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This exhibition deals with poetry off the page onto the walls of the gallery, including sculptures, paintings, films and videos. Curated by Jay Sanders and Charles Bernstein, the works "offer a constellation of intellectually compelling, poetically dense, visually dazzling works that represent some of the most exciting efforts in current practice." Catalogue essays were contributed by Jay Sanders and Charles Bernstein. Johanna Drucker's text is titled, "Plastic Modalities: Emerging Sentience." Tom Phillips' text is from "Notes on A Humument." The Sackners lent eight original pages from "A Humument." John Cage describes his work "Not Wanting To Say Anything About Marcel," a work lent to the exhibition by the Sackners. -- Source of annotation: Marvin or Ruth Sackner.

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Johanna Drucker reviews a book, "The Fast," by Hannah Weiner and Jackson MacLow contributes a remembrance of John Cage. -- Source of annotation: Marvin or Ruth Sackner.

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This book depicts an sampling of De Vree's poetic styles. Two original typed pages held by the Sackner Archive are reproduced in this book, "mier mens" page 17 and "picnic" page 25. -- Source of annotation: Marvin or Ruth Sackner.

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Critical essays on Finlay's work and specific poems are provided by Piotr Rypson and Tadeusz Slawek, respectively. The illustrations in this catalogue depict prints and cards of Finlay's work. -- Source of annotation: Marvin or Ruth Sackner.

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Exhibition was curated by Piotr Rypson. All of the shaped poems are Pre-Mallarme and are of German, Latin, and Greek origin. -- Source of annotation: Marvin or Ruth Sackner.

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This catalogue includes several essays regarding the history of visual poetry and its relation to concrete poetry. -- Source of annotation: Marvin or Ruth Sackner.

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Internet: Gustav Klutsis was a pioneering photographer and major member of the Constructivist avant-garde in the early 20th century. Born: January 4, 1895, RÅ«jiena, Latvia; Died: February 26, 1938, Moscow, Russia -- Source of annotation: Marvin or Ruth Sackner.

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This is number 48 in the Drawing Papers series and was issued for Ferrari's exhibition at the Drawing Center. The drawings date from the 1960's. -- Source of annotation: Marvin or Ruth Sackner.

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Illustrated or listed in the catalog and held by the Sackner Archive are "Picadilly Square" by Roth, "News Mews, Pews" by Ruscha, "Book" by Samaras, "Girl on a Chair" by Segal, "General Dynamic F.U.N." by Paolozzi and "Andy Warhol's Index Book." -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents This exhibition, curated by Wendy Weitman, consists of prints and multiples from the collection of the Museum of Modern Art. Weitman contributes an essay. "Printmaking in the Pop Era: The Medium amd the Message." The catalogue is divided into the following sections: Proto-Pop; Mass Media; Consumer Culture; Politics; Erotica. It contains a chronology from the years 1960 to 1970 of Pop Printmaking, Pop Art, and Politics/Popular Culture. There are extensive notes on the artists, art works and publishers as well as a selected bibliography. The relevance of Pop Art is examined by Colin Self who writes, " Pop Art was the first art movement for goodness knows how long to accept and reflect the world in which it lives...In other words, there is a conspicuous absence of 20th century iconogrpahy in 20th century art - until Pop Art. Before POP all ART hid behind being 'ARTY.' Art had reached such a state of insincerity and pretentiousness, POP was a real revelation." Illustrated and contained...

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As noted in his biography, Tilson was "originally associated with the British Pop Art movement in the early 1960's. He was soon led in a different direction by his deeply held convictions and his dissatisfaction with the technology and industrial 'progress' of the consumer society. Art, Tilson has written, is a symbolic discourse of which mankind alone is capable." -- Source of annotation: Marvin or Ruth Sackner.

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The name, Le Porte di Sibari, denotes a group of visual poets that were organized by Luciano Caruso in 1990. They are all included in this exhibition that was curated by Caruso. Together with SM Martini, he contributed critical essays to this catalogue published by Belforte Editore Libraio. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents V&A ANNOUNCES RACHID KORAÏCHI AS WINNER OF THE JAMEEL PRIZE 2011Algerian born Rachid Koraïchi has won the £25,000 Jameel Prize for a selection of embroidered cloth banners from a series entitled Les Maitres invisibles (The Invisible Masters), 2008. Martin Roth, Director of the V&A, Hasan Jameel and Ed Vaizey MP, presented Rachid Koraïchi with the prize at a ceremony at the V&A on Monday 12September. 2011.The Judges felt that Rachid's work matches the aims of the Jameel Prize through its qualities of design and reliance on traditional craft. They particularly admired how he has made his great spiritual and intellectual lineage accessible to all through the graphic language he has created out of his artistic heritage.Koraichi uses Arabic calligraphy, and symbols and ciphers from a range of other languages and cultures to explore the lives and legacies of the 14 great mystics of Islam. The work aims to show that the world of Islam, in contrast to contemporary...

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Lambirth provides a detailed review of the work, current exhibitions, philosophy of Tom Phillips who is described as a "painter, poet, printmaker, collector, composer, curator, sculpture, singer, translator... "At 60, the polymathic Mr Phillips is still just trying to do what he's always done: be an artist as best he can." The essay mentions that "Phillips claims to have only two collectors in the world, one in Miami and one in London. They are his only significant patrons." [The collectors who are not identified in this article are the Sackners in Miami and Massimo Valsecchi in London]. The article reproduces page 50 of A Humument, a self-portrait of Phillips on his 50th birthday, a drawing that is held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents This catalogue, edited by Robert A. Sobieszek, curator of photography at LACMA, was issued for an exhibition in 1996. It emphasizes the importance and influence of the painted and poetic works as well as the life of William Burroughs and his collaborator, Brion Gysin. In his preface Sobieszek writes that "Burroughs is far more than a writer of imaginative prose and speculative fiction. His revolutionary literary tactics have led him to margins of activity where genres cease to matter, where the distinctions between words and images blend together, where paragraphs become filmic montage, and where a shotgun blast is the same as a painting. At the core of Burroughs's art is the 'cut-up' technique that he and Brion Gysin developed following the appearance of Naked Lunch. While loosely related to the more traditional techniques of collage, photomontage, and text-image experiments used by modern artists, Burroughs's cut- up strategy inaugurated an essentially postmodern shift in the...