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This exhibition was curated by Betty Bright. It focused on artist books designed or made with computers in whole or in part. Books in the exhibition that are also held by the Sackner Archive include Keith Smith's Bobby, Alistair Johnston's Musings on the Vernacular, Rosemary Smith's Her Story in Lace, Warren Lehrer's GRRRHHHH, and Johanna Drucker's Simulant Portrait. -- Source of annotation: Marvin or Ruth Sackner.

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Drucker writes that this "book is about the constraints and limits of language as a system (within the rules of grammar and syntax and orthography). Drucker uses a single font of type in the center section of each page and a second text printed from polymer plates on the top and bottom of the letterpress print font section. This second text is printed in red and becomes increasingly larger on each page. It "addresses the history of writing as technology, mythology, and cultural form." The title refers to the foundry label on new type that advises the printer to proof the font before setting it. Fifty copies were given to friends and 40 were sold to the public. -- Source of annotation: Marvin or Ruth Sackner.

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A different type and colored ink was utilized for each page. According to Drucker, the book was printed from various typefaces at Bow and Arrow, in collaboration with Emily McVarish, each writing one line throughout, to display the type collection, and to teach Emily how to print. -- Source of annotation: Marvin or Ruth Sackner.

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An essay in this catalogue by Johanna Drucker deals mainly with the biography and work of Miriam Laufer who was the mother of Susan Bee. -- Source of annotation: Marvin or Ruth Sackner.

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In the colophon, Drucker acknowleges the financial support of Ruth and Marvin Sackner. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents Amazon.com: Nearly a decade ago, Johanna Drucker cofounded the University of Virginia's SpecLab, a digital humanities laboratory dedicated to risky projects with serious aims. In SpecLab she explores the implications of these radical efforts to use critical practices and aesthetic principles against the authority of technology based on analytic models of knowledge.Inspired by the imaginative frontiers of graphic arts and experimental literature and the technical possibilities of computation and information management, the projects Drucker engages range from Subjective Meteorology to Artists' Books Online to the as yet unrealized Patacritical Demon, an interactive tool for exposing the structures that underlie our interpretations of text. Illuminating the kind of future such experiments could enable, SpecLab functions as more than a set of case studies at the intersection of computers and humanistic inquiry. It also exemplifies Drucker's contention that humanists must play a role in...

Scope and Contents From the inside flap of the book: Johanna Drucker's "sweet dream" is for a new and more positive approach to contemporary art. Drucker argues that contemporary art is fully engaged with material culture"”yet still struggling to escape the oppositional legacy of the early-twentieth-century avant-garde. She calls for a revamping of the critical vocabulary used to discuss art into one more befitting current creative practices.Drucker shows that artists today are aware of working within the ideologies of mainstream culture and have replaced avant-garde resistance with acknowledged complicity. Finding their materials at malls and superstores or exploring celebrity culture, contemporary artists have created a vibrantly playful attitude towards mass culture"”all while critics continue to cling to an outmoded vocabulary of opposition and radical negativity that defined modernism's avant-garde. At the cutting edge of new media research, Drucker surveys a wide range of exciting contemporary...

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These notes were prepared for the Teachers' Conference at The Neuberger Museum on October 28th, 1998 in conjunction with The Next Word Exhibition. -- Source of annotation: Marvin or Ruth Sackner.

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Drucker's historical research text traces "the chronology of the discovery of the origins and development [of the alphabet] and the concepts of alphabetical symbolism through the course of human history and tradition." Chapters include the Alphabet's Origins and its place in Classical History, Gnosticism and Hermeticism, Calligraphy and Alchemy, The Kabbalah, Renaissance, 18th Century, 19th Century, and 20th Century. -- Source of annotation: Marvin or Ruth Sackner.

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This is a scholarly work which analyzes the artist book in several contexts including the book as idea and form, early 20th century avant-garde books, the codex, the book as a visual form, books as verbal exploration, and the book as document. The Sackner Arcvhive is mentioned in a footnote and as a major source of Johanna Druckers collected works. Drucker provides classification of artist books through headings and examples throughout this book but omits listing them in a tabular form for easy access. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents According to the editors, "This is a historically based survey of what was happening in poets theatre from year to year in the four decades after World War II."In Michael McClure's play, the "Feast (1960)," made-up language is utilized. The players were members of the Semina group of writers. Hannah Weiner's play "RJ (Romeo & Juliet) (1966) employs one to three letter combinations of non-words adjacent to the character designations based upon a 19th century code "The International Code of Signals for the Use of All Nations." These provide directions for performance. Bruce Andrews Song No.3 (1973) is a listing of phrases with directions without character designations.Amazon.com. Caroline Bergvall: Each play included here is a gauge of the contributions, some light-hearted, some light-headed, some gestural, some structural, that a great many influential American poets have made in the shadow of experimental theatre s heydays. The editors are themselves no strangers to the guilty...

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First published by Grove Press in 1968, this edition was typeset and printed by Johanna Drucker. On several pages, light blue markings are printed under the text as a sort of abstracted female genitalia area. -- Source of annotation: Marvin or Ruth Sackner.

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This critical text focuses on three themes in the late 19th and early 20th centuries: 1) the relation of experimental typography used by the artistic avant garde to linguistic theories, 2) the divergence of experimental typography from visual images, and 3) the work of four influential practitioners of experimental typography and their debt to advertising copy, viz., Marinetti, Apollinaire, Tzara, and Zdanevich. -- Source of annotation: Marvin or Ruth Sackner.