Scope and Contents

This catalog celebrates the 125th anniversary of the Grolier Club with a display of work by members active in the field of printing, book design, bookbinding, print making, illustration, calligraphy, and the production of artist's books. -- Source of annotation: Marvin or Ruth Sackner.

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This book is a compendium of Canadian avant garde writing from 1965 to 1985. Margaret Atwood, who contributed an over-view essay of the work produced during those years, collaborated with Bok to organize the selections of experimental fiction by the authors. John Riddell contributed "Pope Leo: El Lope" from Criss-Cross. It is a lipogram using only the letters e, o, l and p. The contribution by bp Nichol is from "Still... a novel that depicts in minute detail the scenography for a potential, but postponed , story... his words provide a kind of textual terrain across which the eye pans like a camera." Steve McCaffery's "Panopticon" is an enigmatic whodunnit...The panopticon symbolizes the maze of words through which the reader must wander, playing the role of invisible spectator." -- Source of annotation: Marvin or Ruth Sackner.

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This is a reprint of an article published in Cimal No.11-12. -- Source of annotation: Marvin or Ruth Sackner.

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This book is a facsimile of the Passover song published in 1919. It also includes the wraparound cover and an introduction to the book's cultural and artistic contexts, descriptions of its imagery and polyglot vocabulary, an English translation of the song from Lissitzky's Yiddish and lyrics set to music. Resouces publishes primary materials held by the Getty Research Institute. the book is edited by Arnold J. Band and Nancy Perloff contributed an introductory essay. -- Source of annotation: Marvin or Ruth Sackner.

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The exhibition was curated by Rene Block who also contributed an introductory essay. -- Source of annotation: Marvin or Ruth Sackner.

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Stored with Hannah Weiner material. -- Source of annotation: Marvin or Ruth Sackner.

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This book deals with the poems of Edgar Allen Poe. -- Source of annotation: Marvin or Ruth Sackner.

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This book consists of critical essays about Haroldo de Campos. It includes a postscript section on his death (1929-2003). Marjorie Perloff contributed an essay "Concrete Prose in the Nineties: Haroldo de Campos Galaxias and After" and interviewed both Haroldo and Augusto de Campos in "Brazilian Concrete Poetry: How It Looks Today." Willard Bohn wrote about "Concrete Poetry at the Crossroads," an intelligent critique of specific concrete poems by de Campos and contemporaries. -- Source of annotation: Marvin or Ruth Sackner.

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This is a polemic against Finlay's critics of his books on the staff of the Glasgow Herald. -- Source of annotation: Marvin or Ruth Sackner.

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John Held Jr. contributed an introductory essay entitled, "The Open World of Netland." Most of this catalogue printed on brown recyled paper consists of the list of participants. There are only two pages with images. -- Source of annotation: Marvin or Ruth Sackner.

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This anthology Includes reprints of a selection of curry's publishing activities focusing on his rubberstampings of minimalistic and concrete poems of his own and his circle of poets. Dean comments: this making precious of the single poem was the result of necessity as much as esthetic deliberation; curry published within a finite small budget. This could have caused poor-quality production, i.e. Gestetner, offset or xerox. Instead it resulted in hand-stamp, hand-set rubber type, as his chosen (& unique) means of publication. His scaled down book remained both anarchic and typographically refined. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents Amazon.com: The art of embellishing popular reproduction usually entails irreverence, whether it be Duchamp's famous additions to a postcard of the Mona Lisa or the kinds of tweaking seen on subway advertisements. The Mexican artist known as Dr. Lakra embellishes 1950s pinup-magazine reproductions to introduce a content not only irreverent but uncomfortable (and certainly contrary to the intentions of his soft-porn source material)--mortality. The series of works that comprise this velvet-bound volume began with a collection of vintage magazines about nudist camps that Lakra bought at the Sunday market on Brick Lane in London. He set to work despoiling the hygienically upbeat sensuality of these nude models with a morbid parade of skeletons and ghouls, who paw and loom at their prey with crude, lascivious glee, dragging both sex and death down to the level of earthy fact. Lakra's ghouls are not mere doodles; in their visual character, these creatures draw on the Day of the Dead...

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HeMi is Henning Mittendorf. The accompanying broadside prints the word "peace" in several languages. -- Source of annotation: Marvin or Ruth Sackner.

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Printed on Barcham Green paper. The silkscreened cake-board silkscreen has a title, "The Paddocks." Chopin has inscribed on the verso that two of the images in the print were done by Biguier and Bertini. The cardboard print is stored in a Chopin storage box. -- Source of annotation: Marvin or Ruth Sackner.