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Photographic reproductions in this catalogue that are held by the Sackner Archive include, "Little Bug Bang," "Exploding Galaxy" and "Schrifttaleln." -- Source of annotation: Marvin or Ruth Sackner.

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This is the second edition of the book first published in 1966 by Sampietro Editore, Bologna. -- Source of annotation: Marvin or Ruth Sackner.

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The die-cut papercard pages have amorphous forms. -- Source of annotation: Marvin or Ruth Sackner.

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The translation from Italian to English was done by Giula Niccolai. Spatola provides a critical analysis of the mostly constructivistic, optical artworks of Francesco Guerrieri, a now forgotten Italian artist born in 1931 who emerged in the Italian art world in the 1950s. -- Source of annotation: Marvin or Ruth Sackner.

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The ideograms, one to a page, appear to be Rorschach figures. -- Source of annotation: Marvin or Ruth Sackner.

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The ideograms, one to a page, appear to be Rorshoch figures. -- Source of annotation: Marvin or Ruth Sackner.

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This book with calligraphic illustrations, poetry and an introduction by Frank Lalou is subtitled "Actes de naissance del'homme." It is divided into three sections: Genese babylonienne, Genese greque, Genese hebraique. -- Source of annotation: Marvin or Ruth Sackner.

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This book documents a 100 year history of graphic design, one from each year of the 20th century in 100 categories e.g. Expressive Hands, circles and Wedges, Protest Symbols and Visualizing Music. The Sackner Archive holds several of the books and posters that are depicted in this book. -- Source of annotation: Marvin or Ruth Sackner.

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Gomringer contributed a critical essay "Drawing as Reflected Identity." Nussbaumer wrote "The Notion of the Gaze: The Athletic Configuration of Drawing and Painting." Koreny's essay is titled "Drawing and Prints." -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents Jurgen Egyptian [Internet Review]: As part of the "collected works" of Gerhard Ruhm is now part of the band 2.1 "visual poetry" before, which has been edited by Monika Lichtenfeld. She has, in its editorial afterword suggests that it is an "annotated reading and study issue" involved that is has been in close cooperation with the author about.The volume contains, divided into eighteen groups of works, some 680 works, of which almost half will be unveiled and document the one lasting more than half a century of work process. The most extensive chapter, the "schreibmaschinenideogramme" (p. 7-76), "typocollages" the (p. 87-234) and the "literary awards" (p. 297-540), which include the only the entire period of work related Ruhm . The sequence of work groups oriented that when each technique was dominant. Within each chapter a chronological arrangement was sought. Lichtenfeld pointed out that in the compilation of the material mainly technical issues played a role.In the first of these...

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Contains the poem, Eric Satie: Sat At Tea, reproduced from the wool hanging by Astrid Furnival that is held by Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

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Contains the poem, Eric Satie: Sat At Tea, reproduced from the wool hanging by Astrid Furnival that is held by Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

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This issue depicts excellent examples of concrete and visual poetry. -- Source of annotation: Marvin or Ruth Sackner.

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In this homage to Cornell, Buzz Spector "has created a romantic world behind the book by collaging the inside of the box with vintage post cards. Although the homage was published as an edition, each collage is unique and offers subtle commentary on the contents of the book. The post cards of far away places pay tribute to Cornell as an 'Enchanted Wanderer' while the blue plexi-glass covering the collage gives this work the deep blue tone that pervades many of Cornell's boxes." -- Source of annotation: Marvin or Ruth Sackner.

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In the introduction, Saiber describes Bruno as a 16th century polymath who was a philosopher, poet, playwright, mnemonist and magus but at his core an architect of ideas. Saiber further adds that "Many among the educated class familiar with esoteric learning, like Bruno, looked to locate and empower themselves through spacial manipulation and symbloic permutation, such as memory theaters. encyclopedias, kabbalah, natural magic, alchemy, and searches for the 'perfect language.' Bruno's writing indeed contains verbal patterns that signal an unusual sensibility to the shape of of space - whether of the heavens, between people, on a page, or of one's mind." -- Source of annotation: Marvin or Ruth Sackner.