The sculptural image is a stylized chicken with mostly illegible, fragmented, writings and rubberstamped phrases with dada and fluxus content on its surface. The name of the bird/birdlike chararcter is Loplop who is featured in prints, collages and paintings by Max Ernst. Lopllop was an alter ego which Ernst developed and functioned as a familiar animal. Loplop first appeared in Ernst's collage novels La Femme 100 Tetes and in Une Semaine de Bonte in the role of a narrator and commentator. The cardboard box base has illegible handwriting on its lid, rubberstamped words DADA and stylized chicken heads on its sides, and rubberstamped, stylized heads of chickens within the inside bottom of the box. -- Source of annotation: Marvin or Ruth Sackner.

The Anna Oberto photographs are housed in the same envelope. -- Source of annotation: Marvin or Ruth Sackner.

The titles of the prints which the photographs depict are: Situazione 1971, Reflex l'italiana '69, Manifesto femminista 1970, Anautopia per la citta ideale 1973, Langiatic formula 1967, and Manifesto femm. anaculturale 1971. The Martino Oberto photographs are housed in the same envelope. -- Source of annotation: Marvin or Ruth Sackner.

This is a reprint of selected sections of the book with the same title. -- Source of annotation: Marvin or Ruth Sackner.

This poem is based upon Milton, "On His Blindness" -- Source of annotation: Marvin or Ruth Sackner.

This poem is based upon Colin Francis, "Tony O!" -- Source of annotation: Marvin or Ruth Sackner.

Includes photographs of Alison Knowles' "Big Book." -- Source of annotation: Marvin or Ruth Sackner.

This sumptious illustrated book depicts extensive examples of Dencker's visual poetry and artist books. In the introduction, Karl Young writes that Dencker's "unpublished archives may identify as many late 20th Century visual poets as any in the world. (The collection of Ruth and Marvin Sackner is the only probable contender for equal range.)" Also, designated publication PN1. The print accompanying this book was based upon a collage made in 1996. -- Source of annotation: Marvin or Ruth Sackner.

This catalogue lists the artists and depicts their visual poems in a contest for the best works. The winners were Gerhild Ebel, Reinhard Klessinger, and Axel Georg Malik; works by all of these artists are held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

This detailed survey of Japanese visual poetry accompanied the exhibition that was curated by Klaus Peter Dencker. -- Source of annotation: Marvin or Ruth Sackner.

Includes reproductions of the prints by Ann Noel, You and Negative, both held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

The Sackners participated in a marathon discussion about visual poetry held in conjunction with this exhibition that was subsequently broadcasted on Saarbrucken radio. The originals of Ruutsalo's ABC film depicted on pages 95 and 95 as well as prints and typings on pages 98-101 were purchased by the Sackners and are now held by the Sackner Archive. The book depicted on page 112 by Linda Christenell, Loterie Romaine 1 on page 126 is also held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

The small soft cover book is the catalogue for the exhibition that was curated by Uwe Warnke. The large soft cover book consists of contributions from the exhibitors that differ in imagery from those works which were shown. -- Source of annotation: Marvin or Ruth Sackner.

The Sackner Archive also holds the deluxe edition. -- Source of annotation: Marvin or Ruth Sackner.