Contains interview with Arne Wolf. -- Source of annotation: Marvin or Ruth Sackner.

An essay on art and book conservation is featured. -- Source of annotation: Marvin or Ruth Sackner.

This is also an exhibition catalog of artists' books from the membership held at the Civic Center Public Library, Sanf Francisco 1992. Of the 79 entrants to the show, 58 were women. -- Source of annotation: Marvin or Ruth Sackner.

A collection of 41 essays written by Kostelanetz on the basic theme that the literary arts exist in a "universe of other arts; thus post-1960 avant-garde painting and music are relevant to post-1960 vanguard writing (and vice versa)." Each facing page contains aphorisms by 20th century avant garde writer/poets or examples of works. The essays, on alternative right pages, include Divergent Avant-Gardes, Anti-Art and Not Art, Spacial Form, Post-Modern, Accurate Perception. -- Source of annotation: Marvin or Ruth Sackner.

This exhibition "Africa: The Art of a Continent" at the Guggenheim Museum was curated by Tom Phillips and was a much smaller version of the show initiated at the Royal Academy in London. The Archive holds the RA catalog. The Sackners attended both the London and New York exhibitions. -- Source of annotation: Marvin or Ruth Sackner.

Spoerri writes in his introduction that "the procedure of Topography, its modus operandi, is beautifully simple: a selection of objects and the associations they evoke are described, and these in turn give rise to further associations in the form of anecdotes. An apparently infinite process is unleashed, like a stroll taken in every direction at once...One might compare the Topography to other collective works in this century, from the experiments of the Surrealists to those described in William Burrough's The Third Mind...In the context of writing, rather than art, there is the process of annotation itself, which has given rise to a genre of literature all its own, a literature of digression and the forking narrative."Topography analyzes 80 different found objects in Spoerri's room. A map of these objects and a cubist photographic view of the room can be found on the first pages. -- Source of annotation: Marvin or Ruth Sackner.

Spoerri writes in his introduction that "the procedure of Topography, its modus operandi, is beautifully simple: a selection of objects and the associations they evoke are described, and these in turn give rise to further associations in the form of anecdotes. An apparently infinite process is unleashed, like a stroll taken in every direction at once...One might compare the Topography to other collective works in this century, from the experiments of the Surrealists to those described in William Burrough's The Third Mind...In the context of writing, rather than art, there is the process of annotation itself, which has given rise to a genre of literature all its own, a literature of digression and the forking narrative."Topography analyzes 80 different found objects in Spoerri's room. A map of these objects and a cubist photographic view of the room can be found on the final fold-out page. -- Source of annotation: Marvin or Ruth Sackner.

The editors take a libersl view of asemic writing including surrealism, lettrisme, an COBRA works in this anthology. -- Source of annotation: Marvin or Ruth Sackner.

Amazon.com: "One overcast weekend in October 1974, Georges Perec set out in quest of the "infraordinary": the humdrum, the non-event, the everyday--"what happens," as he put it, "when nothing happens." His choice of locale was Place Saint-Sulpice, where, ensconced behind first one cafe window, then another, he spent three days recording everything to pass through his field of vision: the people walking by; the buses and driving-school cars caught in their routes; the pigeons moving suddenly en masse; a wedding (and then a funeral) at the church in the center of the square; the signs, symbols and slogans littering everything; and the darkness that finally absorbs it all. In An Attempt at Exhausting a Place in Paris, Perec compiled a melancholic, slightly eerie and oddly touching document in which existence boils down to rhythm, writing turns into time and the line between the empirical and the surreal grows surprisingly thin." -- Source of annotation: Marvin or Ruth Sackner.

Most of the works to this exhibition were loaned from the Sackner Archive but artists such as John Furnival and Margaret Riggs also loaned their works. -- Source of annotation: Marvin or Ruth Sackner.

The works for this volume were selected by George Bowering and Michael Ondaatje who respectively contributed a forward and an afterward. Nichol provide several hilarious stories about body parts. This book includes a graphic novella illustrated with photographs of Nichol and his friends. -- Source of annotation: Marvin or Ruth Sackner.

The paper in this book was presented at the first International Symposium on Letterism. Mentions that James Joyce was Isou's earliest inspiration. This book is stored in a Lemaitre box. -- Source of annotation: Marvin or Ruth Sackner.

This manuscript, published as a book that is also held by the Sackner Archive, was presented at the First International Symposium on Letterism. In the introduction, Failing focuses on Isou and mentions that James Joyce was his earliest inspiration. Takes up Lemaitre work when he is 24 years old and preparing his picture novel, Canailles. Note that even in his early works, Lemaitre's images can be distinguished from Isou in that they are more refined and contain a greater variety of shapes and lettering. -- Source of annotation: Marvin or Ruth Sackner.

Entitled Etcetera. -- Source of annotation: Marvin or Ruth Sackner.

Includes supplements A & L. The duplicate copy is missing the pamphlet entitled Martino Oberto. -- Source of annotation: Marvin or Ruth Sackner.

Titled "Ana Etcetera" and includes supplement. -- Source of annotation: Marvin or Ruth Sackner.