The print is a photocopied colored reproduction of a bank check written by Graham Rich to The Wild Hawthorn Press. -- Source of annotation: Marvin or Ruth Sackner.

This is a personal communication from Paul Robertson to Marvin Sackner offering a complete set of UR, "a rare artist's publication." It includes UR Nouvelle Series nrs. 1 - 7 , 1963 - 1966. for 7,950 UK pounds for all. -- Source of annotation: Marvin or Ruth Sackner.

With the exception of the signatures of the authors, this limited edition does not differ from the ordinary edition. The added price was set to subsidize the publication of the trade edition of the book. -- Source of annotation: Marvin or Ruth Sackner.

In this book, Antin mentions that he considers his "Talking" works as poems. He also adds that some of them classified as concrete poems depending upon their layout on the page. -- Source of annotation: Marvin or Ruth Sackner.

Martha Wilson, founding director, traces the history of Franklin Furnace. -- Source of annotation: Marvin or Ruth Sackner.

Provides an illustrated description of Finlay's garden at Stonypath where he has lived since 1967. -- Source of annotation: Marvin or Ruth Sackner.

This book was edited by Steven Heller, Georgette Ballance and Nathan Garland and published on the occasion of the Paul Rand Symposium. -- Source of annotation: Marvin or Ruth Sackner.

The main text of this book is followed by a section of 100 examples of pattern poems, each printed one to a page, that were written in Portugal between the 17th and 18th century. -- Source of annotation: Marvin or Ruth Sackner.

Williams writes in his forward, "The fables - on the right-hand pages of the book - came first. Only gradually, after several exhibitions of these far-fetched fictions, did I come to realize that there was at least an iota, a jot or a tittle of truth - and sometimes a big blob of reality - in each and everyone one of them. And here, for the first time, the documentation appears opposite the collages themselves...on the left hand pages, opposite each of the cartoons, are enlightening documents from the author's personal archive relating some of the unlikely things that really happened in Performance Art 'show biz' over the years." -- Source of annotation: Marvin or Ruth Sackner.

The collaged relief letter picture on cover spells out Tick Tock. -- Source of annotation: Marvin or Ruth Sackner.

This is a reproduction of page 85 of Mallock's "A Human Document." -- Source of annotation: Marvin or Ruth Sackner.

This catalogue was edited by Rene Morales, curator at the PAMM museum, for the exhibition at the museum opening in the first week of December 2013. Johanna Drucker contributed in depth essay titled "Visual Poetics and the Technics of Conception." Rene Morales contributed "Imaged Words, Worded Images: A conversation with Ruth and Marvin Sackner." The contibutors cited consist of only those whose work is depicted in this catalogue. The image on the dust jacket was done by Jeremy Adler, the frontispiece by Tom Phillips and the end papers by Willem Boshoff. -- Source of annotation: Marvin or Ruth Sackner.

This catalogue was edited by Rene Morales, curator at the PAMM museum, for the exhibition at the museum opening in the first week of December 2013. Johanna Drucker contributed in depth essay titled "Visual Poetics and the Technics of Conception." Rene Morales contributed "Imaged Words, Worded Images: A conversation with Ruth and Marvin Sackner." The contibutors cited consist of only those whose work is depicted in this catalogue. The image on the dust jacket was done by Jeremy Adler, the frontispiece by Tom Phillips and the end papers by Willem Boshoff. -- Source of annotation: Marvin or Ruth Sackner.

This article provides the background for Phillips' "A Humument" and is illustrated with two pages and two fragments from his altered Victorian novel by W.H. Mallock's "A Human Document." -- Source of annotation: Marvin or Ruth Sackner.

This book lists activities of Ruch in the correspondence art scene over a two decade period. There is a listing of collections that hold his works including the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

The catalogue consists of 50 photocopied, rubberstampings by Ruch as well as a biography and participation with others in group stampings. -- Source of annotation: Marvin or Ruth Sackner.

Moss writes "This work is a kind of physical, poetic and ritual embodiment of this notion of the love affair between God and the Jewish people. I began my career with the ambitious project of reviving the ancient art of the illuminated Ketubah...I knew I had to revive this magnificent art form." David Moss selected a poem by the 16th and 17th century poet Rabbi Israel Najara based on the Song of Songs.Texts in the inner border are based on the Shabbat, the micrographic stems and leaves deal with Zion and the outside border uses the wedding theme. -- Source of annotation: Marvin or Ruth Sackner.