv. Angegardien actif - passif. Guardian Angel / Williams, Emmett., 1985
The Boy and The Bird, 1969
The text is by Emmett Williams and the illustrations are by Tom Wasmuth. Each page contains four lines of poetry. The upper right corner of each page is filled with black step-like forms. As the poem becomes more complex, the black areas grow larger black areas that gradually recede altogether from the page. The poems in turn also become simpler in form. The note in the back of the book states that "the cover illustrates the intention of the artist...to realize this intention the reader may cut out the black area of each page and remove the cover photograph." -- Source of annotation: Marvin or Ruth Sackner.
The Boy and The Bird, 1969
The text is by Emmett Williams and the illustrations are by Tom Wasmuth. Each page contains four lines of poetry. The upper right corner of each page is filled with black step-like forms. As the poem becomes more complex, the black areas grow larger black areas that gradually recede altogether from the page. The poems in turn also become simpler in form. The note in the back of the book states that "the cover illustrates the intention of the artist...to realize this intention the reader may cut out the black area of each page and remove the cover photograph." -- Source of annotation: Marvin or Ruth Sackner.
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