Scope and Contents

This work was first published by Ganglia Press in mimeographed form as the Singing Hands Series No.3 in 1966 (held by Sackner Archive). The present work was published as a component of bp Nichol's bookwork, "bp" by Coach House press in 1967. Nichol provided instructions on the back cover for burning this booklet. Another copy was published by fingerprinting inkoperated in 1992 (also held by the Sackner Archive). -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This work was first published by Ganglia Press in mimeographed form as the Singing Hands Series No.3 in 1966 (held by Sackner Archive). It then was published as a component of bp Nichol's bookwork, "bp" by Coach House press in 1967; this work is also held separately by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

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Stored in Abilio-Jose Santos portfolio. -- Source of annotation: Marvin or Ruth Sackner.

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This issue consist of reproductions of Padin's Textos and Signografias 1967-1970. The Sackner Archive holds all the Signografias reproduced in this issue and in addition No. 5, 6, 10, 11, and 12, The Sackner Archive is missing No. 6 and 12 of Textos reproduced in this issue but holds No. 6a, 13a, 15c, 17 b, 19a and 19b that are not reproduced. Stored in box of Clemente Padin material. -- Source of annotation: Marvin or Ruth Sackner.

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This book describes the nature of artistic collaborations in poetic terms. -- Source of annotation: Marvin or Ruth Sackner.

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This book describes the nature of artistic collaborations in poetic terms. -- Source of annotation: Marvin or Ruth Sackner.

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This is a selection of Madison collages published by Quixote that may have been used in the course taught by levy at the University of Wisconsin. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents Collagious Material was a bi-monthly publication with 6 issues to the volume. This American publication printed in offset lithography was concerned with the experimental work of Heinz Veuhoff and was published by Helga Schiskowsky. Helga worked very closely with Heinz during his career as an artist and was vastly familiar with his work. Veuhoff's work is characterized by his repeated use of words/phrases/letterforms to create a typographic image. His layout is decidedly un-Modern and adopts a more free form structure reminiscent of the political discord occurring in the 1960s. This work is clearly postmodern as both Veuhoff and Schiskowsky question and attempt to define what is art and its meaning. The magazine has text written simultaneously in four languages (English, French, Italian and German). The edition is purposely limited to only 700 copies, (of which the first 100 copies are signed and numbered by the artist, and the rest only numbered) for, "-Collagious-Material-", is...

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The writer describes the scene at the London Artists' Book Fair at the Barbican Centre in November 1997. He stresses the increased appreciated value of artist books, particularly those done by Ian Hamilton Finlay and Bob Cobbing. Writing about Cobbing, he mentions that "His Domestic Ambient Noise" series, in collaboration with the visual poet Lawrence Upton, has run to 157 editions in the past three years. Their cost is 1 pound each or four for 5 pounds. Winsor states that "A rich collector in Miami [Marvin Sackner not identified!] and two assiduous London collectors have all 157." -- Source of annotation: Marvin or Ruth Sackner.

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Includes nine "Flowerishes" poems. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents This edition also includes about 50 uncollected and unpublished poems and others written for Morgan's 70th birthday celebration.Internet: Edwin Morgan was born in Glasgow in 1920, first starting to write while at Glasgow High School. He studied English at Glasgow University, but his studies were interrupted by the Second World War, during which he enlisted in the Royal Army Medical Corps. He returned to University after the War and graduated in 1947. From 1947-1980 he taught English at Glasgow University, becoming Professor of English in 1975. During this time time he produced a major body of poetry and critical essays. He also wrote plays, libretti, and several works of translation. He travelled widely after the 1950s and translated poetry from many languages, particularly Russian, Hungarian, Spanish, Portuguese, German, Italian and French. In the 1960s he experimented with concrete poetry and also championed Beat Poetry. His translations included Edmond Rostand's Cyrano de...

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Girlie poems are works or poems dedicated to 'girls' whose names, at the very least, have fascinated Cobbing. The poems are constructed as permutations, palindromes, and visual scores by overprinting. As noted by Griffiths, the simpler the score, the greater the performance potential because it allows Cobbing wider improvisation. The book reprints a large number of these poems. One copy of this book has an orange color and another a blue color. -- Source of annotation: Marvin or Ruth Sackner.

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Richard Truhlar writes "Cobbing uses the writer's tools (typewriter, various duplicating machines, ink, etc.) to explore the word and/or letter as hieroglyph, as phonetic symbol, and as concrete graphic interaction of language image with eye and body rhythms." This volume mainly depicts typewriter poems. -- Source of annotation: Marvin or Ruth Sackner.

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The book includes colored reproduction of the handwritten manuscript of "De Feesten van Angst en Pijn." This consists of the following poems, viz., Oskar Jespers Opgedragen, Bar baorse Dans, Priere Impromptue 1, Metafiziese Jazz, Priere Impromptue 2, Im Memorium Herman van der Reeck, Priere Impromptue 3, and twu landelike gedichten voor Heinrich Campendonck. -- Source of annotation: Marvin or Ruth Sackner.

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The book includes the colored reproduction of the printed book, "Bezette Stad." The original printed copy of the book is also held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.