ArchivesSpace at the University of Iowa

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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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Includes listing of all artist/poets on Postcard seies including Marvin Sackner. -- 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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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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Marvin Sackner's essay, "Recollections of John Eric Broaddus" is featured. Walter Hamady's exhibition at Granary Books, "Boxes and Collages," is reviewed; one of the assemblages in this exhibition was acquired by the Sackner Archive. -- 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 essay by Marvin Sackner in the catalogue has been altered in the style of Broaddus' work. The Catalogue itself is presented as an Artist Book. -- 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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On the verso of most pages, curry has written the first publication of these works. -- 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.