Scope and Contents

This catalogue includes essays by Axel Marwuart, Siiegfried J. Schmidt, Klaus Peter Dencker, Bob Cobbing, Jeremy Adler, Manfred Sundermann, and Mirela Bentivoglio dealing with concrete, visual and sound poetry. The series of color photographs by Michael Badura depicted o pages 13 & 14 were held by the Sackner Archive but were damaged by light and had to be destroyed. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

The covers were rubberstamped by Ulises Carrion and g.j. de rook. This book was published on the occasion of the Stamp Art Show held at Other Books and So, 1976. In this context, Stamp Art means rubberstamped art rather than art stamps. It offers an outstanding international compendium of rubberstamped art in the 1970's. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

These books feature a compendium of one of the largest number of reproduced pages of Parole In Liberta. It includes several pages reproduced from books that are also held by the Sackner Archive including Zang Tumb Tuum, Lacerba, Les Mots en Liberte F Buzzi; Caffe Concerto by Cangiullo; Depero Futurista and Numero Unico Futurista Campari by Depero; Bif/ZF+18 by Soffici; Baionette by D'Alba; Zang Tumb Tuum and L'Anguria Lirica by d'Albisola among others. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

In this extensive anthology, several examples of Constantine Xenakis' works are depicted; his work is represented in the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This is the 2nd edition of the catalogue whose content appears to be the same as the 1st edition (also held by the Sackner Archive). Several works held by the Sackner Archive are reproduced in this extensive international anthology of shaped, concrete and visual poetry, including among others Iliazd & Ernst "Maximilliana," Hrabamus Maurus, Journal Amusant, Mallarme's "Un Coup De Des," Fraenkel's "Visual Interpretations of Un Coup De Des," Apollinaire's "Calligrammes," Lurcat's "Le Bestiaire Fabuleux," King's "Alphabeta Concertina," and Johns and Beckett's "Fizzles." The ancient shaped poems predominate from German sources. The 1986 bibliography of the Sackner Archive is cited as one of the references. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This is the 1st edition of the book which differs from the 2nd edition (also held by the Sackner Archive) in terms of the description on the publication page. For example, it has a caption that reads, "Gedruckt mit Unterstutzung der Bergischen Univesitat - Gesamthochschule Wupperthal und des Westfiels College, London." Several works held by the Sackner Archive are reproduced in this extensive international anthology of shaped, concrete and visual poetry, including among others Iliazd & Ernst "Maximilliana," Hrabamus Maurus, Journal Amusant, Mallarme's "Un Coup De Des," Fraenkel's "Visual Interpretations of Un Coup De Des," Apollinaire's "Calligrammes," Lurcat's "Le Bestiaire Fabuleux," King's "Alphabeta Concertina," and Johns and Beckett's "Fizzles." The ancient shaped poems predominate from German sources. The 1986 bibliography of the Sackner Archive is cited as one of the references. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This anthology traces the historic roots of concrete and visual poetics through numerous illustrations to contemporary times. Franz Mon's "Collage" of 1965 (Decollage) depicted on page 81 is held by the Sackner Archive. The originals of Ruutsalo's "Textfilm" reproduced on page 96 are also held by the Sackner Archive. The book includes a section that shows employment of concrete and visual poems in commercial advertisements. The cover depicts a reproduction of a collage by Jochen Gerz. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This anthology traces the historic roots of concrete and visual poetics through numerous illustrations to contemporary times. Franz Mon's "Collage" of 1965 (Decollage) depicted on page 81 is held by the Sackner Archive. The originals of Ruutsalo's "Textfilm" reproduced on page 96 are also held by the Sackner Archive. The book includes a section that shows employment of concrete and visual poems in commercial advertisements. The cover depicts a reproduction of a collage by Jochen Gerz. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This is an extensively illustrated catalogue is an anthology of worldwide concrete poetry along with reprinted critical essays on concrete poetry, sound poetry, futurism, dada, and surrealism. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

Although this book deals mainly with ancient poetry, attention is also paid to contemporary poetry. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

In terms of width, this publication is the "fattest" periodical in the Archive. The emphasis is on Swedish poet/artists and Swedish translations of American publications. Photographs of several publications or art pieces held by the Sackner Archive are reproduced in this issue, Cavefors' Pasen, Neshat's photograph, McCaffery's Carnival, Bernstein's Veil, and Drucker's Word Made Flesh. Note: Berndt Petterson who is one of the featured poets in this issue died in 2002 (1930-2002). Includes an essay by Jesper Olsson on visual poetry who gifted the Sackner Archive with this issue. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

El Lissitzky's poster "Beat the Whites with the Red Wedge" pictured on page 11 is same design as the poster held in the Sackner Archive. The poster reproduced but not displayed in the exhibition, is from the Stedelijk Van Abbemuseum in Eindhoven, The Netherlands. The core of this exhibition of posters originates from the collection of Merrill C. Berman who also provides an interview with Alma Law on collecting such works. -- 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.

Scope and Contents

Drucker's historical research text traces "the chronology of the discovery of the origins and development [of the alphabet] and the concepts of alphabetical symbolism through the course of human history and tradition." Chapters include the Alphabet's Origins and its place in Classical History, Gnosticism and Hermeticism, Calligraphy and Alchemy, The Kabbalah, Renaissance, 18th Century, 19th Century, and 20th Century. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents Discusses Art Strike of 1990-1993 and reproduces Neoist manifestos. tewart Home (born 1962, London) is an English artist, filmmaker, writer, pamphleteer, art historian, and activist. He is best known for his novels such as the non-narrative 69 Things To Do With A Dead Princess (2002), his re-imagining of the 1960s in Tainted Love (2005), and earlier parodistic pulp fictions Pure Mania, Red London, No Pity, Cunt, and Defiant Pose that pastiche the work of 1970s British skinhead pulp novel writer Richard Allen and combine it with pornography, political agit-prop, and historical references to punk rock and avant-garde art.Wikipedia: "From 1982 to 1984, Home operated as a one-person-movement "Generation Positive", and having already founded a punk band called White Colours (named after an experimental novel by R. D. Reeve) in 1980, he started a new group with the same name in 1982. He also published an art fanzine SMILE, the name of which was a play on the Mail Art zines FILE and VILE...

Scope and Contents

Provides historic backgrounds of several post World War II avant garde art movements of the 20th century such as pataphysics, situationism, Fluxus, Dutch Provos, Motherfuckers, Yippies, mail art, punk, neoism and Class War.. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents After introducing the theory and historical background of the avant-garde, this book examines the major figures and movements from Rimbaud, Apollinaire, and Italian Futurism, through Dada and surrealism, Mayakovsky, Russian Futurism and Brecht, to the post-modernist writers Burroughs, Robbe-Grillet, and Pynchon. This book also includes a section of political poetry such as "The Future of Socialism" by Helmut Heissenbuttel below.nobody exploitsnobody oppressesnobody is exploitednobody is oppressednobody wins anythingnobody loses anythingnobody is masternobody is slavenobody is superiornobody is subordinatenobody owes anything to younobody does anything to younobody owns nothingnobody exploits nobodynobody oppresses nobodynobody is exploited by nobodynobody is oppressed by nobodynobody wins nothingnobody loses nothingnobody is master of nobodynobody is slave of nobodynobody is superior to nobodynobody is subordinate to nobodynobody owes anything to nobodynobody does anything to...

Scope and Contents

This majestic work 'acquaints the reader with the significant milestones in Bauhaus history. It provides a detailed commentary of the documented facts and source material. It looks at the great school's pre-history, the Weimar years, the transfer to Dessau, Gropius's Dessau years, Meyer's Dessau years, Mies van der Rohe's Dessau years, the Berlin years, and the New Bauhaus at Chicago 1937-38). -- Source of annotation: Marvin or Ruth Sackner.