Scope and Contents Finlay begins this project in Jan-Feb 1972 with a letter to M. Harvey explaining that he wants to redo Wave/Rock for Stonypath, first constructed and then destroyed for the park at Dunfernline. He supplies a sketch for its placement. Then there ensues a correspondence from members of S.A.C. (Dunbar, Buchanan) to Finlay about funding this project and Finlay's comments. From July-Aug 1972, Finlay expresses disappointment with the Scottish Arts Council response siting for the sculpture mentioning his failed Zulu film project. In Aug 1972, Finlay contacts Harvey to make the drawing for Wave/Rock & provides detailed instructions for a concrete bridge, 16 feet in length with letters incised into tiles. Harvey responds to this directive in September. Finlay receives the drawing and notes variance with his instructions that must be corrected. This does not appear to be a major problem. In Sep, Murray writes Finlay about its fabrication. The correspondence between Finlay and Buchanan of...

Scope and Contents In Nov 1973, Finlay writes to Norman Cherry, a jewelry designer in Kelso about a project for making a brooch from a poem, "Windflower," a little mauve colored flower that trembles in the wind. This poem had been written for the Stuttgart Max Plank project. He requests that the brooch adapted from his poem should be made with material that undulates with movement of one who is wearing it and structured with letters 'pretty in themselves.' He indicates that the long "f" makes a natural stem for the brooch. Cherry replies in Dec 1973 with a suggestion for suspending the letters rather than using a single strip of metal as Finlay suggested. This solution is unsatisfactory to Finlay who provides further ideas. In Jan 1974, Cherry writes to Finlay that a new idea appears to lead to a workable solution and describes how the brooch will be made of almost paper thinness silver. In May-June, Finlay & Cherry exchange letters on progress of making the brooch in this manner and Finlay...

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The linear, black printed text is laid out with mixed typefaces and sizes. The maquette is a sketch book with chaotically arranged handwritten text that employs several colored inks and calligraphic styles. The manuscript appears to have made with a combination of photocopying and colored letraset type. -- Source of annotation: Marvin or Ruth Sackner.

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Donato Cinicolo writes that he will be unable to travel to Prinknish Abbey with Houedard but will meet him there as he has a;ready booked a ticket. The typings are arranged in clusters with frequent use of words translated into French and Italian. -- Source of annotation: Marvin or Ruth Sackner.

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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.

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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.

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Houedard thanks Donatello [cinicolo 3) for the greenbook and writes that he is" trying to catch up on letters & writing bookreviews &tc & typing out things for the anthology of soundpoetry i am supposed to have finished last year." -- Source of annotation: Marvin or Ruth Sackner.

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Houedard thanks Donatello for the greenbook and writes that he is" trying to catch up on letters & writing bookreviews &tc & typing out things for the anthology of soundpoetry i am supposed to have finished last year." -- Source of annotation: Marvin or Ruth Sackner.

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Addresses Donato as my dear do don't NATO donato3 donatello donatissimo donatellone. Thanks him for his "squareletter" which pleased the postman (envelope 05-08-1970). Indicates that he is still waiting for a silver ribbon. Complains about Hansjorg Mayer and friends hogging an art show for first year graphic students. The text of the letter is typed in a pattern of wavy rather than the usual straight lines. -- Source of annotation: Marvin or Ruth Sackner.

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Addresses Donato as my dear do don't NATO donato3 donatello donatissimo donatellone. Thanks him for his "squareletter" which pleased the postman (envelope 05-08-1970). Indicates that he is still waiting for a silver ribbon. Complains about Hansjorg Mayer and friends hogging an art show for first year graphic students. The text of the letter is typed in a pattern of wavy rather than the usual straight lines. -- Source of annotation: Marvin or Ruth Sackner.

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Includes a photocopy of Mallarme's Un Coup de Des (1914), -- Source of annotation: Marvin or Ruth Sackner.

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The book is a diary of Bory's trip to Japan along with 25 concrete and visual poems about his experience there. The poems are designated calligrammes by Bory. The sketches for the concrete poems in ink and graphite were subsequently printed from a computer with a laseror nk jet printed -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents Canto I/1 Phillips comments: The dense, direct and haunting opening to Dante's Comedy: Just halfway through this journey of our life I came awake to find myself inside a dark wood, way off course, the right road lost. shares immediately with the reader that claustrophobia of accumulated habit and error which reveals to human beings in middle life that they have been building a trap around themselves, which, having had no formal entrance, offers no apparent way out. In this image I have further developed a procedure used in several paintings from 1969 on (cf. Works/Texts to 1974 pp 74 & 184) involving stencilled letters. With the title phrase Una Selva Oscura (a Dark Wood) I have made a linguistic thicket by superimposing letters of different height so that this phrase crosses and cancels itself over and over again. Thus the title, moving in and out of phase, becomes the picture, in the manner of a fugue or canon in music. The motif, and variations on it, reappears throughout...

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The Archive of New Writing, as named by Carrega and supported by Della Grazia, opened October, 1989 and issued this catalogue. The Sackners are cited in Carrega's article "Why? Because?" (page 14); "I came to know Shusaku Arakawa and Madeline Gins, Marvin and Ruth Sackner, the most important world collectors of the verbo-visual experience." -- Source of annotation: Marvin or Ruth Sackner.

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This book recounts the story of Paolo Della Grazia's "Archive of New Writing" donated to MART. -- Source of annotation: Marvin or Ruth Sackner.

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This work was published as a triptych of prints in 1964 and then as broadsides in Eyearun in 1966. Cobbing stated on title page that first publication was 1966 but the Sackner Archive holds the prints published in 1964. -- Source of annotation: Marvin or Ruth Sackner.