The poem is by Claire (composed in 1981) and the calligraphy by Spencer. Isabelle Spencer (1924-2011) was a teacher in the British school system and a calligrapher. The other copy of this book is owned by Paula Claire. The poem is in the poetic style of naming ships by Ian Hamilton Finlay. -- Source of annotation: Marvin or Ruth Sackner.

Words and phrases from a French dictionary have been altered in the form of comments, underlines, cancellations, and removal by perforations. Each of two headers of the printed columns of the pages has been retitled to more closely connote the new theme achieved by Racin's alterations. At the bottom of the columns, a printed phrase, denoted by a graphite mark in the vertical margin, has been rewritten to express a unifying theme. Marks and letters in the margins reflect arcane record keeping. -- Source of annotation: Marvin or Ruth Sackner.

Patricia Collins' contribution to the exhibition is titled "Messages in Bottles." The post card of her work has a note of thanks to Marvin Sackner for his support. -- Source of annotation: Marvin or Ruth Sackner.

This commissioned exhibition catalogue was sent to selected librairies and collectors to celebrate the ARLIS meetings in Williamstown in 1984. It itself is an artist book. -- Source of annotation: Marvin or Ruth Sackner.

The caption at the bottom of each page printed in white acrylic paint reads "BOL" (pain). The images or objects on the page have little relation to the caption. Mladen Stilinovic (1947-2016) work was illustrated in NYT September 2018 in an article about the Vienna Art Fair. -- Source of annotation: Marvin or Ruth Sackner.

Pages are collaged with abstract paper shapes that are meant to be lifted up for reading. -- Source of annotation: Marvin or Ruth Sackner.

The drawings constitute the pages of this book. -- Source of annotation: Marvin or Ruth Sackner.

Each page has collaged onto it one or more of the calligraphic texts written on paper, graph paper, or printed pages taken from a book. None of the pages of varied colored stock in this book have been solely treated by Caruso. -- Source of annotation: Marvin or Ruth Sackner.

This collection contains materials from conservator and book artist Pamela Spitzmueller. It includes Pam’s bookbindings, conservation work (including Harvey's 1628 De motu cordis and the Nag Hammadi codices), research notebooks, personal journals, correspondence, and book arts scholarship. The collection also has records and keepsakes pertaining to the Paper and Book Intensive (PBI) and the Guild of Book Workers (GBW).

Kocman requested the Sackners to send him five paperback copies of Kafka's novel "The Metamorphosis" and that he would return a surprise to them. The novel describes the tribulations of Gregor Samsa who as he "awoke one morning from uneasy dreams found himself transformed into a gigantic insect..." Kocman took the books that the Sackners had sent him, pulped the pages and formed handmade paper pages bound them into a book literally metamorphosizing "The Metamorphosis." This work was exhibited at the Agnes Scott College Gallery, Atlanta, January 2001. -- Source of annotation: Marvin or Ruth Sackner.

The sleeve pages are folded to provide an edge that hides rubberstamped images in some of the infoldings. The cut horizontal aspects to the pages give rise to a chance poetry. -- Source of annotation: Marvin or Ruth Sackner.

Gerard made the paper for Warnke's book, "Numeralien," an artist book held by the Sackner Archive. Warnke contributed an essay documenting how this was accomplished. -- Source of annotation: Marvin or Ruth Sackner.

The artist probably used papers that previously were in contact with food, possibly chocolate or cookie dough, because a lucious, lingering odor matches the richness of the brown, translucent pages. -- Source of annotation: Marvin or Ruth Sackner.

Cole comments: "A collaborative visual poem... in the series of color Kodak prints (slightly reduced) of the original/master. Para'de was exchanged through the mail numerous times between the two artists and was the culmination of a linguistic discussion of the root 'para.' Para'de is completely collaborative in-so-far as it was treated as a single canvas and was painted in visual (non-literary) order. The piece grew in layers and rhythms." -- Source of annotation: Marvin or Ruth Sackner.