Gloria Picazo contributed a critical essay opening with a quote by Kolar "Someday it will be possible to make poetry out of anything." Foissage is described when "a mere piece of paper is wrinkled, then flattened down and finally set upon a support. The strange writing left in the piece of paper by the wrinkles is another of the means usedby Kolar to make a poem visible." -- Source of annotation: Marvin or Ruth Sackner.

Marcello Diotallevi curated the Mail Art section of this exhibition and contributed an introductory essay. -- Source of annotation: Marvin or Ruth Sackner.

Cluver presents definitions of Concrete Poetry and its controversies. Robert Indiana's "LOVE" works and e.e. cummings poem "brIght" are analyzed. -- Source of annotation: Marvin or Ruth Sackner.

David Seaman curated this exhibiton and contributed an essay tracing the routes of Lettrisme to the present day. The exhibition was reviewed in the Statesboro Herald. -- Source of annotation: Marvin or Ruth Sackner.

This book was based upon proceedings of 17th annual workshop sponored by the Department of German at the University of Wisconsin-Madison. Reinhold Grimm wrote a detailed, historical, illustrated essay on emblem, concrete and shaped poetry titled, "Poems and/as Pictures: A Quick Look at Two and a Half Millennia of Ongoing Aesthetic Intercourse." Sixty five examples of such poems are depicted. Grimm provides several shaped poems by different authors from George Herbert to Eugen Gomringer on "meditative wings." A shaped poem by an anonymous author entiltled "Cube" (1710) is printed in German and Yiddish (Figure 29). ee cummings' poem "Grasshopper" (1935) is reprinted (Figure 32). Includes three erotic shaped poems by Reinhold Aman, editor of the magazine, Maledicta (Figures 62-64). -- Source of annotation: Marvin or Ruth Sackner.

The author describes "The Naked One Among the Clad" as Kemensky's first ferroconcrete book of poetry. She also cites and translates into English "Futuristy-Hylaea" and "Constantinople" (probably the first ferroconcrete poem). Both are held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

The exhibition travelled to Gallery Joe in Philadelphia. The sheet and card are the press release and invitation from the gallery. -- Source of annotation: Marvin or Ruth Sackner.

This catalogue depicts 24 photo-realist, Fuck paintings. Martin Herbert's text describes the exhibition history of these paintings. -- Source of annotation: Marvin or Ruth Sackner.

Edited by Ed Sanders. -- Source of annotation: Marvin or Ruth Sackner.

This book documents artwork, posters, photographs, record covers, and writing of the punk rock movement mainly in California. It consists of written descriptions and photographs of concerts, posters and relevant artworks of many rock groups of the period. The book depicts several posters done by Raymond Pettibon for the bands, "Black Flag" and "The Circle Jerks." -- Source of annotation: Marvin or Ruth Sackner.

Foreword for this anthology involving permutations of groups of four words, sentences &/or images was contributed by Pierre Garnier. The afterword was done by Dieter Mahlow. The 70 Roman numeral designated books were distributed to the artists (Sackner copy); the remaining 80 numbered copies were offered for sale. -- Source of annotation: Marvin or Ruth Sackner.

Contains reproduction of "Sempre Futurismo" held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

First published by the British Library in 2005. The English translations and/or annotations are printed at the bottom of the page that depicts these poems. This book reproduces pages of Kruchenykh & Khlebnikov's "A Game in Hell" (1914) on pages 40-41, and, Ilia Zdanevich's "Le-Dentyu as a Beacon" (1923) on pages 50-69. Pages from Lacerba, the futurist periodical, are reproduced on pages 118-131. Pages from L'Italia Futurista that ran from 1916-1918 are reproduced on pages 133-155. -- Source of annotation: Marvin or Ruth Sackner.