Scope and Contents

Checklist for the exhibition of magazines from the European avant garde. Several of these periodicals are held by the Sackner Archive including Lacerba, Blast, Sic, Anthologie Dada, and Der Dada. -- Source of annotation: Marvin or Ruth Sackner.

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From his personal collection, Celant mounted an exhibition of record covers as artworks that also featured sound poetry. He includes a definitive discography from 1927-1977 and a listing of record producers. -- Source of annotation: Marvin or Ruth Sackner.

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Richard Morris reported a survey of 65 poet-editors of different schools of poetry and who were asked "the best poets currently writing in the English language." The results included among others Antin, Ashbery, Beckett, Berrigan, Blaser, Bukowski, Bunting, Cage, Codrescu, Coolidge, Corman, Corso, Davey, Dorn, Elmslie, Ferlinghetti, Ginsberg, Giorno, Hirschman, Hollo, Houedard, Ronald Johnson, David Jones, Kryss, Lifshin, McClure, Mac Low, Meltzer, Merrill, Merwin, Meyer, Perchik, Plymell, Raworth, Rothenberg, Simic, Snodgrass, Charles Stein, Swenson, Tarn, Keith Waldrop, Emmet Williams, Jonathan Williams, Zulovsky. -- Source of annotation: Marvin or Ruth Sackner.

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A note on post-it from Marilyn Schmidt accompanied this copy. -- Source of annotation: Marvin or Ruth Sackner.

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This issue contains illustrated articles on the genesis of the letter 'L,' film posters, and "Love Letters." Allan Haley contributed a biography entitled, "William Caxton: The Modest Translator." Marion Muller's essay "Meant to Be Seen and Not Heard" about concrete and shaped poetry dealt with an exhibition of Arion Press' Shaped Poetry portfolio at MJS Books & Graphics in New York. -- Source of annotation: Marvin or Ruth Sackner.

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This catalogue lists the various series comprising "Le Brache di Gutenberg." -- Source of annotation: Marvin or Ruth Sackner.

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Edited by Jean-Paul Larouche. -- Source of annotation: Marvin or Ruth Sackner.

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This book documents examples of the political history of Italy with posters and text that include Futurism, Fascism, Nudism, Communism, Rock Music, WWII, and the Vietnamese War among others. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents This book deals with the history of sound and sound installations by artists across modern and contemporary art movements. It is noteworthy that Charles Cros, whose works were translated by Laura Aga-Rossi (held by the Sackner Archive), is mentioned with Edison as the co-inventor of the phonograph. Both this instrument and the radio are featured topics in this book. Includes discussion of artistic languages such as zaum and glossolalia (used by Artaud), precursors to sound poetry.Between the Covers Review: Wireless Imagination directly addresses what is perhaps the most conspicuous silence in contemporary theory and art criticism, the silence that surrounds the polyphonous histories of audio and radio art. By gathering both original essays and several newly translated documents into a single volume, editors Douglas Kahn and Gregory Whitehead provide a close audition to some of the most telling and soundful moments in the "deaf century", including the fantastic acoustic scenarios...

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This catalogue covers "Text and Image in the Art of the Twentieth Century," in four sections, 1900-1940, 1940,-1970, and 1970-1990 and contains numerous reprinted essays as well as those written especially for the exhibition. Topics include Concrete and Visual Poetry, Language relating to Fluxus and Dada, and texts on Marcel Broodthaers, A.R. Penck, Neil Jenney, Nancy Dwyer, Tim Rollins and KOS, Ken Lum, and Barbara Kruger among others. -- 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 verso of the poster is a photographic reproduction of the title page of El Lissitzky's "Sieg Uber Die Sonne" print suite. -- Source of annotation: Marvin or Ruth Sackner.