Scope and Contents

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

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.

Scope and Contents

On the verso of most pages, curry has written the first publication of these works. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This consists of the labels used for the exhibition. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

Ruth and Marvin Sackner served as jurors along with Jean Trebbi. The catalogue was edited and the exhibition curated by James A. Findlay, Librarian of Special Collections. The companion exhibition at the Fort Lauderdale Library was "Modern Rare Books II: Artists' Books from the Mata and Arthur Jaffe Collection." -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This catalogue features Hamady's assemblages. Toby Olson and Buzz Spector contribute critical essays on Hamady's work. Olson wrItes about his art pieces in the essay "One Night at the Farm" and Spector describes Hamady's work in an essay, "Biblioselfconsciousness: Walter Hamady's Gabberjabbs." The Sackner Archive is mentioned as holding Hamady's works. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

Trinkewitz attached two panels of found papers and papercards from magazines, books and advertisements etc., cut to the size of match book covers, to a board collaged with an undecipherable, linear fragmented text with bold typefaces. These elements include images of Schwitters, Trinkewitz, Kolar, beautiful women, envelopes, receipts, maps, magazine pages, stamps etc. The verso has a signature dated 1984 at the Visual Poetry Conference in Saarbruchen, Germany. A photocopied group photographic portrait depicts Ruth and Marvin Sackner among poets at a visual poetry conference held in Sarrbrucken, West Germany in 1984. This work was exhibited in the Agnes Scott College Gallery, Atlanta, in January 2001. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

The exhibition was curated by Daniel Traister who contributed a critical essay. Marvin Sackner wrote the preface, "Humumentism": The Works and Ideas of Tom Phillips. Sackner coined a word, "Humumentism" to signify the art form of Tom Phillips, one that intregrates humanistic activities through individual creative thought that falls outside the current popular conception of artistic presentations. This is a varient copy with a yellow rather than red border on the cover. The works to the exhibition were lent by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

The Sackner Archive lent one book by Ito, one book by Matsutani, one book by Niikuni, and four books by Takahashi to this exhibition. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This exhibition of 29 former students of Walter Hamady was named for the typography studio in room 6451 in the Humanities Building at the University of Wisconsin. Each artist in the exhibition presented a statement of how Hamady influenced their artistic careers. Charles Alexander of Chax press notes that his works are held by the Sackner Archive. -- 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...

Scope and Contents

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

Scope and Contents

This book by Herbert S. Terrace entitled, "NIM: A Chimpanzee Who Learned Sign Language" was altered by Sackner and Rickles. The dust jacket title was altered to NIMS by Sackner by adding an 'S.' On the dust jacket photograph of NIM, Rickles collaged a piece of the blue Respibands sold by Sackner's company to monitor respiration in babies. She also drew blue Respibands on photographs of NIM throughout pages of the book. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This biting political poetry satire combines Goswell's techniques of rubberstamping text cut from erasers with her paste-up (collaged) techniques. Goswell states "Thanks Marvin Sackner for your encouragement" in the colophon page. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

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.