Scope and Contents This text of this book, that was written and designed by Fiona Banner, is printed only on the right sided facing pages. There are no paragraph separations of five, continuous film scripts dealing with battleground episodes of the sixties, Viet Nam war. The cover depicts the title in a psychodelic hot pink color on a bright blue background. The book was published in 800 unsigned, soft cover copies and 200 signed, hard cover copies.Nancy Princenthal writing in Art on Paper Vol.4 No.5, 2000 offers the following description. Banner doesn't generally dispense with punctu-ation altogether, but the headlong flow of language in her work, paced like spoken rather than written language and printed without-paragraph breaks, is most easily made sense of by being read aloud. This is as true of relatively short, single-sheet works like the 1999 "This Is It" (a hand-scripted summary, writ-ten from memory, of the movie "The Deer Hunter") as it is of "The Nam" (London, Frith Street Books with...

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The text printed on the red umbrella is by Robert Louis Stevenson. The colophon is printed on a circular paper fastened to the tip of the umbrella. It states that this edition is dedicated to Judith A. Hoffberg, whose passion for artists' books led her to become the Founder and Editor of Umbrella, a resource for news and documentation of contemporary book art since 1978. Judith is co-founder of The Art Librarians Society of North America (ARLIS/NA). -- Source of annotation: Marvin or Ruth Sackner.

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Sei Shonagon was a lady-in-waiting at the court of the Japanese Empress in 990 A.D. who kept a note book on the people, places and things she encountered in her daily life. Cole and Stetser used these notes as the basis for their collaboration. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

Sei Shonagon was a lady-in-waiting at the court of the Japanese Empress in 990 A.D. who kept a note book on the people, places and things she encountered in her daily life. Cole and Stetser used these notes as the basis for their collaboration. -- Source of annotation: Marvin or Ruth Sackner.

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This book was conceived and directed by Harriet Bart and printed in collaboration with Philip Gallo. Bart writes that she searches "for ancient, small quotidian objects and early signs of writing. Countless treasures of the daily capture my imagination...Objects and inscriptions, beautiful and mysterious, carry forth their secret stories and the everyday poetry of praise." Each page of found poetry is recreated by Barth and contains a unique gilded geometric form. the binding is by Jill Jevne. -- Source of annotation: Marvin or Ruth Sackner.

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Book object unfolds to form a pyramid. -- Source of annotation: Marvin or Ruth Sackner.

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The leaflets are printed and handcolored with the word, courage, in varied colors of ink. This version of the work was based upon a unique 1978 work. The embroidered badges were made by Steve Gilley in his shop in Yakima, Washington. -- Source of annotation: Marvin or Ruth Sackner.

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The leaflets are rubberstamped with the word, courage, in varied colors of ink. One leaflet depicts an image of a lion. The rubberstamped leaflets differ in color and layout from bag to bag such that all ten copies can be considered unique. All seven copies are stored in the Wally Depew unique box. This version of the work was based upon a unique 1978 work. -- Source of annotation: Marvin or Ruth Sackner.

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All pages are blank and alternate with black and white stock. The rubberstamped message in English and Italian is as follows: "The other side of the medal does not change the specific weight of the award." -- Source of annotation: Marvin or Ruth Sackner.

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Each page with random calligraphically arranged texts has been overprinted with a single letter from the title. -- Source of annotation: Marvin or Ruth Sackner.

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Each page depicts photocopied ancient images of snakes with captions supplied by Vater; the book documents a museum installation. -- Source of annotation: Marvin or Ruth Sackner.

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First published by Grove Press in 1968, this edition was typeset and printed by Johanna Drucker. On several pages, light blue markings are printed under the text as a sort of abstracted female genitalia area. -- Source of annotation: Marvin or Ruth Sackner.

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Each page was rubberstamped in colored ink using a toy snake. Other elements included drawings from a rubber stamp of traffics signs. -- Source of annotation: Marvin or Ruth Sackner.

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The brochure accompanying the book consists of a critical introduction to Bolton's poem that George Alexander likens to poetic abstract expressionism. -- Source of annotation: Marvin or Ruth Sackner.