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The poem reads, "the gallery of a hundred years of a thousand - is in every street - art in the street - covered with pictures vivified." -- Source of annotation: Marvin or Ruth Sackner.

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The poem reads "the gallery of a hundred years of a thousand is in every street - art in the street covered deep with pictures vivified". Includes part of a map cut out. -- Source of annotation: Marvin or Ruth Sackner.

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The essay and photographs trace the history of the public toilets in Montparnass during the Belle Epoque. -- Source of annotation: Marvin or Ruth Sackner.

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This issue is composed of weather maps from Le Monde, for the month of October 1969. Newspaper stories on the verso of each map page are from France-Soir and report crimes committed on the following day. -- Source of annotation: Marvin or Ruth Sackner.

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The first 20 copies were signed; the Sackner's copy is unsigned. -- Source of annotation: Marvin or Ruth Sackner.

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Peckl uses shredded maps to make collaged portraits of figurative women temptresses. -- Source of annotation: Marvin or Ruth Sackner.

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Internet: Leonhard Frank Duch was born in Berlin in 1940. In 1951 his family emigrated to Sao Paulo in Brazil. In 1957 he attended an art school. From 1970 to 1974 he studied journalism at Universidade catolica de pernambuco in Recife. He continued painting and won first prices of the Annual Art Salons in Brazil in 1984 and 1987. He worked with 8mm films and performances as well. He had been active in the Mail Art scene from 1975 to 1994. Using Mail Art as a way of protesting against the military regime, that lasted until 1989, was of special importance to him. In 1994 Duch moved back to Berlin. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents Basinski reviewed this book on the WEB: "Bodh[i] Circu[it]s / Alg[a]e[bra] D[ra[in]] continues work that Derek White has done in his previous books: 23 Text Tiles and Mining in the Black Hills both 2003 from Calamari Press. This is expansive visual poetry and as that something needed. Guilty, visual poets are sometimes of repeating themselves via style and form and medium but you won't find any of that in Derek White. He is the most expansive visual poet I've read in some time. Each page in fact is a new field of work, a new form, form of forms, and he has not abandoned the word but has each time found it fresh and new again and is able to ornament it in balance with visuals, various forms, lines images, color, type, print, hands, photocopy, and conglomeration, a constellation cooperation of mediums germinates and generates into a splendidly babbling work. And with babble I mean only a compliment because babble is the multi-sound/dimensions one hears, as sweet delight, when...

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This is Maya Lin's first book. In it, she describes the design methods for creation of her monuments, homes, libraries and sculptures. The book contains sketches, photographs, workbook entries, and original designs along with a personal text. -- Source of annotation: Marvin or Ruth Sackner.

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Lumb writes that he has received Collins' package. -- Source of annotation: Marvin or Ruth Sackner.

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This book reproduces 297 visual poems from 1962-2005. None of the Sackner Archive's large collage, visual poems are depicted. Photographs of all the multiple editions of artist books and objects held by the Sackner Archive are reproduced in this volume. -- Source of annotation: Marvin or Ruth Sackner.

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This catalogue presented examples of calligraphic works from The Society of Scribes & Illuminators through 75 years of their history. -- Source of annotation: Marvin or Ruth Sackner.

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The edition consisted of 12 numbered and signed copies and four artist proofs that contained the reief print and three additional prints. In addition, 90 ordinary copies did not include the relief print and three additional prints. The images consist of young girl's bottom underware. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents New York's undersung borough of Queens, home to the new Ellis Island (the city's airports), may be the most diverse county in the country today, and documentarians Lehrer and Sloan have innovatively brought it to life. First-person narratives that sometimes intertwine several voices (some were broadcast on the public radio program The Next Big Thing) are matched by a bold and colorful layout: large portraits, long-view landscapes, multiple typefaces (sometimes within the same paragraph) and inset graphics or asides. The stories are grouped in five lower-case sections: contemporary pilgrims," "asylum seekers," "family ties," "neighborhood tales" and "unlikely coexistences" (Ping-Pong players, a high school, a punk-gypsy cabaret band). The language can be poetic; a Congolese asylum-seeker declares, "Wackenhut is a for-profit business they are making from the sorrow of detainees." Two Egyptian restaurateurs, brothers, lament gentrification: "You really killed yourself with the...

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Moss writes, "Six days a week I take a ten-minute bike ride through Jerusalem. I also bike through time, history, memories and feelings as I pedal from home to my studio. I made a little map of my studio." The text of the brochure by Moss describes his thoughts about maps in general and his own personal realities. -- Source of annotation: Marvin or Ruth Sackner.

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Moss writes, "I have long been taken by the notion of topographical maps [that] seek to translate the intimate features of a place into a graphic representation.The origins of this type of mapping are closely connected to the Land of Israel and Jerusalem. My Dream Map is an attempt to recapture some of the mystery and charm of these early maps." The image for this print is based on an original in the collection of Richard and Beatrice Levy. -- Source of annotation: Marvin or Ruth Sackner.