Buzz Spector interviews the collector Ira Wool who describes how Dieter Roth influenced him in acquiring artists' books. A chronology of publications from 1961 to 1982 about artists' books is presented by Barbara Tannenbaum. -- Source of annotation: Marvin or Ruth Sackner.

This print is listed as 033 in Dieter Roth Graphic Works: Catalogue Raisonne 1947- 1998. -- Source of annotation: Marvin or Ruth Sackner.

This print is listed as 033 in Dieter Roth Graphic Works: Catalogue Raisonne 1947- 1998. -- Source of annotation: Marvin or Ruth Sackner.

This book was published by Hansjorg Mayer. One of the copies is accompanied by a separate pamphlet that lists the works in the exhibition along with advertisements. The catalogue consists of questionaires answered by the artists along with visual documentation. -- Source of annotation: Marvin or Ruth Sackner.

The work is composed of six columns of three word sentences describing a personal activity, which according to the title, should be read loudly. Dieter Roth's name in this publication is printed as Diter Rot. This work was loaned to the Museum of Modern Art NYC for their exhibition, "Eye on Europe: prints, books & mutiples 1960 to now." -- Source of annotation: Marvin or Ruth Sackner.

In the principal essay, "My Eye is a Mouth," the curator Felicitas Thun states that the work of Dieter Roth forms the core of his self conception and of his principle of art. "Through constant self-reference the artist gives the presence of his own existence precedence over his work...Roth confronts dialogue and communications with a massive collection of items and flood of images...[He is] an artist who orients himself along the basic precepts and rules of an avant-garde, which attempts the radical task of transforming the self, his own reality, into a work and thus defends itself against institutionalisation." Most of the works in this exhibition are held by the Austrian Ludwig collection. The Sackner Archive holds several works depicted in this catalogue including "Buch AB 1973 and Roth's verlag books among others. -- Source of annotation: Marvin or Ruth Sackner.

Each book consists of a one page drawing entitled "Stupidogramm" consisting of a grid of commas with an area enclosed by an ink line drawing. Not one of the 200 copies is alike. This publication is stored in the 'R' flat files drawer. Note that Roth uses the name Diter Rot for this issue. -- Source of annotation: Marvin or Ruth Sackner.

This book was edited by Dirk Dobke who contributed a introductory essay. It contains reproductions of the 524 prints made by Dieter Roth between 1947 and 1998 when he died. The works display his "inventive manuipulation of the various stages in the print making process, achieving remarkable editions in which not one print is identical." The print of this deluxe edition is "A Bunch of Flowers 3" which is also depicted on page 319. An exposition of the various printmaking techniques employed by Roth is described in the introduction. -- Source of annotation: Marvin or Ruth Sackner.

Roth's name on the cover of this pamphlet is spelled Diter Rot. -- Source of annotation: Marvin or Ruth Sackner.

This catalogue documents how in recent years, Williams has gone from composing classic concrete poems to adding visual ornamentations to them. -- Source of annotation: Marvin or Ruth Sackner.

The book was produced at Watford School of Art between May 1968 and May 1969. It was designed in the tradition of Hansjorg Mayer for his Dieter Roth publications. Dieter Roth is not mentioned in this work but he was a teacher at Watford during this period and probably influenced the production of this work. -- Source of annotation: Marvin or Ruth Sackner.

This unsigned print was probably done while Roth was working as a graphic designer in 1960 at the advertising agency of Karl Gerstner and Markus Kuttner in Basel. It was part of a portfolio of 8 prints purchased from Larry Wallrich in Toronto that are not listed in Roth's major catalogues nor is the Dieter Roth Archive aware of their existence. One signed print (Galerie Stahli in Basel) + 7 unsigned prints were sold by the Sackner Archive to Zucker Art Books in 2010. The unsigned duplicate print from the series of eight has been framed and retained by the Sackner Artchive. -- Source of annotation: Marvin or Ruth Sackner.

Letter concerns poets Blaine has contacted requesting work for exhibition of Davis UU. -- Source of annotation: Marvin or Ruth Sackner.

DeCampos provides a brief discussion of his first meeting with Gomringer in his first communication with Houedard. He thanks Houedard for sending him typogrammes..."very interesting as studies of form though I personally prefer always to use the semantical element." States that both Gomringer and his group began from the same starting point, i.e., Mallarme's the throw of the dice, "the threshold of new poetry." -- Source of annotation: Marvin or Ruth Sackner.

The letterhead is Monks Pond. Merton writes Emmett Williams that "All the things you are making happen sound good. Or helping make happen. Yes, visual poetry. I'd like to see that exhibit in Minneapolis. When will it be?" He continues, "I'm starting on some visual stuff. Hasn't loosened up yet but I think it will start to break soon. If only we had some more type here and the monastery printer had more time we could really do something about it." In a postscript, Merton adds a handwritten request, "Could I see a copy of the Bense reader? Looks interesting. Also the MacLow stanzas, as I am doing some, that - & Dieter Rot. Your catalog is very good. Only interesting one I've seen in a long time. -- Source of annotation: Marvin or Ruth Sackner.

Skuber's drawing "Nachtschatten," which is depicted in this catalog, was subsequently acquired by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.