Omar Khouri contributes an introductory essay about De Araujo's poems. The web address of the Sackner Archive is listed under places with more of De Araujo's work. -- Source of annotation: Marvin or Ruth Sackner.

This is a review of the Tom Phillips "A Humument" exhibition at the Kamin Gallery, Van Pelt Library of the University of Pennsylvania. The Sackner Archive lent the works to this exhibition. -- Source of annotation: Marvin or Ruth Sackner.

The catalogue, "Human Documents: Tom Phillips's Art of the Page" curated by Daniel Traister, preface by Marvin Sackner, from the University of Pennsylvania Libraries, won an award from the Association of College and Research Libraries. Marvin Sackner also participated in the Awards presentations. -- Source of annotation: Marvin or Ruth Sackner.

Includes listing of all artist/poets on Postcard seies including Marvin Sackner. -- Source of annotation: Marvin or Ruth Sackner.

This third volume by the author of " A Gentle Madness" and "Patience & Fortitude" is subtitled Strategies and Perspectives for the Book Hunter in the Twenty-First Century. Basbanes introduces his visit to the Sackner Archive as "By far one of the most unforgettable introductions I have ever had to a private collection came in November 2000 while I was in Forida taking part in the Miami Book Fair." -- Source of annotation: Marvin or Ruth Sackner.

Most of the works to this exhibition were loaned from the Sackner Archive but artists such as John Furnival and Margaret Riggs also loaned their works. -- Source of annotation: Marvin or Ruth Sackner.

Lifetime membership card No.104 for Marvin Sackner. -- Source of annotation: Marvin or Ruth Sackner.

Ruth and Mavin Sackner are featured in an illustrated interview written by Leah Singer. The article titled "It even has a name" contains 14 pages of text and apartment photographs tracing the history of the archival collection. -- Source of annotation: Marvin or Ruth Sackner.

The Sackner Archive lent the painted triptych, "The Divine Comedy" to the first retrospective exhibition of Laffoley's paintings. This work is illustrated in the fold out pages and mentioned in the essay of Jeanne Marie Wasilik. J.W. Mahoney discussed the photographically reproduced serigraph, "The Alchemy of Breathing." The original drawing of this work was commissioned for the '"Beauty of Breathing" exhibition and is held by the Sackner Archive. Paul Laffoley contributed an insightful autobiographical essay in which he writes about his current project on the Pantheon. He also made collages expressly for illustrating this catalogue. Each of the paintings reproduced in the catalogue has an in depth comment by the Loffoley. The exhibition was curated by Elizabeth Ferrer, Director of the Austin Museum of Art. -- Source of annotation: Marvin or Ruth Sackner.

This is a photocopy of an art work based on a letter Marvin Sackner sent to Nikanova with a copy of "The Beauty in Breathing" catalog. In the original drawing contained in the Sackner Archive, the artist retyped fragments of the text of the letter and integrated them with colored rectangles of various dimensions. The same letters in different words are connected with freely drawn colored, lines ending in arrows. Nikonova calls this work, "architectural treatment," perhaps relating to the notion of Kamensky's ferro-concrete poetry. -- Source of annotation: Marvin or Ruth Sackner.

With exception of the 1st page that curry has written in red ink, the remaining pages are carbon copies of the letter sent to David UU. curry wrote the Sackners that he retained a photocopy of the carbon copy for his own files. The letter deals mostly with UU's typewriter poetry book, High C. curry sketches the pages for the book after the poems by UU. He annotates and makes comments for each page. In the last 1/3 of the letter, he writes to UU on progress of projects in which both are involved. -- Source of annotation: Marvin or Ruth Sackner.

The material for each print in the book or project is stored in individual folders or envelopes. Material is also included that was not utilized in the final version of the book. For example, in the print, On the Corner..., the typed poem was considered but rejected, e.g., die neue SS: Lightening bilts shaved in - black on black - in the Razored and Jerrocombed hair - in the Razored and Jerrocombed hair. The title page content and layout changed considerably over the five years it took to produce the book. A section contains poems that were not used in the final version of this book. The Sackners provided financial support for this project. -- Source of annotation: Marvin or Ruth Sackner.

Sackners are listed in the article by Allen Kurzweil's "America's Top 100 Collectors," a tribute to the most active, passionate collectors in the country. -- Source of annotation: Marvin or Ruth Sackner.

Ruth and Marvin Sackner are listed among "America's Top 100 Collectors" as collectors of art with text and artists' books. -- Source of annotation: Marvin or Ruth Sackner.

Tom Austin wrote an essay, "The Power of the Pen," in which he describes the Sackner Archive as the world's largest privately held collection of text art. The essay is illustrated with eight colored photographs by Chris Little. -- Source of annotation: Marvin or Ruth Sackner.

Kaelen Wilson-Goldie contributes an essay, "The Rematerialization of Artists' Books" in which she mentions the Sackner Archive as the largest collection of artworks that blend text and image in private hands. -- Source of annotation: Marvin or Ruth Sackner.

Baroni notes that the first 5 issues were Assemblings. Thereafter, several issues were written solely by Baroni. He mentions the Sackner Archive as having a complete collection of Arte Postale. -- Source of annotation: Marvin or Ruth Sackner.