This digital calligraphic work was made from letters traced by Dautricourt in pen and ink and then realized in a computer using Adobe Illustrator and Adobe Photoshop. It was printed on Bristol paper with a laser printer. The text was derived from the book Shamot, from the Torah, the Hebrew Bible, chapters 31, 32 and 35. The Hebrew letter 'lamed' constitutes the background and the center biblical text was printed in muted orange, purple and beige colors. -- Source of annotation: Marvin or Ruth Sackner.

This digital calligraphic work was made from letters traced by Dautricourt in pen and ink and then realized in a computer using Adobe Illustrator and Adobe Photoshop. It was printed on Bristol paper with a laser printer. The text was derived from the book Shamot, from the Torah, the Hebrew Bible, chapters 31, 32 and 35. A large Hebrew bown letter 'shin' formed the background for the Biblical texts printed in red and white. -- Source of annotation: Marvin or Ruth Sackner.

This digital calligraphic work was made from letters traced by Dautricourt in pen and ink and then realized in a computer using Adobe Illustrator and Adobe Photoshop. It was printed on Bristol paper with a laser printer. The text was derived from the book Shamot, from the Torah, the Hebrew Bible, chapters 31, 32 and 35. A block of white text in the center was surrounded by black and red text printed with a larger font size. -- Source of annotation: Marvin or Ruth Sackner.

This digital calligraphic work was made from letters traced by Dautricourt in pen and ink and then realized in a computer using Adobe Illustrator and Adobe Photoshop. It was printed on Bristol paper with a laser printer. The text is derived from the book Shamot, from the Torah, the Hebrew Bible, chapters 31, 32 and 35. A yellow Hebrew letter 'lamed' formed the background with the text printed in black and grey overlying it. -- Source of annotation: Marvin or Ruth Sackner.

The texts were found by Dupont from art and philosophical writings and fragmented selections were painted by the artist. The work is a palimpset containing visual symbols, rebuses and text. As a contradiction, the top layer of text is painted in white. -- Source of annotation: Marvin or Ruth Sackner.

A reproduction of this drawing is depicted in Clemente Padin's "Signografias Y Textos 1967 - 1970" (1970). An image different from the drawing is depicted in Clemente Padin's "Visual Poems 1967-1970" (1990). -- Source of annotation: Marvin or Ruth Sackner.

This is the first publication of a book that was later pubished in 1990 by Xexoxial Editions as Visual Poems. Several of the original poems depicted in this book are held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

This exhibition dealt mainly with abstract sculptural structures/ -- Source of annotation: Marvin or Ruth Sackner.

This is Nichol's second book in which he prints wordplay mainly on the word "beware." The cover was designed by bill bissett. -- Source of annotation: Marvin or Ruth Sackner.

The spirals are typed over10 rows of 0's. -- Source of annotation: Marvin or Ruth Sackner.

Exhibition was curated by David Mellor. -- Source of annotation: Marvin or Ruth Sackner.

Image consists of the sixty red number '60's' with varied dimensions placed in a vertical rectangular space with some of the numbers overlapping. It was done n celebration of Tom Phillips' 60th birthday. -- Source of annotation: Marvin or Ruth Sackner.

Designated Chapbooks No.12. The author is also known as Jennifer Pike. -- Source of annotation: Marvin or Ruth Sackner.