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Thomas Ingmire's Calligraphic drawing "Forgive Them" (1986) reproduced in this book is held by Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

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Brian Dettmer's book "Modern Progress, Altered Book" illustrates an essay by Liesl Schillinger. It is similar to his book in the Sackner Archive where the artist carves into the book creating a complex, three dimentional unique artist's book. -- Source of annotation: Marvin or Ruth Sackner.

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This exhibition was curated by Isabella Puliafito. It demonstrated the language in art, for the most part conceptual works, of the 1970's. -- Source of annotation: Marvin or Ruth Sackner.

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This text is an English translation of the essay by Elkin Restrepo in Suarez Londono's book, "Obra sobre Paper." Restrepo writes, "Through the character of his drawing, from the use of the petroglyph and the primitive symbolism (where the sketch, the styling, and the rhythm are the base of every representation), to the almost photographic, exquisite treatment of reality, Suarez creates a scale where only the figure is the foundation and the pinnacle. A type of representation where hierarchies and scales unite, and where forms, strokes, tones and images are intertwined...We remember the old Mallarme saying, "The universe is a book," especially as we find that, behind these diaries, notebooks, and sketch books, Suarez orders ideas of the infinite." -- Source of annotation: Marvin or Ruth Sackner.

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Marden's paintings, drawings and prints in the 1990's were influenced by Chinese calligraphy and the Greek muses. -- Source of annotation: Marvin or Ruth Sackner.

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Presented and created by Bill Gaglione and edited by Ted Purves who state that art scholars consider Kocman the neo-father of contemporary stamp art aka rubberstamping art. Onthe inside back cover, Kocman has handwritten [facsimile] a paraphrasse by Wittgenstrin "The limit of my languafe is the limit of my world" as "The limit of my love is the limit of my world." -- Source of annotation: Marvin or Ruth Sackner.

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This publication which was edited by Zdenek Felix and Pia Simig was published on the occasion of Finlay's exhibition entitled Works - Pure and Political at Diechtorhallen, Hamburg Germany in 1995. Includes photographs b&w of Finlay's sculptural works, documentation on their significance, and a listing of his collaborators. Archival material forming the basis for several of these works is held by the Sackner Archive, e.g., Max Plank Institute, Stuttgart (1972). -- Source of annotation: Marvin or Ruth Sackner.

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This catalogue begins with illuminating introductory essays about Artist Stamps, 1) Peter Frank: Postal Modernism; Artist's Stamps and Stamp Images, 2) E.F. Higgins III: Artist's Stamps, and 3) Lazlo Beke: Stamps and Artist's Stamps, 4) Gabor Toth: Stamp Edition, 5) Anna Wessely: Artist's Post Stamps, and 6) Rudolf Ungary: The Mathematics of Artist's Stamps. This is followed by a brief bibliography and a listing of contributors to the exhibition grouped by country of birth. The remainder of the catalogue depicts pages of artist stamps printed in a single color with each page a different color. -- Source of annotation: Marvin or Ruth Sackner.

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There is a brief, very informative abstract in English at the beginning of the book. The book is divided into three chapters, viz., 1) Evolution of visual poetry to the 20th century, 2) Contemporary visual poetry of the 20th century, and 3) Evolution of Ukrainian visual poetry in a world context. A photograph of Soroka flanked by Dick Higgins and Marvin Sackner taken at the EyeRhymes visual conference at Edmonton, Canada 1997 is reproduced. Marvin Sackner is characterized as "the owner of the biggest archive of visual poetry."The book depicts more than 20 examples in the Old Ukrainian language and 49 examples in many national literatures. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents This journal features "Literature of the fantastic, supernatural and decadent." Adam Daly contributes an essay "Robert WAlser: Strange Supplicant, Idiot Savant, Master of the Microgram." A portrait drawn by Guy Davenport is included. The Sackner Archive holds books that have texts of the unusual micrographic writings of Walser. Daly writes, "To the best of my knowledge Walser's celebrated 'Micrograms' have yet to be translated into English...They've only recently been annotated, amounting to nearly five hundred and thirty sheets of miscellaneous, fragmentary manuscripts, constituting a treasure-chest of rarefied scribbles that lay Walser's soul bare. And it can be said that the preternaturally obsessional drift of these writings, which were undertaken during a period of unanchored wanderings around Europe, gradually brought on the madness which eventually propelled him toward institutionalisation...he embarked in 1924 on the Micrograms, which were never released and only finally...

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This catalogue lists and describes all issues of Entwerter/Oder, the Assembling periodical edited by Warnke. It begins with the first issue that was published in 1982. -- Source of annotation: Marvin or Ruth Sackner.

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Introductory critical essay was written by Dietrich Mahlow. Two typewriter poems by Dom Sylvester Houedard were loaned to this exhibition by the Sackner Archive. In addition, a print by Henry Flynt, "This sentence is in French," a work held by the Sackner Archive, was exhibited. -- Source of annotation: Marvin or Ruth Sackner.

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This catalogue accompanied an exhibition of Works Progress Administration literature and art at the Fort Lauderdale Library Special Collections. -- Source of annotation: Marvin or Ruth Sackner.

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This book is the documentation for the TV series "Writers Talking" written and produced by Tipping. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents This book is written about the author as if someone else is making the observations (a pseudo-autobiographical narrative). From the back book cover: In "Writing Machines", N. Katherine Hayles explores how literature has transformed itself from inscriptions rendered as the flat durable marks of print to the dynamic images of CRT screens, from verbal texts to the diverse sensory modalities of multimedia works, from books to technotexts. Hayles weaves together intellectualized theory and pseudo-autobiographical narrative, the cultures of science and the humanities, and through her collaboration with Anne Burdick, the mandates of writing and design. Hayles inaugurates media specific analysis in literary studies, investigating words that focus on the very inscription technologies that produce them. She analyzes three writing machines in depth: Talan Memmott's groundbreaking web hypertext "Lexia to Perplexia," Tom Phillips's artist's book "A Humument," and Mark Z. Danielewski's...