This catalogue depicts the prints made by Vennekamp during his seven years with Rixdorfer Drucke.The original colored etching is entitled NASA Spion and is a political cartoon with a main image depicting a toy bird wearing an American flag and the corners trigonometric figures. -- Source of annotation: Marvin or Ruth Sackner.

The inserted stapled pages consist of a glossery of French bookbinding terms used in the catalog. The works on exhibition featured French avant garde bookbindings. -- Source of annotation: Marvin or Ruth Sackner.

Beautiful Dreamer, documented in detail by the artist, is a sculptural mask held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

The theme of this exhibition by 18 artist participants was the creation of environmental art. -- Source of annotation: Marvin or Ruth Sackner.

Simon Cutts and Colin Sackett selected 16 publishers for an exhibition at the Plymouth Arts Centre. The publishers in turn selected the work of their press for presentation. The presses included Aggie Weston, Coracle, Moschatel Press, Weproductions, Wild Hawthorne Press and Writers Forum. -- Source of annotation: Marvin or Ruth Sackner.

Jerome Rothenberg wrote the introduction and Mac Low supplied notes throughout the book that documented the varied works. -- Source of annotation: Marvin or Ruth Sackner.

Jerome Rothenberg wrote the introduction and Mac Low supplied notes throughout the book that documented the varied works. The handwritten poem on the last two pages of the book, "Ruth and Marvin Sackner," spells out the namesby a diastatic-chance method by drawing words from this book by placement of the names. For example, the first line of the poem is righteous number out nothing is obtained as follows. Righteous (page 18), nUmber (page 21), ouT (page 20), notHing (page 8). The page numbers correspond toplaces of the required letters in the alphabet: the words in stanza 1, from "018"; 2 from "118," etc. Mac Low has also handwritten a list of errata near the title page. -- Source of annotation: Marvin or Ruth Sackner.

Although Gerz began as a visual poet, his later work dealt often with the events of the Holocaust. Gerz's public works frequently took the form of interviews and participation of the viewer. -- Source of annotation: Marvin or Ruth Sackner.

Curated by Georg Jappe. -- Source of annotation: Marvin or Ruth Sackner.

This magazine was initially combined with PhotoStatic and is the first issue to appear all by itself. Review of CD's. -- Source of annotation: Marvin or Ruth Sackner.

Includes an interview with Walter Hopps and essays by Robert Duncan dealing with Berman's personality and by David Meltzer on Berman's infatuation with Hebrew letters. -- Source of annotation: Marvin or Ruth Sackner.

This is a critical review of the artist book of undersea photographs by Busonero with the poetic collaboration by de Charmoy; the work is held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

Vladimir Nabokov's collection of inscriptions, annotations, corrections, and butterfly descriptions were designed by Barbara Bloom as commemorative stamps for exhibition of Nabokov's library at Glenn Horowitz Bookseller. -- Source of annotation: Marvin or Ruth Sackner.

Includes reproductions of a Brazilian literary periodical, Revista de Antropofagia (1928-1929). -- Source of annotation: Marvin or Ruth Sackner.

Each letter of the word REVOLTE, separately framed, is made of chewing gum by the artist who describes in each accompanying diary text what, when, and duration of the type of gum he chewed. -- Source of annotation: Marvin or Ruth Sackner.

Thid poster is also included in the Deluxe copy of Lgne Creatrice No.7-9. 1972. -- Source of annotation: Marvin or Ruth Sackner.

This is a first draft for a chapter sent to Joan Lyons for inclusion in her book, "Artists' Books." The letter relates to the costs of preparing the manuscript. -- Source of annotation: Marvin or Ruth Sackner.

Cards No.25 & No.26 were scanned into record. -- Source of annotation: Marvin or Ruth Sackner.