This book was first published in 40 copies in 2008. -- Source of annotation: Marvin or Ruth Sackner.

This exhibition, curated by Julien Blaine, comprised statements and representative works from several international visual poets that memorialized five "ambassadors" of poetry who died in the past five years. The "ambassadors" were Franco Beltrametti, Julio Campal, Guillermo Deisler, Mathias Goeritz, amd Adriano Spatola. The statements were responses to the questions: What do you speak about in your work? Why the world? What about international exchange? Each poet also submitted an autobiography that was reprinted. Page IX depicts a photographic reproduction of a sculpture, "A" by Bartolome Ferrando that is held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

This anthology is the first to appear in Russia with such a scope and range of authors. It's purpose is to give Russians a feeling for a new phenomenon of contemporary literature and art; international sound poetry.The Set of 4 CDs represents the sound poetry productions of one hundred and ten poets from twenty-two countries, who currently are working in this area and related [the] audio-art fields. The theoretical base of the anthology includes essays by leading sound poets and researchers of this trend, dedicated both to the issues of the genre and the history of sound poetry development in different countries. This initial enterprise in sound poetry will let the Russian reader/listener trace the ongoing developments in the historical field of artistic goals that the contemporary experimental poets set for themselves. -- Source of annotation: Marvin or Ruth Sackner.

This is the 2nd edition of a book compiled for teaching concrete and visual poetry in the grade schools. Each page depicts a concrete or visual poem. A photograph of Paul-Armand Gette's word sculpture, "Totem," is reproduced on one of the pages. -- Source of annotation: Marvin or Ruth Sackner.

This is the first edition of a book compiled for teaching concrete and visual poetry in the grade schools. Each page depicts a concrete or visual poem. A photograph of Paul-Armand Gette's word sculpture, "Totem," a work held by the Sackner Archive is reproduced on one of the pages. -- Source of annotation: Marvin or Ruth Sackner.

Two works for which the Sackner Archive holds the originals are resproduced in this book. e.g., Figueiredo's Solar III and Aguiar's Murmurios Acerca de um Soneto 1986. -- Source of annotation: Marvin or Ruth Sackner.

The nationalities of selected contributing artists are as follows: Ivan Preissler (Czech); Elena Krol Petrsjian (Russian); Dimitar (Slovenian); Pedro Bericat (Spanish); Franco Busic (Croatian); A. Perez-Cares (Chilian); Charistos-Ansari (Austrian); Zlatko Krstevski (Macedonian); ilmar Kruusamae (Estonian); Patricia Salas (Argentine); Harl Ristau (American). -- Source of annotation: Marvin or Ruth Sackner.

Exhibition was curated by Guy Bleus. This catalogue includes an introductory essay by Guy Bleus with definitions of the artist book. It also includes brief statements by several artists on the artist book, viz., Fernando Agiuar, Albrecht d., Carl Andre, Mirella Bentivoglio, Piermario Ciani, Robin Crozier, Guillermo Deisler, Goivanni Fontana, H.R. Fricker, John Held, Jr., Judith Hoffberg, Joel Hubaut, Ray Johnson, Ruggero Maggi, Robert C. Morgan, Geza Perneczky, Gunther Ruch, Serge Segay, Chuclk Welch, and Rea Nikonova. Several works depicted in the catalogue are held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

The exhibition was curated by Ruggero Maggi. The essays and art works in this book all relate to the chaos and fractal theory in mathematics, art and poetry. As Angelo Bertani writes in his essay, On Apparent Order and Chaos, "What seems to be extremely significant is the artist's need (now extremely widespread) to go out from protected, appointed places and instead, contend directly with existence, with the richess of material, with the spaces of life: in this sense, the creeping crisis of painting, the growing prevalence of installations and video-works are a sign, beyond the current fashion of the will to contend with change, accident and the relative: the other names for chaos. Moreover, in a world where technology prevails, perhaps only the ways of art can inser ta fragment of liberty into the oppressive mechanism of necessity." -- Source of annotation: Marvin or Ruth Sackner.