Helfgott mentions in an essay on the documentation of working methods that her work is held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

The Gnazzo poem in this exhibition is also depicted as one of two cards in the figura/partitura exhibition catalogue hels in Salerno in 1982. -- Source of annotation: Marvin or Ruth Sackner.

The book consists of essays describing interviews with Lax and the interpretation of his work. It also includes poems by Lax. -- Source of annotation: Marvin or Ruth Sackner.

Klonsky prints Englsh translations with the same typographic layouts as the original poems: Mallarme's Un Coup de Des and Apollinaire's calligrammes. On page 280, Klonsky reproduces a Gerz visual poem, "The Tree of the Silent Majority;" the original collage is held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

Klonsky prints English translations with the same typographic layouts as the original poems: Mallarme's Un Coup de Des and Apollinaire's calligrammes. On page 280, Klonsky reproduces a Gerz visual poem, "The Tree of the Silent Majority;" the original collage is held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

This book details the art gardens, steps and fountains titled "Spine" at the Maguire Gardens Central Library in Los Angeles. -- Source of annotation: Marvin or Ruth Sackner.

Consists of a critical text by Dorothy Green on Patrick White's work and a rebuttal by Phillips in a letter to the editor. -- Source of annotation: Marvin or Ruth Sackner.

One of the illustrations in this book depicts a densely overwritten Hebrew alphabet. -- Source of annotation: Marvin or Ruth Sackner.

This catalogue includes essays by Axel Marwuart, Siiegfried J. Schmidt, Klaus Peter Dencker, Bob Cobbing, Jeremy Adler, Manfred Sundermann, and Mirela Bentivoglio dealing with concrete, visual and sound poetry. The series of color photographs by Michael Badura depicted o pages 13 & 14 were held by the Sackner Archive but were damaged by light and had to be destroyed. -- Source of annotation: Marvin or Ruth Sackner.

This is a reprinting of the book which was first published in 1965; it is No.15 in the Poets* series. In the introduction, Houedard traces the history of sound poetry through a listing of the chronology of "notable soundpoems" beginning with Lewis Carroll in 1855 and ending with Cobbing in 1965. He also mentions Egyptian hymns 300 B.C. of breath poems consisting of may notes sung to one syllable. Houedard's manuscript for this essay is held by the Sackner Archive. This book was written to accompany Writers Forum Record No.1 by Jandl and Cobbing. One of the poems by Jandl in this book, "time passes," also appears in the manuscript and book of "mai hart...," works also held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

This book is No.15 in the Poets* series. In the introduction, Houedard traces the history of sound poetry through a listing of the chronology of "notable soundpoems" beginning with Lewis Carroll in 1855 and ending with Cobbing in 1965. He also mentions Egyptian hymns 300 B.C. of breath poems consisting of many notes sung to one syllable. Houedard's manuscript for this essay is held by the Sackner Archive. This book was written to accompany Writers Forum Record No.1 by Jandl and Cobbing. One of the poems by Jandl in this book, "time passes," also appears in the manuscript and book of "mai hart...," works also held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

This exhibition and catalogue were curated and written by Gil McElroy. The exhibition dealt with Nichol's early concrete and visual poetic works. Most of these works were done in the 1960's and early 1970's. He died at age 44 years in 1988. Paul Dutton and Barbara Caruso contribute essays on their collaborations with Nichol. -- Source of annotation: Marvin or Ruth Sackner.

The covers were rubberstamped by Ulises Carrion and g.j. de rook. This book was published on the occasion of the Stamp Art Show held at Other Books and So, 1976. In this context, Stamp Art means rubberstamped art rather than art stamps. It offers an outstanding international compendium of rubberstamped art in the 1970's. -- Source of annotation: Marvin or Ruth Sackner.