The Sackner Archive holds a Clock that was made by Kenelm Cox on behalf of Dom Sylvester Houedard. Also in the Archive is the sculpture Suncycle that was planned with Nicholas Logsdale at the Lisson Gallery, cast in brass and sold as a multiple without a motor. The author title for this book is "Ken Cox." -- Source of annotation: Marvin or Ruth Sackner.

This exhibition was curated by Guy Brett. He writes in his essay, "The Century of Kinesthesia," that the works in the exhibition represent a language of movement or the physiognomy and poetics of language. Writing about dom sylvester houedard, Brett describes him as a Benedictine monk, poet, artist, and one of the most remarkable intellectuals in Britain. He developed a unique compressed prose style to theorise the discoveries of kinetic art and concrete poetry. The catalogue includes an extensive, illustrated chronology of the kinetic movement from 1910 to 1975 and also an anthology of previously published, selected essays by the artists in the exhibition. The Sackner Archive lent nine typewriter, optical works by Dom Sylvestre Houedard to the exhibition. -- Source of annotation: Marvin or Ruth Sackner.

This exhibition was curated by Guy Brett. He writes in his essay, "The Century of Kinesthesia," that the works in the exhibition represent a language of movement or the physiognomy and poetics of language. Writing about dom sylvester houedard, Brett describes him as a Benedictine monk, poet, artist, and one of the most remarkable intellectuals in Britain. He developed a unique compressed prose style to theorise the discoveries of kinetic art and concrete poetry. The catalogue includes an extensive, illustrated chronology of the kinetic movement from 1910 to 1975 and also an anthology of previously published, selected essays by the artists in the exhibition. The Sackner Archive lent nine typewriter, optical works by Dom Sylvestre Houedard to the exhibition. This copy differs from the other copy held by the Sackner Archive in that "Hayward Gallery" is printed on the spine, the second and final destination of this exhibition. -- Source of annotation: Marvin or Ruth Sackner.

Pages 220-222 depict "Red Shift" (1967-1984) in which all the objects within a room are painted red except for the white walls and ceilings. This is reminiscent of Joel Hubaut's collages and poster monochromes (several held by the Sackner Archive). -- Source of annotation: Marvin or Ruth Sackner.

The cover depicts a detail of a portrait of Houedard by John Furnival. The exhibition catalogue lists 50 works by Houedard including eight plastic laminate poems. The introductory essay was written by Guy Brett. There are also extracts from Houedard's writings and a letter to David Medalla printed in the catalogue. -- Source of annotation: Marvin or Ruth Sackner.