Scope and Contents

This book is a collection of essays by Wright's students as an homage to him, Wright's own essays and autobiography and examples of his artwork, typographical work, and concrete poetry. On page 17, a photographic of one of his concrete vowel poems is depicted; the original photograph is held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

Recounts the history of The Institute of Contempoary Arts, London 1950-1962 with emphasis on the artists who launched the Pop Art movement in England. There are several essays on British artists of this period including John McHale (1922-1978), who made artworks from cut-up newspaper headlines. -- Source of annotation: Marvin or Ruth Sackner.

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Bann discusses Furnival organizing transportation of "Clyne" constructions, vowel screens, three columns, Ed Wright's "Four Sails" glass, "Ajar" wooden construction, "Ark/Arc" in plastic...[and] column with "Wave/Wave" to Nottingham, and the possibility of using Mayer's "Ampersands" for a wall or outdoor display. -- Source of annotation: Marvin or Ruth Sackner.

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This letter to Charles Cameron contains several names and details for poetry readings and several handwritten notes and instructions in red and black ink for a poetry reading to which DSH has been invited.The verso typing reads "cavan says ANDREI vOZNESENSKY reading leeds U Russdept 19:30hrs 4 june tell every one" -- Source of annotation: Marvin or Ruth Sackner.

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angelBuds might be John and Wendy Sharkey. Houedard's rants on concrete poetry and homosexual thoughts on page one. He writes that John Furnival is making a motorisation of his POND - FROG - PLOP poem and discusses different typewriter companies on page two. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

The body of this letter deals with making an introduction to John Furnival and dropping names of concrete poets prominent on the international scene. The left margin has several concrete poems by Houedard typed in black ink. Houedard typed his name at the bottom of the letter by forming each letter by overtyping the letter 'e'. -- Source of annotation: Marvin or Ruth Sackner.

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Zukovsky's poem reads, "There is a heart - has no complaint - better a-part - than faint - so the faintest - part of it - has no complaint - a part." Furnival illustrated it with concrete poems and Edward Wright did the typography. -- Source of annotation: Marvin or Ruth Sackner.

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The vertical typed lists are vowel structure, phonetic, Spanish and English translation of the vowel sounds. -- Source of annotation: Marvin or Ruth Sackner.

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The purple numbers from 1 to 9 replace the vowels in the words.The letters are pink colored. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents Wikipedia Edward Wright (16 July 1912 "“ 16 October 1988) was a painter, typographer and graphic designer.[In the early 1950s he was a member of the Independent Group, and taught at the Central School of Art with Anthony Froshaug, Nigel Henderson and Eduardo Paolozzi. He designed the catalogue for the exhibition This Is Tomorrow at the Whitechapel Gallery in 1956.Wright later taught at the London College of Printing, Cambridge University School of Architecture and the Royal College of Art. His architectural lettering work included the foundation stone for Churchill College, Cambridge (1961), and the Flaxman lettering and numbering system for New Scotland Yard's rotating sign (1968), Wright's original concept for which was that its '"revolving triangular shape and reflective steel lettering was symbolic of the Met's constant vigilance in guarding our safety.'[6] in 1963, Wright was a signatory of Ken Garland's First Things First manifesto. -- Source of annotation: Marvin or Ruth...

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This article (page 9) about Dom Sylvester Houedard deals with the book launch of "Notes from the Cosmic Typewriter" (2012) by Occasional Papers at the South London Gallery in December 2012. The Sackners were present at this event and Marvin Sackner lectured on visual works that Houedard made before his well known typed concrete poems. One of the two illustrations in this article was the property of the Sackner Archive. The newspaper was mailed to the Sackners along with a thank you card by Sara [de Bondt] and Antony Hudek, the owners of Occasional Papers. -- Source of annotation: Marvin or Ruth Sackner.

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The poem includes faint graphite markings, -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

The poem includes faint graphite markings, -- Source of annotation: Marvin or Ruth Sackner.

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This is a vertical typed poem with progressively diminishng number of vowels in vertical clusters typed in red ink the. On the verso Wright wrote "1969 (eventually on lined 680 x 80 cm) see group III." -- Source of annotation: Marvin or Ruth Sackner.