The French title is "En-haut et en-bas" or "Top and Bottom,"or "High and Low." Each page is a print of Kolar's typogrammes from the 1960's. The pages are cut so that a portion of typing from the following pages become an important part of the composition. Kolar created new configurations with the typewriter that were known as "creations plastiques." The Sackner Archive also holds nine unique typewritten pages that were bound into a unique binding by Pella Erskine Tullock. -- Source of annotation: Marvin or Ruth Sackner.

The French title is "En-haut et en-bas" or "Top and Bottom,"or "High and Low." Each page is a print of Kolar's typogrammes from the 1960's. The pages are cut so that a portion of typing from the following pages become an important part of the composition. Kolar created new configurations with the typewriter that were known as "creations plastiques." The Sackner Archive holds unique typewritten pages that were bound into a unique binding by Pella Erskine Tullock. -- Source of annotation: Marvin or Ruth Sackner.

This catalogue mainly offers historic photographs. -- Source of annotation: Marvin or Ruth Sackner.

Auction catalog. -- Source of annotation: Marvin or Ruth Sackner.

Includes a major listing of works by d.a.levy. -- Source of annotation: Marvin or Ruth Sackner.

Auction catalogue. -- Source of annotation: Marvin or Ruth Sackner.

Jindrich Chalupecky contributed an introductory essay entitled "The Heretical Surrealism of Ladislav Novak." Novak describes his first meeting with Jiri Kolar in 1961 as one of the greatest experiences of his life. Kolar gave him "the kind of stimulus needed and the knowledge that in art one must be ruthless and thorough, that even the most brilliant idea isn't enough in itself, that one must develop it in series, push it, advertise it, etc." -- Source of annotation: Marvin or Ruth Sackner.

The photograph depicts Butor and Qotbi. Michel Sicard contributed an essay in which he defiined the types of work that Butor entered into a collaboration with artists. -- Source of annotation: Marvin or Ruth Sackner.

This book focuses on M. Butor's collaborations with other artists, including P. Alechinsky, M. Qotbi and J. Kolar. The book by Qotbi and Butor, "Espace Arabesque," held by the Sackner Archive, is reproduced in this catalogue. Also, there is a tipped-in color photograph on the title page depicting Qotbi and Butor in front of the wall upon which the book is hung. -- Source of annotation: Marvin or Ruth Sackner.

The cover is perforated in the shape of Brancusi's sculpture "Bird in Flight." The loose sheets that depict reproductions of paintings, are meant to be placed immediately below the cover to provide a different appearance of this "moveable collage." -- Source of annotation: Marvin or Ruth Sackner.

Kinetic letter picture by Timm Ulrichs which is reproduced is falsely attributed to Hansjorg Mayer. -- Source of annotation: Marvin or Ruth Sackner.

Kolar uses only the typed letter 'r' to create the pieces in this book. -- Source of annotation: Marvin or Ruth Sackner.

This book is his laureate thesis. This second volume consists of a large number of photocopied illustrations to complement Volume I. The first section features international concrete poems, the second section Italian concrete poems, the third section predominantly Italian poesia visiva and the fourth section calligraphic visual poems. Miglietta folows these illustrations with analysid and critical comments on these poems.This thesis concludes with a listing of the birthdates of the poets and a bibliography. -- Source of annotation: Marvin or Ruth Sackner.