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The manifesto deals with a new conventional direction the two artists want to take in future years. The rest of the book documents previous undertakings and exhibitions in Neo-Dada and Food Art projects. The Sackners are mentioned as holding work by Eidia. -- Source of annotation: Marvin or Ruth Sackner.

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This is a review of "Personal Choice: Selections from Four Penn Alumni Collections" at the ICA at the University of Pennsylvania in which selections from the Sackner Archive were included. -- Source of annotation: Marvin or Ruth Sackner.

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The author states that Boshoff's typewriter, concrete poetry book entitled "KykAfrikaans" is one of the most remarkable books ever published in South Africa. Twelve pages of this book deal with the making of "KykAfrikaans" along with representative images. The published book as well as the original typings are held by the Sackner Archive. Vladislavic also describes and provides reproductions of Kleinpen I and Bangboek. The former is held in its entirety by the Sackner Archive; for the latter, one original page, photocopied pages of the remainder, and the code decipher are held by the Sackner Archive. In the postscript essay, Ivan Vladsilavic declares, "In recent years, Boshoff has become one of South Africa's most visible, successful artists. This has awakened interest in his early works, such as KykAfrikaans and Bangboek, which have been shown internationally after long obscurity. He continues to make dictionaries." -- Source of annotation: Marvin or Ruth Sackner.

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Marvin Sackner published his famous "Chicken Soup" postcard with PPP in 1987. The Sackner Archive is listed in "Collections." -- Source of annotation: Marvin or Ruth Sackner.

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Marvin Sackner is cited for his contribution of "Chicken Soup" to Postcards V 1987. The Sackner Archive is listed as holding Purgatory Pie Press works. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents This is the catalogue for a retrospective exhibition of Boshoff's work. Boshoff writes that his inspiration for concrete poetry was his passion for crossword puzzles. Boshoff writes (page 23) in an lengthy biographical interview with Warren Siebrits the following: In early 1996, I visited the book artist Robbin Silverberg taking with me a silkscreen print of a poem from KYKAFRICAANS to thank her for the hospitality and kindness she showed me. She didn't seem to like it very much, and suggested we take it to show to the artist book dealer Toni Zwicker.Toni was already quite elderly, but it was amazing to see how excited she became about this work from KYKAFRICAANs that I has made 15 years earlier. As it happened, the great American collector, Marvin Sackner, from Miami, visited Toni's home while we were there. He became so enthusiastic that he decided on the spot to buy the original manuscript of the 99 A4 typed pages that constitute KYKAFRICAANS, and invited us to go and visit him...

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The Sackner Archive lent Word Works (Book) to this exhibition. -- Source of annotation: Marvin or Ruth Sackner.

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This catalogue consists of the listings of two exhibitions, viz., "Typewritten Art and Concrete Poetry" drawn solely from the Sackner Archive, and "Words and Images" from the Sackner Archive and other collections. -- Source of annotation: Marvin or Ruth Sackner.

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Fernando Gonzalez reviews the multi media performance of De Campos, Poetry Is Risk, and the concrete poetry movement in Brazil in his first article; he describes the Sackner Archive in the second section. The Sackners are photographed in their gallery. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents Marvin Sackner wrote the essay for this catalogue, entitled "Introduction to WordSeen Exhibition." To begin, I must declare a conflict of interest in writing this introduction. Such a statement is required when a physician presents a paper to a scientific audience while having ownership in a company or being paid for conducting studies on medical devices or drugs related to his lecture. Since I am a physician and my wife Ruth and I own works by most of the artist/poets in this exhibition, I wish to be in front with this declaration. Nevertheless, I believe that I can be objective in my views since the works in this exhibition must stand visual relevance by attendees to this exhibition regardless of what I say just like medical studies must stand the test of reproducibility by other investigators. I hope you get the point about my opinions on conflict of interest. In this introduction to the exhibition, I shall comment on the differences between concrete and visual poetry as well as...

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This is an extension of Dautricout's rubberstampings dealing with permutations of "word." Here the images are produced in a computer and then printed with a Canon laser color copier. The catalogue mentions that Dautricourt's work is held in the Sackner Archive and was exhibited in The Altered Page (Center for Book Arts, NY) and the Beauty in Breathing Exhibitions (Miami Beach). -- Source of annotation: Marvin or Ruth Sackner.

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Marvin Sackner's talk at Birganart Gallery, Toronto is briefly reviewed by Judith Sandiford and Ronald Weihs. -- Source of annotation: Marvin or Ruth Sackner.

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Eye a book object from 1983 held by the Sackner Archive is depicted in this book. The CD is titled "Visual Poetry in the Avant Writing Collection, Ohio State University. -- Source of annotation: Marvin or Ruth Sackner.

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In Writing Surfaces, derek beaulieu and Lori Emerson present a collection of John Riddell's work. Riddell's poems and short stories are a remarkable mix of largely typewriter-based concrete poetry mixed with fiction and drawings. Riddell's oeuvre fell out of popular attention, but it has recently garnered interest among poets and critics engaged with media studies (especially studies of the typewriter) and experimental writing. This book is an anthology of Riddell's published and unpublished works. It should be noted that the typewriter poem entitled 'Morax' totally differs from the piece with the same title published in Kontakte Series 1 No.1, a periodical held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

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This book extends the autobiography of David Daniels from 1973 to 2002 (original manuscript with same title ran from 1933 to 1972). The years 1933 to 1972 are repeated from the original manuscript that is also held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

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

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In this book, Deisler dedicated a sound poem to Marvin Sackner entitled "breath-in and breathe-out." This book is also designated as Hallesche Autorenhefte 18. -- Source of annotation: Marvin or Ruth Sackner.

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Mention is made that Clinefelter's work is held by the Sackner Archive. With one exception, each page depicts a "...Rorschach Visualization of the Sounds of the Greatest Prominence in most Syllables." -- Source of annotation: Marvin or Ruth Sackner.