This print was taken from the portfolio, "Six Rusticated, Wall-Eyed Poems" (1969). The prints are stored in the plastic case with the complete sets. -- Source of annotation: Marvin or Ruth Sackner.

This print was reproduced from the portfolio, "Six Rusticated, Wall-Eyed Poems" (1969). The prints are stored in the plastic case with the complete sets. -- Source of annotation: Marvin or Ruth Sackner.

This item has a duplicate pamphlet. -- Source of annotation: Marvin or Ruth Sackner.

The envelope is stamped "Legal Tender." -- Source of annotation: Marvin or Ruth Sackner.

Houedard addresses Donato as Danilo, typing the name as an optical image concrete poem. His own signature is also typed as an optical image. He thanks Cinicolo for sending him his project book and indicates that he should tell Hansjorg Mayer that he will send him Dana Atchley's Notebook. -- Source of annotation: Marvin or Ruth Sackner.

Houedard addresses Donato as Danilo, typing the name as an optical image concrete poem. His own signature is also typed as an optical image. He thanks Cinicolo for sending him his project book and indicates that he should tell Hansjorg Mayer that he will send him Dana Atchley's Notebook. -- Source of annotation: Marvin or Ruth Sackner.

Houedard mentions that the original letter was typed with a pink ribbon and also that he admires the work of Edward Wright. Describes the difficulties he has had in publishing his work with Dana Atchley in Canada. -- Source of annotation: Marvin or Ruth Sackner.

The lower third of these prints depict cows whose shapes and positions are repeated in the words of the text above. -- Source of annotation: Marvin or Ruth Sackner.

This obituary was sent by Craig Saper. -- Source of annotation: Marvin or Ruth Sackner.

Houerdard writes," i got this wretched chang-kai-chek 'flu - held things up." He signs this letter "much luv - & affectionate coughs." The address to Hansjorg is typed with red dashes as is the name silvester.The basis for this letter is to ask Hansjorg Mayer to send off Houedard works to Dana Atchley at the University of Victoria in Canada and he provides letterpress works, photographs, typings and credits. These works were subsequently published in Atchley's Notebook 1 (1970), a work also held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

This book was done while Atchley was teaching at the University of Victoria (1969-1971) in Canada. Although Atchley had a background in fine printing and typesetting, he had dabbled in xerography in Baltimore and conceived of this book as a xerox project. He bought 250 empty three ring notebooks and invited all his friends to contribute up to 10 pages, 250 copies of each page. To encourage participation, the invitation stated that all pages would be included without editing. By the end of the year, there were about 60 contributors. Dana Atchley's "Notebook 1," an assembling, was published in March 1970 about the same time as Assembling No.1, edited by Kostelanetz and Korn.The envelope within the notebook contains ten Fluxus performance direction sheets. -- Source of annotation: Marvin or Ruth Sackner.

The Sackner Archive is cited as a reference on Dana Atchley (pp 19 & 22), John Bennett (p 39 & 40), Charles Bernstein (p 43), Richard Kostelanetz (pp 94 & 95), and Ken Saville (p 108). The issue is dedicated to Ray Johnson who died in 1994. The design of this catalogue is based upon the design of the Ray Johnson exhibition catalog published by the North Carolina Museum of Art, Raleigh, North Carolina 1976. -- Source of annotation: Marvin or Ruth Sackner.

The prints show water damage in the lower part of the unprinted area but the images are intact. The poems in this portfolio are found poems in public places that have been rendered typographically by Dana Atchley. The poems are captioned by Williams so that they are concrete-picture poems. Willams comments in the introduction, "Very quick, very large. I want poems to get their ass out of books and out into the world where they stare back at people. Thre is NO reason why this nation has to be surrendered only into the hands of TEXACO looming 60 feet high on the steel towers against the polluted sunset. Energy is Eternal Delight, said Mr. Blake. The concrete poem, the seen pem, is just another tool, another way -- the slow curve to go along with the lyrical fastball -- to keep us alive and in the majors." -- Source of annotation: Marvin or Ruth Sackner.

The poems in this portfolio are found poems in public places that have been rendered typographically by Dana Atchley. The poems are captioned by Williams so that they are concrete-picture poems. Willams comments in the introduction, "Very quick, very large. I want poems to get their ass out of books and out into the world where they stare back at people. Thre is NO reason why this nation has to be surrendered only into the hands of TEXACO looming 60 feet high on the steel towers against the polluted sunset. Energy is Eternal Delight, said Mr. Blake. The concrete poem, the seen pem, is just another tool, another way -- the slow curve to go along with the lyrical fastball -- to keep us alive and in the majors." Both sets of prints are stored in the same plastic case. The print image depicted here was scanned from the book by Williams, "Blues & Roots Rue & Bluets" (1971). -- Source of annotation: Marvin or Ruth Sackner.

The poems in this portfolio are found poems in public places that have been rendered typographically by Dana Atchley. The poems are captioned by Williams so that they are concrete-picture poems. Willams comments in the introduction, "Very quick, very large. I want poems to get their ass out of books and out into the world where they stare back at people. Thre is NO reason why this nation has to be surrendered only into the hands of TEXACO looming 60 feet high on the steel towers against the polluted sunset. Energy is Eternal Delight, said Mr. Blake. The concrete poem, the seen pem, is just another tool, another way -- the slow curve to go along with the lyrical fastball -- to keep us alive and in the majors." Both sets of prints are stored in the same plastic case. -- Source of annotation: Marvin or Ruth Sackner.