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The exhibition, curated by Patrick Murphy, consisted of works loaned by the Sackner Archive, Carlos & Rosa de la Cruz, Martin Margulies, and William & Phyliss Mack. The artists from the Sackner Archive consisted of Tom Phillips, Ian Hamilton Finlay, and Genevieve Seille. -- Source of annotation: Marvin or Ruth Sackner.

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The poems were composed by Ian Hamilton Finlay and the drawings were done by Peter Lyle. The pamphlet lists Wild Hawthorne publications (winter '66/'67 list). -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents This catalogue that illustrates Finlay's prints in chronological order, was compiled by Pia Simig. An in-depth essay by Rosemarie E. Pahlke, "Homesickness for Greek Temples," traces Finlay's themes, poetry, philosophy and describes his garden Stonypath. "The significance of his oeuvre and the widespread admiration it has earned derive primarily from its complexity...He offers us his own unique view of the present and his perception of everyday life, displayed on a background of literary, philosophical and historical connotations. In the process, he arrives at formulations and visual realisations that either spontaneously overwhelm us with their astounding simplicity or challenge us - even those who feel confident of having achieved a modicum of erudition - to find answers to the questions they pose. ..Finlay's works derive their vitality from his excellent powers of observation, a delicate irony, a sense of humour one might refer to as 'British,' a feeling for poetic images (but a...

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Exhibition was curated by Gillo Dorfles and Alain Arias-Misson. -- Source of annotation: Marvin or Ruth Sackner.

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Exhibition was curated by Gillo Dorfles and Alain Arias-Misson. -- Source of annotation: Marvin or Ruth Sackner.

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This is a standing poem with the silhouette of two sails. -- Source of annotation: Marvin or Ruth Sackner.

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This is a standing poem with the silhouette of two sails. -- Source of annotation: Marvin or Ruth Sackner.

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This is the first version of the poem that has red colored images and black lettering in contrast to the second version that has black colored images and blue lettering. The maquette for this version is also held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This is the second version of the poem that has black colored images and blue lettering in contrast to the first version that has red colored images and black lettering. The same poem also appears in the periodical Ou No.25, deluxe edition of 10 copies. The latter is held by the Sackner Archive. The maquette for the second version is also held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents On the back cover and internet, it is stated that nick-e melville is a scottish poet who does visual stuff and found stuff. his first collection of visual poetry, selections and dissections, was published by otoliths press in 2010. he also does shellsuit massacre (cf. poem 7) with rodney relax: found poetry social commentary to guitar techno. some of these poems, all now in colour, appeared in these places: blazevox, one less magazine, otoliths and sleeping fish; the 10th poem appears on the poet's left forearm, underside. nick-e says: "these are basically all the pieces i've done in colour, and, curiously, there's a higher usage of mixixed media than in my other visual work, including handwriting (poem 12) and skin. some were made using tippex (whiteout) on papers and credit card junk mail (snow pake is an archaic term, from the 70s and 80s). others were created using circles from bags of blue circle cement. i'd always admired the targetesque design, and the blue-on-buff bags, so...

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Cover depicts "Artchive" painting by Tom Phillips, which is held by Sackner Archive. Introdutory essay by Clive Phillpot. Exhibition curated by Michael Prebble. -- Source of annotation: Marvin or Ruth Sackner.

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Essay describes Ian-Hamilton Finlay's garden Stonypath in Scotland. -- Source of annotation: Marvin or Ruth Sackner.

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Tom Phillips designed the cover using a Humument page. Germano Celant contributed an essay, "Artists' Manifestos & Magazines." -- Source of annotation: Marvin or Ruth Sackner.