From Anne Gilman's The Jolly Balance (2009, 2012), based on drawings made in a handwritten physics journal from 1918. "The Jolly Balance was a phrase I found in the original physics journal and refers to an instrument that measures specific gravity. I use it to refer to our attempt to balance all the parts of our lives on a day-to-day basis," she explains at the Center for Book Arts website, here. 

Gilman's 2012 "site-specific installation: a series of a multi-panel, interactive drawings...reads like a book on a wall," according to Art In New York City. More here, and here. View more amazing photos of The Jolly Balance and other projects on Gilman's website. 

John Eric Broaddus's High Time (1986). "I had no qualms about eliminating the entire text," Broaddus explains here. View more of his work here, here, and here; watch Johanna Drucker discussing his work here, a list of exhibitions here.

 

A mixed-media miniature from Karen Green's "Tiny Stampede," here. Green explains, "I've been making this "found poetry" for years. I thought I invented it, but found out later I most definitely did not. Some of these are taken from a poetry anthology--I cut out just the first lines and spent an afternoon or two rearranging them. Then I got into a trance and cut those up and rearranged those. Trances are hard to come by these days; I am happy for those hours. And yes, "to give sorrow words", sneakily, using the words of others who tried to do the same," in an interview here (and also here).

Green's forthcoming book including similar visual/poetic work Bough Down (Siglio Press 2013), is an "unusual narrative constructed of crystalline fragments of prose interspersed with miniature collages." Some discussion of Bough Down here. See/read some images and excerpts here, here and here. More with Green here and here, a previous publication, Here/Gone (2008), here.

Ruth Bavetta's "I am Anything" (above) and "The Making of History" (below). In the Visual Poetry issue of Rattle (2008), here.

See more of Ruth's fantastic altered pages in the Feb 2012 issue of Yew, here.