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This paper was presented an the SHARP 2001 Conference. The Sackner Archive is mentioned as providing crucial support to many authors working in the field of book arts. -- Source of annotation: Marvin or Ruth Sackner.

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This survey focuses more on the traditional illustrated book (Livre d'Artiste) than its title as contemporaneously defined. The dust jacket reproduces a detail of the Transsiberian Railroad by Cendrars and Delaunay, a work held by the Sackner Archive. Indeed, several books exhibited and reproduced in this catalogue are also held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

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Martha Wilson, founding director, traces the history of Franklin Furnace. -- Source of annotation: Marvin or Ruth Sackner.

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This is a review of the Tom Phillips "A Humument" exhibition at the Kamin Gallery, Van Pelt Library of the University of Pennsylvania. The Sackner Archive lent the works to this exhibition. -- Source of annotation: Marvin or Ruth Sackner.

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The material for each print in the book or project is stored in individual folders or envelopes. Material is also included that was not utilized in the final version of the book. For example, in the print, On the Corner..., the typed poem was considered but rejected, e.g., die neue SS: Lightening bilts shaved in - black on black - in the Razored and Jerrocombed hair - in the Razored and Jerrocombed hair. The title page content and layout changed considerably over the five years it took to produce the book. A section contains poems that were not used in the final version of this book. The Sackners provided financial support for this project. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents Marvin Sackner reviewed the book and wrote a blurb for the dust jacket. Betty Bright is a co-founder and curator of the Minneapolis Center for Book Arts who was responsible for over 50 exhibitions in a nine year-period. She has written a book on artist books that removes the chaos from the many flavors of this genre. Her analysis is confined almost exclusively to British and American writers and artists. She discusses artist books chronologically based upon the classification of the fine press book, deluxe book, bookwork, sculptural books and hybrids She begins the journey with the books by William Morris of the English Arts and Crafts movement in the late nineteenth century. She mentions that Morris was preoccupied with the design of the book because he believed that such books should not only tell a story but cause the reader to enter into a new world, a remark that seems apropos to the artist book today. Along the way, she cites exhibitions and catalogues, some well known and...

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This catalogue is a retrospective of Kocman's Artists' Books and Papers. Jiri Valoch contributed a critical essay that traced the interdisciplinary art movements of the 1970's, the European political and artistic community in which Kocman worked, and his studies in bookbinding and aesthetics. He describes Kocman's work as "a synthesis combining intellectual detachment informed by his conceptual experience with a remarkable sensibility and strong lyricism and with a continuous questioning of the nature of art." Several examples of Kocman's works are held by the Sackner Archive. For example, the catalogue depicts a reproduction of Poe's "The Raven," one of Kocman's paper re-making books that is held by the Sackner Archive. The catalogue lists "The Metamorphosis" by Kafka (1980) and Fragment of Videvdat and Other Fragments (1988), as well as several editioned books held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

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The Sackner ARchive catalog printed in 1984 is listed at 1250 pounds equivqlent to $1250.The end papers are computer printouts from Kein Fehler Im System. -- Source of annotation: Marvin or Ruth Sackner.

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Krystyna Wasserman curated the exhibition and wrote an introductory essay. The Sackner Archive lent "La Prose du Transsiberien et de la Petitie Jehanne de France" by Sonya Delaunay and Blaise Cendrars. The books are illustrated on the right facing pages and each artist wrote a personal explanation of her work on the left facing page. Sandra Jackman, one of the contributing artists, provided a travel notebook from her journey to the middle east. -- Source of annotation: Marvin or Ruth Sackner.

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Gunther recounts a visit to the Sackner Archive in 1994. -- Source of annotation: Marvin or Ruth Sackner.

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Includes an article on Minsky and mentions that the Sackner Archive has subscribed to his latest book, "Minsky in Bed." -- Source of annotation: Marvin or Ruth Sackner.

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Includes a photograph of panelists of the symposium "Books As Art" sponsored by the Boca Museum and FAU Friends of the Libraries. The Sackners participated in the panel and lent several books to the exhibition. -- Source of annotation: Marvin or Ruth Sackner.

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The Sackner Archive lent two books to this exhibition. -- Source of annotation: Marvin or Ruth Sackner.

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The Sackner Archive lent two books to this exhibition. -- Source of annotation: Marvin or Ruth Sackner.

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Sramak indicates that the Sackner Archive holds the following of his books: 1) What Angels Think, and 2) Watching. -- Source of annotation: Marvin or Ruth Sackner.

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This catalogue lists the Sackner Archive in collections holding Haack's work. -- Source of annotation: Marvin or Ruth Sackner.

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This catalogue complements exhibitions at the Univwersity of Pennsylvania, University of Georgia, Scripps College and Smith College. Daniel Traister contributed an essay "The Press and the Poets." The Sackner Archive is cited as holding works of Enid Marks. -- Source of annotation: Marvin or Ruth Sackner.

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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.

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The title translates to "The Personal and the Other: Ten Years of Work." Eric Stephan contributes an introductory essay, in German and English, that points out Zylla's debt to Charles Bukowski and Jean Dubuffet. Jorn Merkert writes about Zylla's working methods. This catalogue mentions that Zylla's work is held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.