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Exhibition was curated by Filiberto Menna & Francisco Gallo. -- Source of annotation: Marvin or Ruth Sackner.

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This book was initially published in an edition of 75 copies in 1935. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents Amazon.com: "An explosion of little architectural magazines in the 1960s and 1970s instigated a radical transformation in architectural culture, as the magazines acted as a site of innovation and debate. Clip/Stamp/Fold takes stock of seventy little magazines from this period. The book brings together a remarkable range of documents and original research which the project has produced during its continuous travels over the last four years starting with the exhibition at the Storefront in November 2006. The book features transcripts from the "Small Talks" events in which editors and designers were invited to discuss their magazines; a stocktaking of over 100 significant issues that tracks the changing density and progression of the little magazine phenomenon; transcripts of more than forty interviews with magazine editors and designers from all over the world; a selection of magazine facsimiles; and a fold out poster that offers a mosaic image of more than 1,200 covers examined...

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The editor states that the 17 essays in this book are concerned with poetry readings, the sound of poetry and the visual performance of poetry. They "offer original and wide-ranging elucidations of how twentieth-century poetry has been practiced as a performance art." Johanna Drucker contributed a chapter titled "Visual Performances of the Poetic Text" in which she describes and illustrates several poems of early 20th century visual poetry movements including an in depth analysis of "Poesie de mots inconnus" by Iliazd, a book that is held by the Sackner Archive. A listing of audio resources and a bibliography are included. -- Source of annotation: Marvin or Ruth Sackner.

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Schwenger provides a critical analysis of the book, "Codex Seraphinianus" by Luigi Serafini (a work held by the Sackner Archive) . -- Source of annotation: Marvin or Ruth Sackner.

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This catalogue, that was written by Christopher McIntosh, provides a long critical essay. He mentions the runic symbol of the SS as an example which evolved from the interchangeable f's and s's in the 18th century symbolizing grace, elegance and high culture. He notes that Finlay's interest in the SS symbol is an example of coincidence, for this has passed into the visual symbology of "pop" culture; the rock group "Kiss" use it and it is frequently scrawled as grafitti. -- Source of annotation: Marvin or Ruth Sackner.

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John Risseeuw, the Curatorof the exhibition acknowledged loan from the Sackner Archive that included 27 of the 67 works. -- Source of annotation: Marvin or Ruth Sackner.

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This book consists of a collection of the following essays. Raines contributed a poem about Stonypath. Bann discussed Heroic Emblems by Finlay (designated Picture Poems in the Sackner Archive). Douglas Hall wrote of Finlay's collaboration with Jud Fine in their series of 20 drawings. Miles Orvell analyzed Finlay's "Pacific." Scobie provided an essay on Finlay's picture poem, "Homage to Kahnweiler." Finlay created a pun on Daniel-Henry Kahnweiler's critical book on Juan Gris "Life" and "Work" with the caption Juan Gris: His "Knife" and "Fork." -- Source of annotation: Marvin or Ruth Sackner.

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Raines contributes a poem about Stonypath. Bann discusses Heroic Emblems by Finlay (designated Picture Poems in the Sackner Archive). Douglas Hall writes of Finlay's collaboration with Jud Fine in their series of 20 drawings. Miles Orvell analyzes Finlay's "Pacific." Scobie provides an essay on Finlay's picture poem, "Homage to Kahnweiler." Finlay creates a pun on Daniel-Henry Kahnweiler's critical book on Juan Gris "Life" and "Work" with the caption Juan Gris: His "Knife" and "Fork." Pencilled-in corrections in an unknown hand have been made for two typographic errors, 'r' for 't' on page 7 to change the word 'takes' to 'rakes' and 'n' for 'r' to change the name 'Gallard' to 'Galland.' -- Source of annotation: Marvin or Ruth Sackner.

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Exhibition was curated by Bernice Steinbaum. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents The first of what was to have been a two volume work; the author died before completing Volume Two. This first volume covers the classic age of collage, prior to WW II and contains some material on the 1950's and 1960's. The author, Dr. Herta Wescher, was the friend of many Bauhaus and other collage artists.Her writing embodies the enthusiasm, humor, affection, and personal comprehension of a participant in the lively and contentious circles she frequented. Assiduously she tracked down reminiscences and forgotten works from those tumultuous times, rescuing from oblivion much previously unpublished material. Thanks to her research, the reader may not only see the output of world-famous collagists, but also may meet the brilliant but often neglected Czech adherents of Futurist and later styles; the Russian Avant Garde; the loners from various parts of the world, all of whom helped make collage one of the most direct and unguarded forms of expression in the long history of art." --...

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In his introduction, Eric Mottram writes that "Voice Prints is for voice performance, and looking or meditating performance...[The] poem-texts or poem-images continue Bob Cobbings's experimental achievements with many uses of words, word-orders and word designs." -- Source of annotation: Marvin or Ruth Sackner.

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From the curators' forward essay. "The works assembled for this exhibition confront an elementary complexity behind this pastime, driving artists froamdiverse paths to explore often obsessively, a unique relationship with the sky and the vertical axis it draws." -- Source of annotation: Marvin or Ruth Sackner.

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Robert Jackson participated in the Avant Garde: Second Wave symposium at Ohio State University Rare Library, July 2002. -- Source of annotation: Marvin or Ruth Sackner.

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This collection enclosed in an envelope includes 1) poster entitled TOOL: richerche interlinguistiche [1971], 2) two different posters entitled, Fra Significante e Significato: La Nuova Scrittura [1975], and 3) Artescrittura. -- Source of annotation: Marvin or Ruth Sackner.