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curry's contribution deals with his views on mimeograph printing. -- Source of annotation: Marvin or Ruth Sackner.

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curry indicates that this is the "2nd run with typography fixed from 5 cent MiniMimeo #23, 1969." -- Source of annotation: Marvin or Ruth Sackner.

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The artist uses a complex color coding system for his abstract images to convey words and sentences about a topic. He discusses this system for every artwork depicted in the catalogue. -- Source of annotation: Marvin or Ruth Sackner.

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The human silhouette painted on a door panel who silently points out a chest x-ray to another silhouetted figure to emphasize the physiologic importance of breathing is taken from the lead on an article on asbestos screening contained in this documentation. The manuscript includes the handwritten title and a sketch of the planned sculpture. -- Source of annotation: Marvin or Ruth Sackner.

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The soft cover book accompanying the works on handmade papers provides a brief essay by Sandra Kirshenbaum on the history of printing on this media from the 2nd century to the present. The remainder of the book is concerned with artistic and technical statements by the contributors to this work. Each press comprising one or several collaborators contributed a work to this project on a different handmade paper that is enclosed within an identifying paper folder. Tom Leech and Peter & Donna Thomas made prints of statements by Voltaire and Shakespeare, respectively, on pulped printed text that incorporates fragments of letters and words. John Risseeuw mentions that his prints are held by the Sackner Archive. This papermaking process is similar to that obtained by J.H. Kocman in other handmade papers held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

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Karis Shearer contributed an essay dealing with Imago, a small press magazine edited by Bowering and its influence on the Canadian long poem. The Sackner Archive holds five of the 20 issues of this periodical. -- Source of annotation: Marvin or Ruth Sackner.

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There is mention of A.G. Rosen, a Goldsmith collector, who owns the lead copy of "Steal This Book." The Sackner Archive holds the plywood copy. -- Source of annotation: Marvin or Ruth Sackner.

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Paul Dutton provides a vivid description of Bob Cobbing's apartment on Petherton Avenue in London in 2002 that was visited by the Sackners several times. Dutton also describes the innovative ways that Cobbing utilized his photocopy machine. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents Lisa Robertson (born on July 22, 1961 in Toronto) is a Canadian poet who is best known for a collection a poem entitled The Weather, which was inspired by the shipping forecasts announced on BBC radio. She currently lives in Oakland, California. In 1979, she moved to British Columbia, where she remained for twenty-three years. During her time there, she was a member of The Kootenay School of Writing, which is a non-profit society that offers an alternative to the mainstream pedagogy of most Canadian universities. She has been integrally involved in Vancouver's art scene and is an honorary board member of Artspeak Gallery. She has written on and reviewed exhibitions and pieces by Kelly Wood, Robert Garcet, Liz Magor, Allyson Clay, Kathy Slade, and Hadley+Maxwell, among others. She has also written on architecture and sites in British Columbia. Robertson contributed the "Beneath the Pavilions" column to Mix from 1997-1999. She co-edited the poetry journal Raddle Moon with Susan Clark...

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The cover image was done by Derek Beaulieu. -- Source of annotation: Marvin or Ruth Sackner.

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This issue is contains materials from a symposium on the work and life of Greg Curnoe held May 11-12, 2001. Concurrently, there was an exhibition held jointly by the Art Gallery of Ontario and the Ontario College of Art & Design in Toronto, "Greg Curnoe: Life & Stuff." -- Source of annotation: Marvin or Ruth Sackner.

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David Moss writes in the brochure that "this work was inspired by the blue gates and doors of Zefat...an unspoken metaphor hovers over this ancient custom of painting entrances blue in Zefat...the text of this little book is the well-known verse of Psalms 118:19: "Open for me the gates of righteousness; I shall enter them and I shall praise God." The abstsract Hebrew letters of this verse are uniquely designed by Moss to fit into the four gate-like papercuts. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents Cameron writes, "6pp green typescript of dsh version of opening of Protrepticus of Clement of Alexandia with annotations in brown type signed this version for cc." The book that dsh reviews is by Jeanine Miller: "The Vedas: Harmony, Meditation and Fulfilment" (London: Rider, May 1974) Wikipedia: This describers the first of the three surviving works of Clement of Alexandria, a Christian theologian of the 2nd century.The work is, as its title suggests, an exhortation to the pagans of Greece to adopt Christianity, and within it Clement demonstrates his extensive knowledge of pagan mythology and theology. It is chiefly important due to Clement's exposition of religion as an anthropological phenomenon. After a short philosophical discussion, it opens with a history of Greek religion in seven stages. Clement suggests that at first, men mistakenly believed the Sun, the Moon and other heavenly bodies to be gods. The next development was the worship of the products of agriculture, from...

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John Furnival and dom Silvester Houedard, the editors define this venture as follows. "typography - openings are constituted by poet/ typographer/ artist - openings are active poetry - openings make everybody make poetry - poetry means making poesis - a typographer thinks that the poem is the first of of the first things first." graphics - we aim to produce a series which is not a complete integration of graphics and text, i.e. not an illustrated poem or a captioned drawing but a picture/poem - in fact, we always start out with, and work from, the poem - the difficulty lies in maintaining the balance between text and drawing." -- Source of annotation: Marvin or Ruth Sackner.

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The proof copy verso lacks information on poetry, graphics, typography, and printing contacts as on the distributed copy. On the verso of this pamphlet, Furnival writes, "Rough proof of propectus for OPENINGS PRESS, founded in 1964 by John Furnival + dom Silvester Houedard." They define this venture as follows. "typography - openings are constituted by poet/ typographer/ artist - openings are active poetry - openings make everybody make poetry - poetry means making poesis - a typographer thinks that the poem is the first of of the first things first." graphics - we aim to produce a series which is not a complete integration of graphics and text, i.e. not an illustrated poem or a captioned drawing but a picture/poem - in fact, we always start out with, and work from, the poem - the difficulty lies in maintaining the balance between text and drawing." -- Source of annotation: Marvin or Ruth Sackner.

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The loose sheet contains a text by Fahlstrom explaining this series of prints. The black and white prints, each numbered on the right side, are presented in a horizontal, scroll-like fashion. The dark, somber, abstract-expressionist thematic forms depicted in the prints are combined with letters & letter-like characters. Based on a prior work of 1952, Opera might have served as a scenic backdrop for the Wagnerian Ring operas. *WEB 1998: Sharon Avery-Fahlström. This silkscreen print is realized in ten panels with wallpaper-like margins which permit an overlapping installation. The concept was to install the work in a continuous line. -- Source of annotation: Marvin or Ruth Sackner.