Scope and Contents

This catalogue was published for the exhibition of works of Bob Cobbing selected from the Sackner Archive. The curator, Matthew Abess, SAS '08, was an intern in the Archive during the summer of 2006 when he researched the material for this exhibition. In addition to writing an in-depth catalogue essay, Matthew Abess organized recorded sound poetry readings on multiple head phones in the gallery, and planned a seminar with cris cheek and Maggie O'Sullivan at the Writers House. This is the second printing of the catalogue with the pages evenly printed throughout. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This catalogue was published for the exhibition of works of Bob Cobbing selected from the Sackner Archive. The curator, Matthew Abess, SAS '08, was an intern in the Archive during the summer of 2006 when he researched the material for this exhibition. In addition to writing an in-depth catalogue essay, Matthew Abess organized recorded sound poetry readings on multiple head phones in the gallery, and planned a seminar with cris cheek and Maggie O'Sullivan at the Writers House. Since the printing was faded in various parts of sentences on the last pages, Marvin Sackner pointed out that this should be considered a varient and was reminiscent of Cobbing's photoduplicator books. The catalogue was subsequently reprinted appropriately. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This catalogue mentions that the Sackner Archive holds Miglietta's works. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents The dimensions of the postcards in the early 20th century were much smaller than contemporary postcards and the image and message were written on the same side up to about 1905. After 1905, the dimensions remained small but the messages were written on the side opposite to the image. Each folder has handwritten reproductions of the messages on the card inscribed by Phillips. Further, the publisher of each card is written by Phillips on the back cover of the two museum board folder. One of the postcards in 1903 that was written in code was deciphered by Phillips. One of the postcards in 1908 that depicts an advertisement with the appearance of concrete poetry. Phillips mentions this observation and cites the Sackner Archive. One of the cards in 1913 advertising cigarettes and another in 1914 depicting the Panama Canal have surrealistic qualities. A card in 1922 has a visual poetic image.A card in 1938 depicts the infamous Nazi Entartete Kunst exhibition house. A card in 1940 shows a...

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This work is a Young's modification of a Haiku by Basho that can be transilliterated: Matsushima Ya - A A Matshusima Ya - Matsushima Ya. Matshusima is a small archipelago in northern Japan, Ya is one of the abstract, hieretic words used in Haiku according to complex rules, and A (pronounced Ah) is an aparently universal, spontaneous exclamation used as commonly in contemporary America as it was in 17th century Japan. -- Source of annotation: Marvin or Ruth Sackner.

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The catalogue mentions that works of Paula Hocks are in the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

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One half of this publication is devoted to Trans/Prose, the musical production based on the text of La Prose du Transsiberien et de la petite Jehanne de France by Sonia Delaunay and Blais Cendrars. The original score is by Matthew Suttor and the libretto is by Timothy Young. The latter mentions in his forward that the original copy of La prose in the Beinecke Library had been in the collection of Marvin and Ruth Sackner. Trans/Prose is to be performed at Yale in 2008. The second part of the book serves as the catalogue for two exhibitions and a conference related to poetry, art and the book. The icons on the "bookmark appear throughout the exhibitions to call attention to the thematic relationships between books featured in both exhibitions." This work is stored with Delaunay & Cendrars' facsimile of the "Transsiberian Railway." -- Source of annotation: Marvin or Ruth Sackner.

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Mentions that the Sackner Archive was established on Miami Beach in 1979. -- Source of annotation: Marvin or Ruth Sackner.

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Includes photographic reproduction of Howard Wise's Time Column III 1968 that was donated to the museum by the Sackners. -- Source of annotation: Marvin or Ruth Sackner.

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This issue includes a long illustrated interview of Jean-Pierre Nadau as well as a photograph of Paris Big Bang installed in Halle Saint-Pierre, Paris where the Sackners initially saw the work that they subsequently purchased for the Archive. Another photograph depicts the working space in his studio/house where the Sackners visited him. Stored with the Nadau material. -- Source of annotation: Marvin or Ruth Sackner.

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This is an illustrated review of Tom Phillips' exhibition at the North Carolina Museum of Art. All works in the exhibition were from the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

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Seventy-second birthday greetings from Sara to Ruth Sackner -- Source of annotation: Marvin or Ruth Sackner.

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The Sackner Archive is listed under Archives and Centers of Documentation holding Gini's works. -- Source of annotation: Marvin or Ruth Sackner.

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The Sackner Archive is listed under Archives and Centers of Documentation holding Gini's works. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents Amazon.com: Tennessee Williams (1911-1983) was one of the most acclaimed, popular, and controversial American playwrights of the twentieth century. The Glass Menagerie, A Streetcar Named Desire, and Cat on a Hot Tin Roof are all considered classics of modern theatre, and their characters and situations are iconic representations of the postwar South.In his early years, Williams concentrated his literary talents just as intently on poetry as on plays. Watching over him during this critical learning period was his close friend William Jay Smith (b. 1918), who met Williams in St. Louis as both were embarking on careers as writers. Smith would go on to publish thirteen collections of poetry and an epic sequence of poems describing the forced removal of Indian tribes east of the Mississippi. Both Smith and Williams were affected profoundly by memories of childhood and adolescence in Louisiana and Mississippi, and those experiences shaped their subsequent, mature work once they moved out...

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Mentions that Golden's books are held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

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This issue includes works by Michael Klauke who lists the Sackner Archive as holding his works. -- Source of annotation: Marvin or Ruth Sackner.

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Tom Austin titles his article "Home Is Where the Art Is" and states in an interview that the "Sackner Archive renders the esoteric accessible." The essay traces the collection's origins and themes, defines concrete and visual poetry and documents the mentality of a collector. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents The Foreword was written by Renee Reise Hubert & Judd D. Hubert. Amazon.com commented: "This important history of the artist's book, a flourishing form which over the years has often been greeted with confusion by critics, collectors, historians, and artists, aims to spell out its role in contemporary art and to claim for it a vital and heretofore unacknowledged status since the blossoming of the artform in the 70s. Renowned scholar and curator Betty Bright takes an inclusive view of the varied field in order to redress its marginalization, identifying three distinct types: the fine press book, the deluxe book, and the bookwork. She covers crucial supporters of the form, like New York's Center for Book Arts, Franklin Furnace, and the Visual Studies Workshop Press in Rochester, New York, as well as key organizations and figures in Chicago, Atlanta, San Francisco, and Los Angeles. Bright examines how artist's books have responded to specific movements, such as Pop, Fluxus, and...

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Martha Carothers shares her expertise on the history of pop-up books with the publication of "Brooklyn Pops Up!" The book coincides with the exhibition at the Brooklyn Central Library and includes the history and art of the movable book. The Sackner Archive is mentioned as holding Carothers' original bookworks. -- Source of annotation: Marvin or Ruth Sackner.