Also designated ICPA 13. -- Source of annotation: Marvin or Ruth Sackner.

Contains sample pages from Claire's publications. -- Source of annotation: Marvin or Ruth Sackner.

Bentivoglio provided an introductory essay to this catalogue that featured solely women artists and poets. Amelia Etlinger contributed a typewriter poem. -- Source of annotation: Marvin or Ruth Sackner.

Designated ICPA Publication No.24. Together with the tape cassette of the same title, it constitutes the first Poetry and Electronics course held at Oxford University in January 1989. -- Source of annotation: Marvin or Ruth Sackner.

Designated ICPA Publication No.26. The overlays of the transparent, printed, plastic pages on the opaque, printed, paper pages produces Moire patterns. -- Source of annotation: Marvin or Ruth Sackner.

The prints making up this catalogue were those that were displayed as the exhibition. They were reproduced from prior publications. Several originals by Dom Sylvester Houedard, Peter Mayer, Jeff Nuttall, and Tom Phillips from this exhibition are held by the Sackner Archive. There was no bound catalogue published on this exhibition. Therefore, the totality of this catalogue is unique. The work is an excellent reference for the examples of concrete and poetry done in the 60's and 70's. Edith Kalman did three micrographic calligraphic prints that have been scanned into this citation. The pamphlet lists the location of the works displayed. The prints comprising the exhibition are stored in their own box withing the cobbing matrial. -- Source of annotation: Marvin or Ruth Sackner.

The dedication reads, "to Marvin Sackner - The Ruth and Marvin Sackner Archive of Concrete and Visual Poetry MIAMI USA - whose colossal collection, stockpiled over many obsessive years guarantees that this form of poetry beloved of many dedicated exponents world-wide will in all good time become visible." The first page provides Claire's definition of concrete poetry repeated 4 1/2 times on the page. Each subsequent page was created by overprinting through altering the position of the page in the ink jet printer. -- Source of annotation: Marvin or Ruth Sackner.

Designated publication 30. The book comprises a retrospective of Claire's poetry on the occasion of a performance at The Voice Box, Royal Festival Hall, London, March 10, 1991. -- Source of annotation: Marvin or Ruth Sackner.

Designated ICPA Publication No.16. The theme of this poem deals with the girls who were burned so badly in the Hiroshima nuclear explosion that they cannot bear to look at themselves in the mirror. -- Source of annotation: Marvin or Ruth Sackner.

These prints are based upon a typing done in 1993 which were photocopied onto a transparent sheet of paper and then laid over the original in five different ways creating five works "with dense patterns and moire effects." -- Source of annotation: Marvin or Ruth Sackner.

Designated ICPA Publication No.6. A portion of a typed, concrete poem was repetetively recopied on a photocopier and enlarged such that its image diminishes page by page until it virtually disappears. -- Source of annotation: Marvin or Ruth Sackner.

Designated ICPA Publication No.22. This is the documentation of the collaboration between Claire and Paul San Casciani, a stained glass artist for an exhibition during Oxford Week 1988. -- Source of annotation: Marvin or Ruth Sackner.

Privides a listing of International concrete poets by country along with a comment about their major categories of work, e.g., visual concrete poetry; visual, typewriter and concrete poetry, etc. ICPA Supplements No.1-4 are the unbound pages that list new items into the collection. In the introduction, P.Claire thanks the Sackners for sharing information about their Archive. -- Source of annotation: Marvin or Ruth Sackner.

Cobbing's poems have handwritten annotations by Claire for their performance at the Berlin Festival, Akademie der Kunst, September 1977. -- Source of annotation: Marvin or Ruth Sackner.