The exhibition consisted of four sections: 1) Ray Johnson collages; 2) Michael Morris concrete/constructivist drawings; 3) international concrete poems and 4) film and tapes of sound poetry. Michael Rhodes traces the historic roots of concrete poetry from 1897 to 1964. Edwin Varney contributes an illustrated, critical essay defining concrete poetry that is expressed in concrete poetic terms. Ian Hamilton Finlay and Stephen Scobie collaborate with an essay on definitions of concrete poetry. -- Source of annotation: Marvin or Ruth Sackner.

This seventeenth page from Dante Diary which is dated 5 June 1980 contains six discs of WHY SPEND and six discs of WHY SAVE? several of which are collaged. The page also contains several ink sketches of the same. In his text, Phillips writes "XXIV/V/LXXX. 43 years old!...Temporarily held up wtih Dante work since Hansjorg [Mayer]has brought along thousands of transparencies, proofs, etc, of a humument and I must work on them...Silkscreens seem to be working out very expensive & I'll probably have to do more lithography." -- Source of annotation: Marvin or Ruth Sackner.

Provides list of publications by Hansjorg Mayer. -- Source of annotation: Marvin or Ruth Sackner.

This catalogue in an edition of 100 consists of 75 copies with biographical information and 25 copies with biographical information plus photographic reproductions of the artists. Houedard provided autobiographical details and prices for his typewriter poems. Stored in Houedard box. -- Source of annotation: Marvin or Ruth Sackner.

The three covers have different collaged images taken from Tom Phillip's Words and Texts. -- Source of annotation: Marvin or Ruth Sackner.

The book was produced at Watford School of Art between May 1968 and May 1969. It was designed in the tradition of Hansjorg Mayer for his Dieter Roth publications. Dieter Roth is not mentioned in this work but he was a teacher at Watford during this period and probably influenced the production of this work. -- Source of annotation: Marvin or Ruth Sackner.

At this exhibition, three catalogues were published and enclosed within a single slipcase. The first book that depicts the print, "Marine" on its cover, is apparently a reprinting of a catalogue laid out by Hansjorg Mayer which originated at the Kunsthalle Basel in 1990. It contains an introductory essay by Thomas Kellein. It features reproductions of publications by Finlay's Wild Hawthorn Press as well as photographic views of Stoneypath. The second book that depicts the print, "star steer" on its cover, features Finlay's stone, glass, and neon sculptures. It contains critical essays by Peter Weiermair and Stephen Bann. The third book is a biobibliography in English compiled by Pia Simig. -- Source of annotation: Marvin or Ruth Sackner.

This poster was hung in the most important exhibition of concrete poetry in its time. The numbering scheme used to classify the posters is based upon the pages of the exhibition catalogue with the same title but this poster was not depicted in the catalogue. -- Source of annotation: Marvin or Ruth Sackner.

This poster was hung in the most important exhibition of concrete poetry in its time. The numbering scheme used to classify the posters is based upon the pages of the exhibition catalogue with the same title. -- Source of annotation: Marvin or Ruth Sackner.

Bann discusses Furnival organizing transportation of "Clyne" constructions, vowel screens, three columns, Ed Wright's "Four Sails" glass, "Ajar" wooden construction, "Ark/Arc" in plastic...[and] column with "Wave/Wave" to Nottingham, and the possibility of using Mayer's "Ampersands" for a wall or outdoor display. -- Source of annotation: Marvin or Ruth Sackner.

Letter concerns setting up, transporting and caring for Furnival's work at the first Brighton Festival as well as asking for an indication of the arrangement of Furnival's panels and whether Houedard could associate with the project. -- Source of annotation: Marvin or Ruth Sackner.

Letter discusses catalogue and guide for the Brighton Festival exhibition; asks whether Furnival is in possession of "Arc/Ark" piece and whether Furnival's "Ajar" piece is "still in an exhibition-worthy state." -- Source of annotation: Marvin or Ruth Sackner.

Bann thanks Furnival for typographical material and requests use of two designs in the Alan Ross anthology. Bann asks that Furnival consider an outdoor rather than an indoor site for his installation at the Brighton Festival. -- Source of annotation: Marvin or Ruth Sackner.