Alastair Noble's Blake Illuminated (2002), here. Noble explains how "slots in metal pages replace the words" of William Blake's poem, "Earth's Answer" from Songs of Experience (1794). See more of Noble's wonderful sculptures here (definitely check out Zang Tumb Tumb!), read some discussion of his sculptural work here.

Blake's own illumination of "Earth's Answer"

From Erica Baum's Dog Ear (Ugly Duckling Presse, 2011).

"I’m reauthoring the text in this simple act of folding the paper which creates a new view. I want the compositions to work both formally and linguistically on several levels simultaneously. It looks simple but it’s actually very hard to find ones where everything comes together. I think in order for concrete poetry to succeed it has to operate in both these ways. I’m also adding a third thing to this mix because these have to be found in a book. In this case the constraint is the page sequence....I’m looking for something that in some sense already exists and has the potential to yield something else," Baum says about her project, here.

Some discussion here and here, more images here and here, and many more links on the UDP page, here.

 

1) From the ongoing project "Plagiarizing Poetry Magazine."  The author AMF explains "This project is to explore the meaning of the word plagiarism," and  "My project hopes to push Poetry magazine and its readers into a discussion about artistic thought, ownership and originality, which can only take place now in our interconnected world," here. The complete blog, with more images and information is here.

2) The original cover of Poetry Magazine, April 2012. More about Poetry here. 

3) Also, the Winter 2012 issue of Abraham Lincoln.

William E. Jones's book of photographs, Killed: Rejected Images of the Farm Security Administration (PPP Editions, 2010) here, and more here. An interview with Jones here. "Jones transforms the violent negations of Roy Stryker's hole-punched photographs, which had been deemed unfit for the 1935-1944 Farm Security Administration Project, into an elegant abstraction by compiling the circular hole-punched forms into a grid. Each circle is surrounded by a small portion of that photograph's original imagery, thereby memorializing what Stryker had originally 'killed,'" at Printed Matter, here.

1. Molly Springfield's Sentences on Conceptual Art, 1968 (graphite & paper, 2007), from her series "The World is Full of Objects," "exquisitely rendered drawings of photocopied books, after Douglas Huebler's 1969 statement 'The world is full of objects, more or less interesting; I do not wish to add any more.'" See more at her site, here, some discussion here. Plus, Springfield's version [Translation] of In Search of Lost Time (from Siglio Press's It Is Almost That: A Collection of Image + Text Work by Women Artists and Writers), here.

2. Also related, from The Benjamin Project (~2009), here, more images here. "In Dafen, China, the world’s capital city for copying works of art, [the Berlin collaborative group] Empfangshalle has commissioned artists to make paintings derived from every double page of Walter Benjamin’s essay, 'The Work of Art in the Age of Mechanical Reproduction.' 38 paintings in total where every letter, the fine structure of the paper, the way the lines shimmer through on the other side, the fold and other details, are recorded by the Chinese artists – each in his or her own way. Every work is created by a different workshop, a different painter, every painting marked with the painter’s unique signature," here. Walter Benjamin's 1936 essay, here.