This exhibition was curated by Craig Saper and Theo Lutz. The Sackner Archive lent 25 artists' books and 23 typewriter works to this exhibition. -- Source of annotation: Marvin or Ruth Sackner.

This is a mgnified view of a typewritten portait of the actress Mary Pickford. -- Source of annotation: Marvin or Ruth Sackner.

The books in this edition have different covers. -- Source of annotation: Marvin or Ruth Sackner.

The books in this edition have different covers. -- Source of annotation: Marvin or Ruth Sackner.

This book had only 6 pages of text, 5 pages of brief biographic summaries and 129 pages of full page illustrations of the poems. Note that Pietro Saga is aka Pietri de Saga and Stefi Kiesler, the wife of Frederic Kiesler whose work is depicted in this book only did about 100 typewriter poems. -- Source of annotation: Marvin or Ruth Sackner.

The drawings are unsigned, but two packing slips accompanying the work with Jennifer Hawkins' signature have been retained. Internet: Jennifer Hawkins trained at the Canberra School of Art and now lives on the South Coast of New South Wales. She works with a range of symbols, materials, and processes to explore the human condition. Though she has been called purist, minimalist, and conceptualist, she says she just uses "whatever materials and techniques seem to make the best marriage with the idea'. She has exhibited in group and solo exhibitions and has work held in private and public collections both here and overseas. In September 2006, she won the Basil Sellers Art Prize with her work ... and on that day they shall rise up... In 2005, Quilt for a Park Bench won the Quota Rotary Art Prize at Wagga. -- Source of annotation: Marvin or Ruth Sackner.

Includes five reproductions of Kiesler's typewriter art works that she called 'Typo-PLastics' composed of letters and punctuation marks. Internet: Stephanie (Stefani, Stefi, Steffi ) Frischer was born in Austria in 1897. As a philology student. she married theater and art-exhibition designer, Frederick John Kiesler, in Vienna in 1920. In 1926, they emigrated to New York where Frederick obtained an architects license in 1930. Frederick Kiesler went on to become quite famous for his avant-garde designs. Steffi, meanwhile, became a librarian (in 1927) in the French and German section of the New York Public Library, a position she held for 32 years. Steffi Kiesler died in 1963. -- Source of annotation: Marvin or Ruth Sackner.

This book offers a 'how to do it' section on making typewriter art and subsequent examples of mostly realistic and semi-realistic images. -- Source of annotation: Marvin or Ruth Sackner.

The Sackner Archive holds two copies of this catalogue that were associated with exhibitions in Edinburgh and London. -- Source of annotation: Marvin or Ruth Sackner.

The Sackner Archive holds two copies of this catalogue that were associated with exhibitions in Edinburgh and London. -- Source of annotation: Marvin or Ruth Sackner.

The typewitten fonts are have been enlarged in a random style on each page along with a poetic phrase in small type. -- Source of annotation: Marvin or Ruth Sackner.

The examples in this book were taken from back issues of the Journal of Business Education in which they appeared as a monthly feature. -- Source of annotation: Marvin or Ruth Sackner.

The examples in this book were taken from back issues of the Journal of Business Education in which they appeared as a monthly feature. -- Source of annotation: Marvin or Ruth Sackner.

The examples in this book were taken from back issues of the Journal of Business Education in which they appeared as a monthly feature. Thus is also designated Volume 3. -- Source of annotation: Marvin or Ruth Sackner.

Several artyping techniques were utilized for these images, e.g., masking, packing letters closely together, overtyping (text over text), moving paper to obtain wavy lines of characters, and punctuation marks joined together to obtain non-linear lines. -- Source of annotation: Marvin or Ruth Sackner.

The ten typewriter images in this book are presented in gray and white scale. -- Source of annotation: Marvin or Ruth Sackner.

This American edition was copyrighted by Something Else Press and most of the run was destroyed by Dick Higgins because he had not been informed that the anthology was entirely British. -- Source of annotation: Marvin or Ruth Sackner.