The print depicts the Arc d'Triomphe as a shaped poem formed by collaged newsprint and calligraphic text. This Parisian structure is depicted facing the Avenue des Grandes Armees. The latter serves as a metaphor for part of an ejaculate from another of the print, viz., a penis shaped from collaged newsprint & calligraphic text that is a metaphor for the young revolutionaries in the May 1968 student led rebellion in France. Texts in the poem support the May 1968 action against the government. -- Source of annotation: Marvin or Ruth Sackner.

The poems and writings are by Erica Hunt and Alison Saar contributed the woodcuts. The poems deal with Black identity. Six of the woodcuts are printed on bound-in translucent paper. -- Source of annotation: Marvin or Ruth Sackner.

Jennifer R. Gross has contributed a scholarly, in depth essay "Them's Fightin' Words" to the catalogue. Her research and interpretations of Finlay's work add significantly to the critical texts of this multi- talented artist. The exhibition contained 112 pieces by Finaly and his collaboartors. -- Source of annotation: Marvin or Ruth Sackner.

The typographic compositions revolve around images familiar to children. -- Source of annotation: Marvin or Ruth Sackner.

This book addresses the problems of environmentalism. Each contributor provided prints to sections that include 1) AID, 2) BABBLE, 3) BREED, 4) CHOKE, 6) ERASE, 7) MANY and 9) WET. -- Source of annotation: Marvin or Ruth Sackner.

In this anthology, several obsolete, archaic words are depicted in a visual poetic style, e.g., scurryfunge - Scurryfunge - a hasty tidying of the house between the time you see a neighbor and the time she knocks on the door, dodrantle(sic) [dodrantal] a male stripper's instrument 9" in length. Another card depicts "Plunderphonics" that is applied to any music made by taking one or more existing audio recordings and altering them in some way to make a new composition. There is no attempt to disguise the fact that the sounds making up the composition have been "borrowed" in this way, and sometimes the sounds may be taken from very familiar sources. Plunderphonics can be considered a form of sound collage. -- Source of annotation: Marvin or Ruth Sackner.

The prints making up this book depict Pride, Wrath, Envy, Sloth, Greed, Gluttont, and Lust. -- Source of annotation: Marvin or Ruth Sackner.

The Sackner Archive lent the painted triptych, "The Divine Comedy" to the first retrospective exhibition of Laffoley's paintings. This work is illustrated in the fold out pages and mentioned in the essay of Jeanne Marie Wasilik. J.W. Mahoney discussed the photographically reproduced serigraph, "The Alchemy of Breathing." The original drawing of this work was commissioned for the '"Beauty of Breathing" exhibition and is held by the Sackner Archive. Paul Laffoley contributed an insightful autobiographical essay in which he writes about his current project on the Pantheon. He also made collages expressly for illustrating this catalogue. Each of the paintings reproduced in the catalogue has an in depth comment by the Loffoley. The exhibition was curated by Elizabeth Ferrer, Director of the Austin Museum of Art. -- Source of annotation: Marvin or Ruth Sackner.

curry traces the development of concrete and visual poetry in Toronto for an essay in Cross-Canada Writers' Quarterly Vol.9 No.3-4, 1987, a periodical held by the Sackner Archive. He lists Earle Birney's book entitled pnomes jukollages and other stunzas 1969, as the first concrete poetry by a main stream Canadian poet. He comments that bp Nichol's 1st book, Cycles etc., 7 Flowers Press, were chant structures that relied heavily on visual sonic similarities between words. -- Source of annotation: Marvin or Ruth Sackner.

curry then briefly comments on Toronto poets and their activities in concrete, visual, and sound poetry up to the time of publication of the essay in 1987. The 2nd version of the manuscript was submitted for publication to Cross-Canada Writers Quarte In the Afterward written for Innovations in 1989, curry corrects errors in the original essay and comments upon younger poets not mentioned in the earlier essay, e.g., Daniel f. Bradley, Steven Smith, Gary Barwin, Stuart Ross, Steve Venright, -- Source of annotation: Marvin or Ruth Sackner.

The handwritten manuscript consists of a bibliography for the essay and the afterward contribution to Innovations. The typed version was submitted to Innovations as the final version. It included reprinting the original essay with corrections publish in Cross-Canada Writers Quarterly in 1987 and the new afterward and bibliography. curry in a letter to the Sackners complained of editing by Innovations 1 & CCWQ 9:3/4, magazines in which this version appeared; both omitted his bibliography. -- Source of annotation: Marvin or Ruth Sackner.

The maquettes are for the first and second versions of the poem; the first is smaller and executed in the maquette with red colored collage additions while the second is larger and executed in black colored collaged additions with blue printed type. Both final versions of these cards which retain the color schema of the maquettes are held by the Sackner Archive. One collaged and another printed card of blue and grey hearts is not cited in Finlay bibliographies and apparently was a discarded idea. -- Source of annotation: Marvin or Ruth Sackner.

Includes a photocopy of Mallarme's Un Coup de Des (1914), -- Source of annotation: Marvin or Ruth Sackner.

This book recounts the story of Paolo Della Grazia's "Archive of New Writing" donated to MART. -- Source of annotation: Marvin or Ruth Sackner.

There is a minimal amount of typewritten text done with an old Remington manual typewriter with an Italian language keyboard. -- Source of annotation: Marvin or Ruth Sackner.

Thel etterpicture component was done on an old Remington manual typewriter with an Italian language keyboard. -- Source of annotation: Marvin or Ruth Sackner.