Scope and Contents

This catalogue begins with illuminating introductory essays about Artist Stamps, 1) Peter Frank: Postal Modernism; Artist's Stamps and Stamp Images, 2) E.F. Higgins III: Artist's Stamps, and 3) Lazlo Beke: Stamps and Artist's Stamps, 4) Gabor Toth: Stamp Edition, 5) Anna Wessely: Artist's Post Stamps, and 6) Rudolf Ungary: The Mathematics of Artist's Stamps. This is followed by a brief bibliography and a listing of contributors to the exhibition grouped by country of birth. The remainder of the catalogue depicts pages of artist stamps printed in a single color with each page a different color. -- Source of annotation: Marvin or Ruth Sackner.

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There is a brief, very informative abstract in English at the beginning of the book. The book is divided into three chapters, viz., 1) Evolution of visual poetry to the 20th century, 2) Contemporary visual poetry of the 20th century, and 3) Evolution of Ukrainian visual poetry in a world context. A photograph of Soroka flanked by Dick Higgins and Marvin Sackner taken at the EyeRhymes visual conference at Edmonton, Canada 1997 is reproduced. Marvin Sackner is characterized as "the owner of the biggest archive of visual poetry."The book depicts more than 20 examples in the Old Ukrainian language and 49 examples in many national literatures. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents This journal features "Literature of the fantastic, supernatural and decadent." Adam Daly contributes an essay "Robert WAlser: Strange Supplicant, Idiot Savant, Master of the Microgram." A portrait drawn by Guy Davenport is included. The Sackner Archive holds books that have texts of the unusual micrographic writings of Walser. Daly writes, "To the best of my knowledge Walser's celebrated 'Micrograms' have yet to be translated into English...They've only recently been annotated, amounting to nearly five hundred and thirty sheets of miscellaneous, fragmentary manuscripts, constituting a treasure-chest of rarefied scribbles that lay Walser's soul bare. And it can be said that the preternaturally obsessional drift of these writings, which were undertaken during a period of unanchored wanderings around Europe, gradually brought on the madness which eventually propelled him toward institutionalisation...he embarked in 1924 on the Micrograms, which were never released and only finally...

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This catalogue lists and describes all issues of Entwerter/Oder, the Assembling periodical edited by Warnke. It begins with the first issue that was published in 1982. -- Source of annotation: Marvin or Ruth Sackner.

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Introductory critical essay was written by Dietrich Mahlow. Two typewriter poems by Dom Sylvester Houedard were loaned to this exhibition by the Sackner Archive. In addition, a print by Henry Flynt, "This sentence is in French," a work held by the Sackner Archive, was exhibited. -- Source of annotation: Marvin or Ruth Sackner.

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This catalogue accompanied an exhibition of Works Progress Administration literature and art at the Fort Lauderdale Library Special Collections. -- Source of annotation: Marvin or Ruth Sackner.

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This book is the documentation for the TV series "Writers Talking" written and produced by Tipping. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents This book is written about the author as if someone else is making the observations (a pseudo-autobiographical narrative). From the back book cover: In "Writing Machines", N. Katherine Hayles explores how literature has transformed itself from inscriptions rendered as the flat durable marks of print to the dynamic images of CRT screens, from verbal texts to the diverse sensory modalities of multimedia works, from books to technotexts. Hayles weaves together intellectualized theory and pseudo-autobiographical narrative, the cultures of science and the humanities, and through her collaboration with Anne Burdick, the mandates of writing and design. Hayles inaugurates media specific analysis in literary studies, investigating words that focus on the very inscription technologies that produce them. She analyzes three writing machines in depth: Talan Memmott's groundbreaking web hypertext "Lexia to Perplexia," Tom Phillips's artist's book "A Humument," and Mark Z. Danielewski's...

Scope and Contents This book is written about the author as if someone else is making the observations (a pseudo-autobiographical narrative). From the back book cover: In "Writing Machines", N. Katherine Hayles explores how literature has transformed itself from inscriptions rendered as the flat durable marks of print to the dynamic images of CRT screens, from verbal texts to the diverse sensory modalities of multimedia works, from books to technotexts. Hayles weaves together intellectualized theory and pseudo-autobiographical narrative, the cultures of science and the humanities, and through her collaboration with Anne Burdick, the mandates of writing and design. Hayles inaugurates media specific analysis in literary studies, investigating words that focus on the very inscription technologies that produce them. She analyzes three writing machines in depth: Talan Memmott's groundbreaking web hypertext "Lexia to Perplexia," Tom Phillips's artist's book "A Humument," and Mark Z. Danielewski's postprint...

Scope and Contents This book is the first sustained consideration of the manifold infiltrations of the written word into the visual arts from the nineteenth century to the present day.Publisher: "From the cut-up Cubist collages of Picasso to the monumental filmic narratives of Fiona Banner, and from the schoolboy subversion of Magritte to the demotic scrawl of Cy Twombly, the use of words is one of the defining features of modern art. Indeed, with many contemporary works, only those without text are remarkable. Exploring the strange, unsettling, and often humorous results when words escape their traditional confines and inhabit artworks, this book is the first sustained consideration of the manifold infiltrations of the written word into the visual arts from the nineteenth century to the present day. Simon Morley traces the growing bond between word and image, explaining how artists have harnessed the resulting tension to form identities, challenge authority, and make sense of a world in constant...

Scope and Contents

In Writing Surfaces, derek beaulieu and Lori Emerson present a collection of John Riddell's work. Riddell's poems and short stories are a remarkable mix of largely typewriter-based concrete poetry mixed with fiction and drawings. Riddell's oeuvre fell out of popular attention, but it has recently garnered interest among poets and critics engaged with media studies (especially studies of the typewriter) and experimental writing. This book is an anthology of Riddell's published and unpublished works. It should be noted that the typewriter poem entitled 'Morax' totally differs from the piece with the same title published in Kontakte Series 1 No.1, a periodical held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

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This English translation of the German catalogue, "Shrift, Zeichen, Geste. im Kontext von Klee bis Polloc k" (2005) that is also held by the Sackner Archive is abridged from the German copy through removal of the images and text of other artists/poets who knew him. -- Source of annotation: Marvin or Ruth Sackner.

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In a brief essay within this book, Sarduy critically reviews Maurice Roche's book, Compact. -- Source of annotation: Marvin or Ruth Sackner.

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Laura Fresco Zannini documents the publications of Apollinaire's "Le Poete Assassine." -- Source of annotation: Marvin or Ruth Sackner.

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In the forward to the catalogue, Harriet Bart writes that this exhibition "presents the book and the printed page as palimpsest: de-constructed, re-examined, re-marked, re-considered, re-constructed, re-imagined, re-invented, re-purposed." -- Source of annotation: Marvin or Ruth Sackner.

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Contains an essay by Vittore Baroni, "Towards the Heart of the Machine: Copy Art Today" and another on "Mohammed elogio per un vampiro." -- Source of annotation: Marvin or Ruth Sackner.

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This issue reproduces Padin's letter poems from 1967-1970. The originals of these poems are held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.