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Manifesto

 Subject
Subject Source: Sackner Database

Found in 254 Collections and/or Records:

Pretexte Pour Tuer / Bille, Phillipe., 1984

 Item
Identifier: CC-21193-21602
Dates: 1984
Found in: The Ruth and Marvin Sackner Archive of Concrete and Visual Poetry / Ruth and Marvin Sackner Archive of Concrete and Visual Poetry: Various Formats(unprocessed)

Quadrat-Print: New Alphabet. / Pieter Brattinga, editor., 1967

 Item
Identifier: CC-22993-23430
Dates: 1967
Found in: The Ruth and Marvin Sackner Archive of Concrete and Visual Poetry / Ruth and Marvin Sackner Archive of Concrete and Visual Poetry: Periodicals(unprocessed)

Que merite le Prix de cette Nuit de la Poesie? / Lemaitre, Maurice, editor; Noel B; Pomerand G; Estivals R., 1956

 Item
Identifier: CC-06969-7092
Scope and Contents

This piece is depicted in Bientot les Letristes (1946-1977) on the page labeled 1956. Thr date '1956' on the broadside was written by Maurice Lemaitre. -- Source of annotation: Marvin or Ruth Sackner.

Dates: 1956
Found in: The Ruth and Marvin Sackner Archive of Concrete and Visual Poetry / Ruth and Marvin Sackner Archive of Concrete and Visual Poetry: Various Formats(unprocessed)

Rational Structures / De Vries, Herman., 1969

 Item
Identifier: CC-04638-4725
Scope and Contents

This pamphlet published on the occasion of an exhibition by de Vries was also issue No.3 of Panel 13 Information. -- Source of annotation: Marvin or Ruth Sackner.

Dates: 1969
Found in: The Ruth and Marvin Sackner Archive of Concrete and Visual Poetry / Ruth and Marvin Sackner Archive of Concrete and Visual Poetry: Booklets (unprocessed)

Retrospectiva. Obras 1954-2004 / Ferrari, Leon ; Camnitzer L ; Artaud A., 2004

 Item
Identifier: CC-44919-47091
Scope and Contents This is a massive, profusely illustrated catalogue with extensive documentation. The WEB site of this exhibition states: The exhibition of Leon Ferrari is a retrospective one that includes fifty years of his work, from the beginnings, in 1954, until the present. It presents a sample of works of different periods with the purpose of unfolding the creative process of the artist. The exhibition does not include the totality of its works, but a selection of each series or creative moment. If in the retrospective exhibition of an artist a period of its work were eliminated, it would be being been clipping or censuring his production. Leon Ferrari is expressed in a poetic and controversial sense. His creations explore the possibilities of the plane, the space and the meaning with drawings, sculptures, collages, brailles and objects. In them, he uses metals, inks, pencils, engravings, heliografi­as, dummies, bottles, birds, fish, excrements, images, reliefs in brailles, videos. As much...
Dates: 2004
Found in: The Ruth and Marvin Sackner Archive of Concrete and Visual Poetry / Ruth and Marvin Sackner Archive of Concrete and Visual Poetry: Exhibit Catalogs(unprocessed)

Retrospectiva. Obras 1954-2006 / Ferrari, Leon ; Camnitzer L ; Artaud A., 2006

 Item
Identifier: CC-46084-48793
Scope and Contents This massive, profusely illustrated catalogue with extensive documentation is a reprint of Leon Ferrari retrospective catalogue of 2004 with additions to bring it up to 2006. The catalogue has been translated from Spanish into Portuguese and was edited by Andrea Giunta. It presents a sample of works of different periods with the purpose of unfolding the creative process of the artist. The exhibition does not include the totality of its works, but a selection of each series or creative moment. If in the retrospective exhibition of an artist a period of its work were eliminated, it would be being been clipping or censuring his production. Leon Ferrari is expressed in a poetic and controversial sense. His creations explore the possibilities of the plane, the space and the meaning with drawings, sculptures, collages, brailles and objects. In them, he uses metals, inks, pencils, engravings, heliografi­as, dummies, bottles, birds, fish, excrements, images, reliefs in brailles, videos....
Dates: 2006
Found in: The Ruth and Marvin Sackner Archive of Concrete and Visual Poetry / Ruth and Marvin Sackner Archive of Concrete and Visual Poetry: Exhibit Catalogs(unprocessed)

Revolutionary Poets Brigade Volume 1, 2010

 Item
Identifier: CC-51746-72846
Dates: 2010
Found in: The Ruth and Marvin Sackner Archive of Concrete and Visual Poetry / Ruth and Marvin Sackner Archive of Concrete and Visual Poetry (processed) / BOOKS

Saint-Just Vigilantes: Dispatch / Finlay, Ian Hamilton., 1985

 Item
Identifier: CC-10944-11156
Scope and Contents

This document recounts the seizure of Finlay's artworks by the Strathclyde Regional Council regarding a dispute over Finlay's building, The Temple. -- Source of annotation: Marvin or Ruth Sackner.

Dates: 1985
Found in: The Ruth and Marvin Sackner Archive of Concrete and Visual Poetry / Ruth and Marvin Sackner Archive of Concrete and Visual Poetry: Various Formats(unprocessed)

Scheda di Ana Etcetera 1963/1971, 1971

 Item — Folder 80: [Barcode: 31858072538394]
Identifier: CC-05438-5541
Scope and Contents

Text deals with the philosophical principles of the Ana Etcetera group of poets. -- Source of annotation: Marvin or Ruth Sackner.

Dates: 1971
Found in: The Ruth and Marvin Sackner Archive of Concrete and Visual Poetry / Ruth and Marvin Sackner Archive of Concrete and Visual Poetry (processed) / PAINTINGS, PRINTS AND BROADSIDES

Schedule for Another Place / Four Horsemen., 1981

 Item
Identifier: CC-10878-11088
Scope and Contents

The group is composed of Rafael Rivera-Barreto, Paul Dutton, Steve McCaffery and bp Nichol. Printed for Bookslinger on the occasion of the Four Horsemen's performance at the Walker Art Center, April 30, 1981. -- Source of annotation: Marvin or Ruth Sackner.

Dates: 1981
Found in: The Ruth and Marvin Sackner Archive of Concrete and Visual Poetry / Ruth and Marvin Sackner Archive of Concrete and Visual Poetry: Various Formats(unprocessed)

Schedule for Another Place / Four Horsemen., 1981

 Item
Identifier: CC-10879-11089
Scope and Contents

The group is composed of Rafael Rivera-Barreto, Paul Dutton, Steve McCaffery and bp Nichol. Printed for Bookslinger on the occasion of the Four Horsemen's performance at the Walker Art Center, April 30, 1981. -- Source of annotation: Marvin or Ruth Sackner.

Dates: 1981
Found in: The Ruth and Marvin Sackner Archive of Concrete and Visual Poetry / Ruth and Marvin Sackner Archive of Concrete and Visual Poetry: Various Formats(unprocessed)

Schism: Art Strike Form. No.24., 1990

 Item
Identifier: CC-01827-1863
Dates: 1990
Found in: The Ruth and Marvin Sackner Archive of Concrete and Visual Poetry / Ruth and Marvin Sackner Archive of Concrete and Visual Poetry: Periodicals(unprocessed)

Schritte: Der Stein der Weisen. No.7 / Konrad Bayer., 1963

 Item
Identifier: CC-22740-23175
Dates: 1963
Found in: The Ruth and Marvin Sackner Archive of Concrete and Visual Poetry / Ruth and Marvin Sackner Archive of Concrete and Visual Poetry: Periodicals(unprocessed)

Score Broadsides: Body Sound Art Manifesto. No.O / Jean-Paul Curtay., 1991

 Item
Identifier: CC-02297-2337
Dates: 1991
Found in: The Ruth and Marvin Sackner Archive of Concrete and Visual Poetry / Ruth and Marvin Sackner Archive of Concrete and Visual Poetry: Periodicals(unprocessed)

Scriptures / Mills, Neil., 1971

 Item
Identifier: CC-47686-68704
Scope and Contents Designated Writers Forum Number Ten. Mills writes: "That poetry developed language as medium of perception or experience with the coming of the printed poem, when poetry was first known to young men as a silent thing, when a poet could be a poet & never read aloud, the bard died away, but not extinct. That language as object of perception or experience, that is modulation of human voice as carrier of poetic truth rather than semantically induced mental pictures, or, in visual terms, the magic of the written sign, in 20th century urban environment made explicit, was implicit always in the spoken chant or poem & the awe of the rune. That these 2 languages can lead to very different poetries, as regards emphasis on word as semantics, but.as regards poetry as meaning in other than semantic terms, this theoretical division is useless, that sound poetry as such is an extraction from all poetry that has ever been written or recited, that poetry has always been music when spoken,...
Dates: 1971
Found in: The Ruth and Marvin Sackner Archive of Concrete and Visual Poetry / Ruth and Marvin Sackner Archive of Concrete and Visual Poetry: Various Formats(unprocessed)

Seven Dada Manifestos and Lampisteries / Tzara, Tristan ; Barbara Wright, translator ; Apollinaire G ; Huelsenbeck R ; Picabia F., 1981

 Item
Identifier: CC-40839-42816
Dates: 1981
Found in: The Ruth and Marvin Sackner Archive of Concrete and Visual Poetry / Ruth and Marvin Sackner Archive of Concrete and Visual Poetry: Books (unprocessed)

Short List: No.11 (Surrealism) / Ex Libris ; Duchamp M ; Ernst M ; Hugnet G ; Jarry A ; Aragon L ; Artaud A ; Breton A., 1982

 Item
Identifier: CC-13870-14175
Dates: 1982
Found in: The Ruth and Marvin Sackner Archive of Concrete and Visual Poetry / Ruth and Marvin Sackner Archive of Concrete and Visual Poetry: Catalogs (unprocessed)

Silence: a gavotte is so difficult nobody knows how to do it now. No.13 / Barry Flanagan, editor ; Flanagan B., 1965

 Item
Identifier: CC-39486-41442
Scope and Contents This periodical was edited by Barry Flanagan. According to Thames and Hudsons Dictionary of Arts and Artists, Flanagan is "a British sculptor who has emerged since the 1960s as one of the most interesting, original and distinguished contemporary sculptors. He studied at St Martin's School of Art 1964-6, at the time when Caro and King were teaching there. Initially Flanagan made abstract work with a variety of materials -- cloth, rope, sand, polystyrene, light and glass -- some of which were Environmental installations. Flanagan also made films, drawings, etchings and furniture. From the 1970s he started working in metals, stone, clay and marble: his 'anarchic wit' became even more pronounced in this work; he also began making discreet references to traditional carving and modelling in mysterious, fossil-like sculptures, or references to prehistoric and Celtic iconography. In the late 1970s and early 1980s Flanagan finally turned to explicit but idiosyncratic figurative sculpture...
Dates: 1965
Found in: The Ruth and Marvin Sackner Archive of Concrete and Visual Poetry / Ruth and Marvin Sackner Archive of Concrete and Visual Poetry: Periodicals(unprocessed)

Silence: man made, full of holes, etc.. No.11 / Barry Flanagan, editor ; Flanagan B ; Themerson S., 1965

 Item
Identifier: CC-39482-41438
Scope and Contents

In all issues of Silence edited by Barry Flanagan, amorphous, solid shapes are mimeographed that mirror his later sculptural works. -- Source of annotation: Marvin or Ruth Sackner.

Dates: 1965
Found in: The Ruth and Marvin Sackner Archive of Concrete and Visual Poetry / Ruth and Marvin Sackner Archive of Concrete and Visual Poetry: Periodicals(unprocessed)

Situationist International: Anthology / Ken Knabb, editor & translator ; Debord G ; Baj E ; Breton A ; Isou I ; Jorn A ; Moles A ; Wolman G ; Vaneigem R., 1981

 Item
Identifier: CC-53650-65706
Scope and Contents

In 1957, a few experimental European groups came together to form the Situationist International. The name came from their aim of liberating everyday life through the creation of open-ended, participatory situations (as opposed to fixed works of art). Over the next decade the situationists developed a critique of the global spectacle-commodity system, and their new methods of agitation helped trigger the May 1968 revolt in France. Although the SI was dissolved in 1972, situationist theories and tactics have continued to inspire radical currents in dozens of countries all over the world. This is the most comprehensive collection of situationist writings in English, greatly revised and expanded, with over 100 pages of new material. -- Source of annotation: Marvin or Ruth Sackner.

Dates: 1981
Found in: The Ruth and Marvin Sackner Archive of Concrete and Visual Poetry / Ruth and Marvin Sackner Archive of Concrete and Visual Poetry: Books (unprocessed)

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