Scope and Contents

This project is a tour de force of printing by invited printmakers and graduate students who employed varied techniques on specialty papers, handmade papers and papercards. One print even utilized a pull-up by thread that was used in the Victorian era as in The Sackner Archive's Anonymously made Victorian Scrapbook. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This project is a tour de force of printing by invited printmakers and graduate students who employed varied techniques on specialty papers, handmade papers and papercards. One print even utilized a pull-up by thread that was used in the Victorian era as in The Sackner Archive's Anonymously made Victorian Scrapbook. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This book is a posthumous tribute by 61 contributors to the poet, Guillermo Deisler. -- Source of annotation: Marvin or Ruth Sackner.

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The translation of the title is "Step of Pedestrians." There were 19 participants in this assembling. -- Source of annotation: Marvin or Ruth Sackner.

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The press was founded by bp Nichol. This anthology contains reprints, originals and a copy of a booklet, Curvd H&Z no.235 that has been stored with the other issues in this series as well as the card, Gronk Intermediate Series No.19.The collaged page of Catalog Item #61 is a cellophane bag filled with powdered plaster of Paris in a stapled leaflet. Other Catalog Items from The Pataphysica Hardware Company include a pencil with erasers at both ends and one sharpened at both ends. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents The other copies of this assembling belong to Geof Huth, Nancy Huth, Erin Huth, Timothy Huth, Ficus Strangulensis, and John M. Bennett. Three copies are still held by Geof Huth. The archival envelope that houses the pieces is numbered 255950. Geof Huth provides extensive documentation on this project which is reproduced as follows. FILM CLIPS # 4 A SELF-DESTRUCTING COMPILATION OF CULTURAL ICONOGRAPHY AND MAIL ART O + + + + + . + + + + + R THE ILLEIST'S FRAME OF REFERENCE ENTOMBED WHAT ABOUT THIS IS ABOUT A bagazine of mailart and the ephemeral evidence of the culture we burrow through, "Film Clips" gives us some idea of the changing ways of documenting the world over the course of time. Ge(of Huth)'s life as an archivist and an occasional packrat have allowed him access to all kinds of materials just before their owners have destroyed them forever. He collected these with no idea in mind of what to do with them, and eventually "Film Clips" came to be. The proximate impetus for this...

Scope and Contents

Designed and produced by Marksteen Adamson. -- Source of annotation: Marvin or Ruth Sackner.

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This assembling was a student project supervised by Werner Pfeiffer. It was produced on the occasion of an exhibition Half a Century of Book Arts at Pratt. -- Source of annotation: Marvin or Ruth Sackner.

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This catalogue was in the collection of Jan van der Marck, director of the MOCA and curator of the exhibition. He wrote in the introduction, "What characterizes the majority of works in this exhibition is their complex permutation of words and images. The resulting visual language tends towards poetic rather than communicative functions." Van der Marck also wrote the biographies of the artists. The Sackner Archive also holds the archive for the limited edition box with contributions from the artists that was assembled for this exhibition. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents This archive, from the collection of Jan van der Marck (1929-2010), who curated it, essentially duplicates the pamphlet that accompanied the limited edition box of the same title. It includes four announcement cards from Language I, II, III & IV exhibitions at the the Dwan Gallery 1967-1970 with artists that might have received his invitation to contribute to the "Pictures..." or "...Telephone exhibitions. The former is not included in the pamphlet catalogue nor is the invitation letter included in the Archive. Other missing elements from the Archive that are depicted in the pamphlet include correspondence from Al Howard & a found advertisement on bottle caps. Bauermeister writes a long rambling letter with her thoughts on her contribution according to van Marck's dictum, viz., an object with no intrinsic value that can be picked up in a dimestore, found on a beach or manufactured with little trouble - expressive of your likes & ideas, an element recurrent in your work...

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This duplicates the correspondence for the exhibition archive and includes letters and cards by Arakawa, George Brecht, Tenny Duchamp, Ovind Fahlstrom, Ray Johnson, Allan Kaprow, Alison Knowles, Ron Kitaj, Gianni Simonetti, and Wolf Vostell. There are drawings by Baruchello, Mary Bauermeister, George Brecht, and James Nutt, and a collage by Granni Simonetti that deals with plans for assembling the found objects to be placed in a plexiglas box by museum personnel. The box is also accompanied by the catalogue of the exhibition. -- Source of annotation: Marvin or Ruth Sackner.

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This project and the accompanying book are a spoof on a vehicle advertised in Frankfurter Allegmeine Sonntagszeitung, the "ResidenSea." The latter is a luxery liner and houseboat all in one with 110 holiday residences and 88 apartments for sale. The prices range from $680,000 to $3,900,000! The booklet gives the artist's take on this project and the box objects presents the artists' view of another kind of travelling. The top of the box is a painting by Brigetta Heidtmann. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This magazine is one of the earliest to use semiotic signs for its poems. It was published by a group of Brazilian poets who wanted to be more avant garde than the current style of concrete poetry popularized by the Noigandres group. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This copy has an additional 8 unbound pages (compared to other copy in Archive) by Nei Leandro De Castro regarding a semiotic poem for the third world. He states, "In terms of my encounter with these semiotic poems that consist of constructivistic-shaped ideograms & Portuguese translations, I read them with the same feelings as I do with Japanese visual poems that are presented to the West as Japanese ideograms and English translations." -- Source of annotation: Marvin or Ruth Sackner.