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This manuscript summarizes books and essays published by Kostelanetz over the years dealing with the subject of the title. He has dedicated the book to Ruth & Marvin Sackner. -- Source of annotation: Marvin or Ruth Sackner.

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Includes descriptions of each of the books in the 10th anniversary exhibition. It also lists suggested readings relevant to artists books. Includes a photograph of Pat Oleszko's Glove Story, a book held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

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There is a brief essay by D. Fendrick about the book as a work of art. "Boite-en-Valise" and "The Large Glass and Related Works" by M. Duchamp that are mentioned and reproduced in this catalogue are held by the Sackner Archive as is Lucas Samaras' "Book." The loose sheet is a price list. -- Source of annotation: Marvin or Ruth Sackner.

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Features a brief essay on books as works of art by D. Fendrick. "Foirades/Fizzles" by J. Johns and S. Beckett, which is mentioned, is held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents This catalogue is described on the back cover as follows: "Artists' books have emerged over the last twenty-five years as one of the most engaging contemporary art forms, addressing subjects from poetry to politics, incorporating a full spectrum of artistic media and bookmaking methods, and taking every conceivable form. Female painters, sculptors, calligraphers, and printmakers have played a primary role in developing this new mode of artistic expression. The Book as Art presents more than one hundred of the finest artists' books culled from the collection of the National Museum of Women in the Arts. These exquisitely crafted objects are certain to provoke unexpected and surprising conclusions about what constitutes a book." In her essay, "The Brightest Heaven of Invention" curator Krystyna Wasserman writes, "Among private collections, The Ruth and Marvin Sackner Achives of Concrete and Visual Poetry in Miami, Florida, has been a source of continual revelation and several...

Scope and Contents This publication was produced as a reference for an exhibition on artist books held at the Nigel Greenwood Gallery. In an introductory essay, Celant analyzes the artist book through the movements of conceptual art, happenings, arte povera, minimal art, and lays particular emphasis on the bookworks of Joseph Kosuth. 6 Decades Books: "Book as Artwork 1960/1972 was the first catalogue devoted to the then new medium of the artist's book and it remains a canonical reference (though one that, due to its scarcity, is not as well known as it should be). This publication started as an article and a list of about 80 artists' books which appeared in 1970 in the first issue of the Italian magazine Arte. Not long after it was translated and published in Interfunktionen. Then in 1972 the Nigel Greenwood Gallery in London mounted an exhibition of artists' books and issued a catalogue with an updated text by Celant and a greatly expanded bibliography (now nearly 300 titles) jointly compiled by...

Scope and Contents

Includes a brief text by Pella Erskine-Tulloch on the binding of the edition of 100 of Tom Phillips' "A Humument" published by the Tedrad Press between 1967-1973 held by the Sackner Archive. Also includes a text by Phillips about the edition. The pop-up title page was designed by Ron King. "Word Clock III" by John Christie that is held by the Sackner Archive is depicted in this book. -- Source of annotation: Marvin or Ruth Sackner.

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The Arion Press' books, "Shaped Poetry, Self Portrait in a Convex Mirror and Flatland," which are held by Sackner Archive, are reproduced in this article. -- Source of annotation: Marvin or Ruth Sackner.

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This well illustrated book with 25 essays was published on the occasion of the of the exhibition "Text, Buch, Kunst" presented at the Frankfurt 2000 Book Fair. Rypson contributes a concise introduction that traces the artist book from Kahnewilers's publications of Picasso' Cubist engravings, to the Trans-Siberian Railway, Un Coup de Des by Mallarme, the Russian Avant-garde, the Futurists, Dada and Conceptionalism. Rypson describes six elements in structuring "word space." 1. visual poem 2. layout of a poem 3. cover design 4. typographic composition 5. illustrated book 6. artists' books. -- Source of annotation: Marvin or Ruth Sackner.

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This is the second revised edition that includes the proceedings of a symposium in which the Sackners took part. Timothy Eaton curated this comprehensive exhibition of book art and in the preface acknowledges the Sackner Archive as "the premier contributors with the loan of fifty works..." All the authors contributing an essay to this catalog signed the book. -- Source of annotation: Marvin or Ruth Sackner.

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This is the third edition of the catalog. -- Source of annotation: Marvin or Ruth Sackner.

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Timothy Eaton curated this comprehensive exhibition of book art and in the preface acknowledges the Sackner Archive as "the premier contributors with the loan of fifty works..." -- Source of annotation: Marvin or Ruth Sackner.

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This article documents a debate between lovers of the printed text and a teacher of computers in a middle school. -- Source of annotation: Marvin or Ruth Sackner.

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This exhibition was designed to teach children about possibilities for their own creative expression in book form. -- Source of annotation: Marvin or Ruth Sackner.

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This is the third voume in the series published based on the collection of the Dieter Roth Foundation. -- Source of annotation: Marvin or Ruth Sackner.

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The catalogue lists the holdings of the mail art library of Lois Klassen with a classification system of this genre. The card is handwritten from Patricia Collins to Marvin Sackner who sent the book to him as an "exhibition catalogue that might be of interest." -- 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.

Scope and Contents Phillpot mentions that he was initially dismissive of unique artist books because he was an advocate of mass produced books when he took a position as chief librarian at MOMA in NYC. But after living in the United States, he accepted them since he realizized that they were still books done by artists.In the Acknowledgement section at the end of this book, Phillpot lists Marvin Sackner among the people "who have invited me, assisted me, and encouraged me into print, with regard to artists' books." artbook.com: "Clive Phillpot has been a tireless advocate for the artist's book for more than 40 years"‰--"‰both as a critic, curator and editor, and in his tenure as director at the library of The Museum of Modern Art in the late 1970s, where he built the library's collection of artist's books and mapped out the field with influential essays that traced its ancestry and distinguished it from seemingly similar genres such as the livre d'artiste. As he has delineated the genre: "Artists'...