The newspaper supplement to the catalogue is the front and back covers of the January 19-20, 1963 issue of the New York Herald Tribune. On the back cover,a public notice is circled with red crayon. It reads, Carl Fredrik Reutersward Closed for holidays 1963-1972. The inner two pages describe a Reutersward performance with photographs that is entitled KILROY WAS HERE. -- Source of annotation: Marvin or Ruth Sackner.

This print appears to depict a highly stylized outline of the continent of Africa. In addition, a few written words are present, e.g., Konjo. There is a list of abbreviations as untranslated ideograms that have been applied to the outline of the African continent. This print was part of nine other prints by Fahlstrom that were published by multipla editions. -- Source of annotation: Marvin or Ruth Sackner.

Fahlstrom was born in Brazil but emigrated to Sweden at age 10 1/2 years. After graduatinmg from high school in Sweden, he relinquished his Brazilian passport and secured a Swedish one. This catalogue is a retospective of his artworks and writings. -- Source of annotation: Marvin or Ruth Sackner.

Raphael Rubinstein contributes an in depth essay "Fahlstrom Afresh" reexamining Oyvind Fahlstrom's timely art in the first U.S. retrospective in 20 years. Marcia E. Vetrocq writes abour the work of Alighiero Boetti in "Rules of the Game." -- Source of annotation: Marvin or Ruth Sackner.

This exhibition of artists' bookplates commemorates the 25th anniversay of Printworks. Susan Barron contributed a bookplate for the Biblical Moses and Claire Van Vliet one for Rachel Carson. -- Source of annotation: Marvin or Ruth Sackner.

Also designated as Konst-och bildforskning No.5-6. The Sackner Archive is listed under bookshops, publishers, archives and catalogues. -- Source of annotation: Marvin or Ruth Sackner.

Contains early concrete poems contemporary with those of Gomringer and the Noigandres group and stylistically similar. Also includes Fahlstrom's manifesto on Concrete Poetry (1953). -- Source of annotation: Marvin or Ruth Sackner.

Exhibition curated by Dietrich Mahlow. The cover is perforated such that the word "collage" is formed. -- Source of annotation: Marvin or Ruth Sackner.

This print dealing with worldwide political and environmental issues is the most finished work of same theme in the series of 9 prints. The vividly colored elements are juxtaposed rather than discrete with blank space and the texts are carefully hand printed. Human figures such as Richard M[oses] Nixon, Angela Davis, and Gordon Liddy are drawn with a cartoon-like approach. The Vietnam War, the Russian Communist invasions into other countries, and the American invasions into Latin America are depicted. *WEB 1998: Sharon Avery-Fahlström. This work is correctly titled "Column No. 3 (Chile F)." Sackner: corrected. -- Source of annotation: Marvin or Ruth Sackner.

The Sackner Archive lent "Canailles" by Maurice Lemaitre and "Geste Hypergraphique" by Roberto Altmann to this exhibition and photographs of these works are reproduced in the catalogue. Sheena Wagstaff curated this exhibition. -- Source of annotation: Marvin or Ruth Sackner.

Cobbing describes the history of contemporary sound poetry and the techniques utilized by the poets. He concludes "The very diversity of sound poetry is in line with its emphasis on the freedom of the individual and the withering of external authority, on man as a communal and social animal, on communication as a life-giving activity, things which in this bureaucratic and techncratic age we need constantly to remember. This is Cobbing's essay for the ground-breaking exhibition, "klankteksten ? konkrete poezie visuele tesksten - sound texts ? concrete poetry visual texts - akustiche texte ? konkrete poesie visuelle texte." -- Source of annotation: Marvin or Ruth Sackner.

Cobbing describes the history of contemporary sound poetry and the techniques utilized by the poets. He concludes "The very diversity of sound poetry is in line with its emphasis on the freedom of the individual and the withering of external authority, on man as a communal and social animal, on communication as a life-giving activity, things which in this bureaucratic and techncratic age we need constantly to remember." This is Cobbing's manuscript essay for the ground-breaking exhibition, "klankteksten ? konkrete poezie visuele tesksten - sound texts ? concrete poetry visual texts - akustiche texte ? konkrete poesie visuelle texte." -- Source of annotation: Marvin or Ruth Sackner.

This print consists of densely packed brown and black images with occasional white highlights and appears almost like a giant doodle. The word R.A.T. in small letters in the center lower 1/3 is the only verbal reference. The print was part of nine other prints by Fahlstrom that were published by multipla editions. *WEB 1998: Sharon Avery-Fahlström. The correct title is "Dr. Livingstone Collage." Sackner: corrected. -- Source of annotation: Marvin or Ruth Sackner.

Fahlstrom provides instructions for cutting out figures in this print and mounting in other places. The print was part of a portfolio of prints by other artists issued by Tanglewood Press (New York International). *WEB 1998: Sharon Avery-Fahlström. The correct title is "Eddie (Sylvie's brother) in the Desert." Sackner: corrected. -- Source of annotation: Marvin or Ruth Sackner.

Review of exhibition "Pictures to be read/Poetry to be seen". -- Source of annotation: Marvin or Ruth Sackner.

This book was published for the exhibition "Oyvind Fahlstrom: The Complete Graphics, Multiples and Sound Works" and is copyrighted by Sharon Avery-Fahlstrom. The manifesto for concrete poetry was first published in Stockholm in 1954 in Odysse. -- Source of annotation: Marvin or Ruth Sackner.