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The book reprints an in depth lecture delivered by Schmidt on the occasion of Peter Daniel's exhibition of Lab-Art. He states that Daniel's subject matter is located between literature and pictorial art. In reviewing Daniel's Ein Sof, a Kabbalistic book, and Lab-Art, Schmidt traces the development of the awareness of language since the nineteenth century, relating the influence of Ferdinand Saussure and his emphasis on phonetics, Walter Benjamin and Jaques Derrida and their theories of language. In relation to Daniel's use of collage, Schmidt quotes the Kabbalah concerning the origin of letters, "He [God] outlined them, dug them out, weighed them, combined and transposed them."The print, Lab-Art, An open manifesto, designed by Daniel, that is held by the Sackner Archive, is reproduced in the book. -- Source of annotation: Marvin or Ruth Sackner.

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Depicts several shaped poems with Latin texts. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents Twin sisters, Susan and Dorothy Yule produced a facing pages spread of typed shaped poetry that was published in U&lc Vol.2 No.4 1975. Although the Sackner Archive has an extensive run of the original issues, it is missing this one. Hence, the reason for depicting this work in this record. Mamoun contributes designs based upon the square kufic (pages 79-79).Amazon.com: U&lc: influencing design and typography, is a recently published book that chronicles the acclaimed magazine from its birth in 1973 through the last issue printed in 1999. John D. Berry, U&lc editor for the last two years of printed issues and creator of its companion web publication, U&lc Online, takes us back to the inception and raison d'etre for the magazine. Right from its start in 1973, U&lc rocked the socks off graphic designers and type lovers across America and the world. I have not found any estimates of circulation during the earlier years, but at its peak approximately 200,000 copies...

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This is a review of the writings of Marjorie Perloff. -- Source of annotation: Marvin or Ruth Sackner.

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This mail art exhibition featured body art. -- Source of annotation: Marvin or Ruth Sackner.

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The signed, ink, line drawing was done on the facing pages just after the colophon. -- Source of annotation: Marvin or Ruth Sackner.

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Deals with demonstration that Parantela's geometric paintings have different brush strokes compared to other artists like Guttosi, Simonetti, Carmi, Baj, Turcato, etc. who have made similar paintings. -- Source of annotation: Marvin or Ruth Sackner.

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This translation, authorized by Gallimard (publishers) and Mallarme's heirs as the first in English, was first published in Folder No.4, 1956, Tiber Press. This periodical is also held by the Sackner Archive. According to Aldan, each page of the poem forms an ideogram -- an image of whiteness of sky and ocean, storm waves,crests and troughs, male and female, wing and bird, sail and boat, etc. The four themes, UN COUP DE DES, JAMAIS, N'ABOLIRA, AND LE HASARD are equivalent to four movements of a symphony. They symbolize many phases of life and time, e.g., four divisions of a day, four seasons, four stages of total time, etc. and are an important part of the pattern that unifies the poem. -- Source of annotation: Marvin or Ruth Sackner.

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Consists of two soft cover book; one reprints the 1914 edition of Un Coup De Des. The other contains eleven related works and critical texts by various writers (ending with Mallarme's "Observation Relative Au Poeme") including Mitsou Ronat and Tibor Papp, who presented and realized this edition. Some of these contributions are adaptations of Mallarme's poem in more visual and concrete poetic presentations. The cover of the portfolio is embossed with a red, tilted square reminiscent of Malevich or Lissitzky. This copy is from the ordinary edition, size unspecified. Forty-eight lettered and numbered copies were printed on Richard de Bas paper. -- Source of annotation: Marvin or Ruth Sackner.

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In his introduction, Brian Coffey points out "that there existed many correspondences between Un Coup De Des and Finnegan's Wake." Joyce in fact possessed a copy of the 1914 edition of the poem and it may have influenced his work. This translation follows the layout of the 1914 edition of the poem. The full tirage is not provided but probably numbers about 1000 copies. -- Source of annotation: Marvin or Ruth Sackner.

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Octovio Paz contributed a critical essay titled "Vestibule." -- Source of annotation: Marvin or Ruth Sackner.

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This proposal for a revolutionary garden in Versailles was never carried out owing to a political perception in France that Finlay espoused pro-Nazi, anti-semitic views (this opinion is not shared by the Sackners). -- Source of annotation: Marvin or Ruth Sackner.

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This book documents and illustrates Goeritz's career beginning in Germany and continuing mainly in Mexico. A chapter consisting of six pages depicts his concrete poems from 1959 - 1968. This definitive biography of Goeritz was written by Lily Kassner. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents This beautifully produced catalogue was published for the exhibition in the Olin Library at Washington University by the curator, scholar and Head of Special Collections, Kevin Ray. It coincided with the exhibition and symposium "The Dual Muse: The Artist as Writer and the Writer as Artist" organized by the Gallery of Art and the International Writers Center. The Sackner Archive lent nine handwritten and typed bound volumes of Phillips' Dante manuscripts, two silkscreen prints, eleven collages from the "Dante Diary," and a typewriter work on backing paper incorporating all the words of Phillips' first translation of the Inferno. Kevin Ray contributed an illuminating essay tracing the history of translations and illustrations of Dante, including the works of Botticelli, Gustave Dore, Blake and Rauschenberg. Ray writes that in the Tom Phillips' Inferno, the artist, incorporates "much of the method he developed in creating A Humument, 'treating' an existing text and making of it...

Scope and Contents This beautifully produced catalogue was published for the exhibition in the Olin Library at Washington University by the curator, scholar and Head of Special Collections, Kevin Ray. It coincided with the exhibition and symposium "The Dual Muse: The Artist as Writer and the Writer as Artist" organized by the Gallery of Art and the International Writers Center. The Sackner Archive lent nine handwritten and typed bound volumes of Phillips' Dante manuscripts, two silkscreen prints, eleven collages from the "Dante Diary," and a typewriter work on backing paper incorporating all the words of Phillips' first translation of the Inferno. Kevin Ray contributed an illuminating essay tracing the history of translations and illustrations of Dante, including the works of Botticelli, Gustave Dore, Blake and Rauschenberg. Ray writes that in the Tom Phillips' Inferno, the artist, incorporates "much of the method he developed in creating A Humument, 'treating' an existing text and making of it...

Scope and Contents Amazon.com: Can techniques traditionally thought to be outside the scope of literature, including word processing, databasing, identity ciphering, and intensive programming, inspire the reinvention of writing? The Internet and the digital environment present writers with new challenges and opportunities to reconceive creativity, authorship, and their relationship to language. Confronted with an unprecedented amount of texts and language, writers have the opportunity to move beyond the creation of new texts and manage, parse, appropriate, and reconstruct those that already exist. In addition to explaining his concept of uncreative writing, which is also the name of his popular course at the University of Pennsylvania, Goldsmith reads the work of writers who have taken up this challenge. Examining a wide range of texts and techniques, including the use of Google searches to create poetry, the appropriation of courtroom testimony, and the possibility of robo-poetics, Goldsmith joins...

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The works in this exhibition were clothing labels, from a varied group of manufacturers, sewn together as a wall work . These were accompanied by calligraphic drawings that interpreted the visual labels in text. -- Source of annotation: Marvin or Ruth Sackner.