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This exhibition catalogue includes an essay by Marvin Sackner, "The Collector as a Performer" that is printed in English and also French with a translation by Albert Behar, his grandson. Photographic reproductions of the artworks lent by the Sackner Archive as well as an interior photograph of their apartment that houses the Archive are also included in this catalogue. Artists whose works were lent by the SacknerArchive to this exhibition and are photographically reproduced in this catalogue include Ben, Hubaut, Nadau, and Seille. In addition and not photographically reproduced, several Lettriste magazines were also displayed in a case. Jacques Halbert has signed his illustrated page and placed a cherry sticker. Joel Hubaut contributed a full page drawing opposite the illustration of his work "Hologramme vivant." He drew this while a guest at the Sackners apartment during the exhibition opening festivities. -- Source of annotation: Marvin or Ruth Sackner.

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This exhibition was composed of the Goldberg Variations, lent by Elena Presser, and, the Anna Magdalena Bach Notebook, lent by the Sackner Archive. Critical essays were contributed by Elena Presser and Rosalyn Turek, the Bach scholar and musician. The director, Elsa Weiner Longhauser, describes the Sackner Archive as "a brilliant, comprehensive collection and Presser's work a rare tour de force." -- Source of annotation: Marvin or Ruth Sackner.

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The exhibition was curated by Nora Quinlan and William Brown. The Sackner Archive lent four works to this exhibition. -- Source of annotation: Marvin or Ruth Sackner.

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This exhibition was curated by Craig Saper and Theo Lutz. The Sackner Archive lent 25 artists' books and 23 typewriter works to this exhibition. -- Source of annotation: Marvin or Ruth Sackner.

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In the section of exhibition catalogs, "Networking Artists and Poets: Assemblings from the Ruth and Marvin Archive of concrete and Visual Poetry" is reviewed. The exhibition, curated by Craig Saper at the University of Pennsylvania Library, focused on post-war collections that circumvented the gallery system with direct mailings, collected in folios, bound volumes, and boxes of original artists' prints, poems, texts pages, books and textual objects and were called assemblings. The designer Greg Baer was praised for his sensitivity to the materials and to the energy of the collectors themselves. Saper's text becomes an explanation for the captioned illustrations and also a rhapsody on these materials. The catalog has a checklist of the 53 items in the exhibition, "just the top of the iceberg of the thousands of items in the Sackner collection." -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents This beautifully produced catalogue was published for the exhibition in the Olin Library at Washington University by the curator, scholar and Head of Special Collections, Kevin Ray. It coincided with the exhibition and symposium "The Dual Muse: The Artist as Writer and the Writer as Artist" organized by the Gallery of Art and the International Writers Center. The Sackner Archive lent nine handwritten and typed bound volumes of Phillips' Dante manuscripts, two silkscreen prints, eleven collages from the "Dante Diary," and a typewriter work on backing paper incorporating all the words of Phillips' first translation of the Inferno. Kevin Ray contributed an illuminating essay tracing the history of translations and illustrations of Dante, including the works of Botticelli, Gustave Dore, Blake and Rauschenberg. Ray writes that in the Tom Phillips' Inferno, the artist, incorporates "much of the method he developed in creating A Humument, 'treating' an existing text and making of it...

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Includes listings of all editions of Common Sense (beginning in 1989) as well as other publications in print and out of print. Mentions the Sackner Archive among the international institutions holding works of Tarlatt. -- Source of annotation: Marvin or Ruth Sackner.

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Klessinger combines abstract sculpture with handwritten texts. The materials include rock, mirrors, transparent paper, zinc, and stone. His idea is to that poetics in conjuction with space give meaning beyond the written word. The Sackners are mentioned as having work by Klessinger in their collection. -- Source of annotation: Marvin or Ruth Sackner.

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R K Francis writes, "In 1989, following a visit to the Ruth and Marvin Sackner Collection of Concrete and Visual Poetry in Miami, Rea was inspired by the idea of creating an artist's book. His interest in this project grew out of a desire to paint a series of watercolour images to accompany extracts from Rimbaud's 'Une saison enfer,' a work which has for a long time fascinated him." -- Source of annotation: Marvin or Ruth Sackner.

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The photographs show the banner depicting the Sackners standing on an open book as part of an installation in mid-town Miami during the Basel art fair. Several prominent Miami collectors were painted on banners in a circus side show setting. Sanchez Calderon said that the city was transformed into an art circus when Basel took place, and that inspired his theme. -- Source of annotation: Marvin or Ruth Sackner.

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In this catalogue, Share mentions that the Sackner Archive holds her work. -- Source of annotation: Marvin or Ruth Sackner.

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This is a review of an exhibition in which all the works were loaned from the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

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The Sackner Archive lent 29 works to this exhibition. Ruth and Marvin Sackner delivered a talk about their collection at the exhibition opening. The exhibition was reviewed in Art on Paper Vol.8 No.1, 2003. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents This is the catalogue for a retrospective exhibition of Boshoff's work. Boshoff writes that his inspiration for concrete poetry was his passion for crossword puzzles. Boshoff writes (page 23) in an lengthy biographical interview with Warren Siebrits the following: In early 1996, I visited the book artist Robbin Silverberg taking with me a silkscreen print of a poem from KYKAFRICAANS to thank her for the hospitality and kindness she showed me. She didn't seem to like it very much, and suggested we take it to show to the artist book dealer Toni Zwicker.Toni was already quite elderly, but it was amazing to see how excited she became about this work from KYKAFRICAANs that I has made 15 years earlier. As it happened, the great American collector, Marvin Sackner, from Miami, visited Toni's home while we were there. He became so enthusiastic that he decided on the spot to buy the original manuscript of the 99 A4 typed pages that constitute KYKAFRICAANS, and invited us to go and visit him...

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The Sackner Archive lent Word Works (Book) to this exhibition. -- Source of annotation: Marvin or Ruth Sackner.

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Fernando Gonzalez reviews the multi media performance of De Campos, Poetry Is Risk, and the concrete poetry movement in Brazil in his first article; he describes the Sackner Archive in the second section. The Sackners are photographed in their gallery. -- Source of annotation: Marvin or Ruth Sackner.

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This is an extension of Dautricout's rubberstampings dealing with permutations of "word." Here the images are produced in a computer and then printed with a Canon laser color copier. The catalogue mentions that Dautricourt's work is held in the Sackner Archive and was exhibited in The Altered Page (Center for Book Arts, NY) and the Beauty in Breathing Exhibitions (Miami Beach). -- Source of annotation: Marvin or Ruth Sackner.

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Eye a book object from 1983 held by the Sackner Archive is depicted in this book. The CD is titled "Visual Poetry in the Avant Writing Collection, Ohio State University. -- Source of annotation: Marvin or Ruth Sackner.

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This book extends the autobiography of David Daniels from 1973 to 2002 (original manuscript with same title ran from 1933 to 1972). The years 1933 to 1972 are repeated from the original manuscript that is also held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.