This complex collage, an illustration for Jules Verne's "Aound the World in Eighty Days," depicts a parade and a mob scene with American voting slogans and company names. The main image was cut from an engraving done around 1900. An exhibition catalogue of Kolar, Mesens, Schwitters & Hoffmeister at Grosvenor Gallery, st that Hoffmeister "...was the first artist to use typography as a total compositional medium regardless of the meaning of the actual words, concentrating on the purely visual image." Wescher (Collage 1968) wrote that he was the grand master of collage. This collage is depicted in Adolf Hoffmeister This collage is not depicted in the Adolf Hoffmeister book 1902-1973 edited by Karel Srp on page 283. -- Source of annotation: Marvin or Ruth Sackner.

The election of 2002 is summed up In nine steps including DEmure, DEnial, DEfeat, DEfault, DEscend, DEfunct, DEgrade, DEferential, DEmocrats! This poem accompanies an essay by Frank Rich titled "We're Not in Florida Anymore." -- Source of annotation: Marvin or Ruth Sackner.

Each of the 16 print rerproductions of the collages are stored within a folded unbound page. The German translation of the words in the collages is printed on the inside right cover of the unbound page. The photocollages reproduced in this portfolio are among the best visual poems of this era of Soviet history. The original of the montages are currently housed in the collection of the State Literary Museum, Moscow. -- Source of annotation: Marvin or Ruth Sackner.

This work is reproduced in Annoncenteil Arbeiten auf/mit Papier, Luchterhand, 1971. The poem is in the shape of a tree with the word Heil repeated in different typefaces and dimensions. The trunk of this tree is the printed title of the piece. Klonsky in his book "Speaking Pictures" titles this poem, "The Tree of the Sient Majority." It is designated No.497 in Gerz's Catalogue Raisonne Volume III. -- Source of annotation: Marvin or Ruth Sackner.

This work is a collection of Silves' publications. It comprises the following: 1) introductory card, 2) Mail- Art Copy-Book Two 1990, 3) Testos Visualis exhibition announcement pamphlet, 4) folded broadside not dated, 5) performance announcement card "A Violencia Nossa de Cada Dia" 1999, 6) 50 Anos - portfolio of photocopied prints 1993, 7) newspaper article on Silves (2003); 8) a newspaper supplement pamphlet about Silves (2000), 9) 16 photocopied prints not dated, 12) 3 page photocopied critical text on poema processo 1967 - 2002, and 13) photocopied page of exhibition review of Silves works dated 2002INternet: Falves Silva (1943-) is one of the artists featured in OEI #66 Process/poem. -- Source of annotation: Marvin or Ruth Sackner.

This book of poetry by Salamon is inspired and dedicated to d.a.levy, and the message his death sent to the world, "a message of bitterness that his genius had gone unrecognized." levy's poems are interspersed with Salamon's and are printed in a different typeface. -- Source of annotation: Marvin or Ruth Sackner.

Esther Shalev-Gerz conceived of the exhibition and installation Matthew Abess and Marianne Lamonaca edited the catalog, curated the exhibition and contributed essays. Ruth Sackner participated in the personal selection of two prints and participated in the filming of selected interviews. -- Source of annotation: Marvin or Ruth Sackner.

Ilic often collaborates with Steven Heller. -- Source of annotation: Marvin or Ruth Sackner.

The poems are printed on different colored paper stock and deal with Finlay's rejected commission for the city of Paris. Several are quotes from French revolutionary protagonists while others are vintage Finlay, e.g., "One speaks cynically of Fair Play till one has had to deal with the French, Since 1944 Paris has been occupied by the French, Allegation, n. in France, an Occupational hazard." etc. -- Source of annotation: Marvin or Ruth Sackner.

Bartameu Mari contributed the introductory essay for the exhibition. He wrote that "Nomeda and Gediminas Urbonas have focused their work on grasping and making understandable the layers of meaning in which the psychological effects on society in this voyage-less emigration were lodged. Their methodology echoes the actual postion of the figure of the artist within a system of ingreasingly commercialised exchanges and in opposition to the cross-border homogenisation of aesthetics and discourses." The Urbonas live and work in Lithuania. -- Source of annotation: Marvin or Ruth Sackner.

This is a polemic against Headley and Meulenkamp, the authors of "Follies: A National Trust Guide." -- Source of annotation: Marvin or Ruth Sackner.

This is a collection of Jandl's poems from 1952 - 1971. Up until 1963, the poems were conventional but in 1963, a constellation appears. Hans Mayer wrote an afterward to the book. The cover consists of a printed text of Jandl's poetic achievements from a historical perspective. -- Source of annotation: Marvin or Ruth Sackner.

This is a collection of Jandl's poems from 1952 - 1971. Up until 1963, the poems were conventional but in 1963, a constellation appears. Hans Mayer wrote an afterward to the book. The cover of this edition consists of a printed poem by Jandl. -- Source of annotation: Marvin or Ruth Sackner.

Lee is an Afro-American poet who uses language of the black neighborhood in his poems. -- Source of annotation: Marvin or Ruth Sackner.

Designated ICPA Publication No.16. The theme of this poem deals with the girls who were burned so badly in the Hiroshima nuclear explosion that they cannot bear to look at themselves in the mirror. -- Source of annotation: Marvin or Ruth Sackner.

A response to the audience's response to Nelson Mandela's visit to the Oakland Coliseum after his release from prison in South Africa. The colors utilized in the visual presentation are those of the A.N.C. flag. -- Source of annotation: Marvin or Ruth Sackner.