Scope and Contents Marvin Sackner reviewed the book and wrote a blurb for the dust jacket. Betty Bright is a co-founder and curator of the Minneapolis Center for Book Arts who was responsible for over 50 exhibitions in a nine year-period. She has written a book on artist books that removes the chaos from the many flavors of this genre. Her analysis is confined almost exclusively to British and American writers and artists. She discusses artist books chronologically based upon the classification of the fine press book, deluxe book, bookwork, sculptural books and hybrids She begins the journey with the books by William Morris of the English Arts and Crafts movement in the late nineteenth century. She mentions that Morris was preoccupied with the design of the book because he believed that such books should not only tell a story but cause the reader to enter into a new world, a remark that seems apropos to the artist book today. Along the way, she cites exhibitions and catalogues, some well known and...

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This catalogue is a retrospective of Kocman's Artists' Books and Papers. Jiri Valoch contributed a critical essay that traced the interdisciplinary art movements of the 1970's, the European political and artistic community in which Kocman worked, and his studies in bookbinding and aesthetics. He describes Kocman's work as "a synthesis combining intellectual detachment informed by his conceptual experience with a remarkable sensibility and strong lyricism and with a continuous questioning of the nature of art." Several examples of Kocman's works are held by the Sackner Archive. For example, the catalogue depicts a reproduction of Poe's "The Raven," one of Kocman's paper re-making books that is held by the Sackner Archive. The catalogue lists "The Metamorphosis" by Kafka (1980) and Fragment of Videvdat and Other Fragments (1988), as well as several editioned books held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

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The Sackner ARchive catalog printed in 1984 is listed at 1250 pounds equivqlent to $1250.The end papers are computer printouts from Kein Fehler Im System. -- Source of annotation: Marvin or Ruth Sackner.

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Austin writes that "by turning their home into a museum, collectors Ruth and Marvin Sackner have made concrete and visual poetry more like household words." The article and interview concisely defines and describes the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

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It is stated that this edition was sponsored by Ruth and Marvin Sackner. Biro recounts a tour through the far east with poems. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents Underground In contemporary society this is a wider concept applied to social stratification. It usually refers to groups less educated and less classified than the civil majority and their mainstream establishments, which function 'beneath' or independently of the latter. Related words include 'parallel or alternative societies/layers', 'second publicity', 'resistance', 'opposition', 'subculture', etc. Henceforth I shall mostly refer to the artistic underground, which I understand, on the one hand, as artistic community which is excluded from art organizations and the art business and hence is often relegated to social insecurity, and, on the other, as the artistically interested layers of intellectuals, students or sympathizers In special cases (such as in an era of political repression) professional artists may also belong to the artistic underground. Another frequent occurrence has been that representatives of the art establishment freely choose to move towards the underground,...

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This work was commissioned by Marvin Sackner to deal with commemoration of his therapeutic medical invention, the AT-101. Nadau approached the idea in a playful, droll manner. -- Source of annotation: Marvin or Ruth Sackner.

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This is a sumptiously colored illustrated book on 40 book collectors and the way they live with and care for their books in their residences. The Sackners and Micky Wolfson collections are described in a section of the book entitled, "The Grand Passion." The collections of the Harris', Richard Minsky, and Michele Oka Doner are described in a section entitled, "Beautiful Bookscapes." -- Source of annotation: Marvin or Ruth Sackner.

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Review of the ICA exhibition "Personal Choice: Selections from Four Penn Alumni Collections" at the University of Pennsylvania in which the Sackner Archive participated. -- Source of annotation: Marvin or Ruth Sackner.

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The Sackner Archive is mentioned as containing the PPP works. Also Marvin Sackner's "Chicken Soup" postcard of 1987 is listed. -- Source of annotation: Marvin or Ruth Sackner.

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Gunther recounts a visit to the Sackner Archive in 1994. -- Source of annotation: Marvin or Ruth Sackner.

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Phillips mentions that in 1975 he met the Sackners who founded the Archive holding most of his works. -- Source of annotation: Marvin or Ruth Sackner.

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Includes an article on Minsky and mentions that the Sackner Archive has subscribed to his latest book, "Minsky in Bed." -- Source of annotation: Marvin or Ruth Sackner.

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Meeting minutes mention Richard Tipping's description of his visit to the Sackner Archive and his display of the reprint from "At Home with Books." -- Source of annotation: Marvin or Ruth Sackner.

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This catalogue mentions that the press' works are held by the Sackner Archive. The loose sheet announces "Lizard Snake Suit." -- Source of annotation: Marvin or Ruth Sackner.

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The catalogue was written and the exhibition curated by Marvin Sackner. The viewing took place over a five day period at the Annual Meeting of the American Thoracic Society/American Lung Association in Miami Beach. -- Source of annotation: Marvin or Ruth Sackner.

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Rye Armstrong contributed an illustrated essay, "Blessed Be the Book," concerning the work of Brainard Carey (aka Brian Salzsberg). Carey, a book artist whose work is held by the Sackner Archive, is described as a neo-monk who has recreated the Book of Job, transcribing, illustrating and binding it by hand. Carole Grossman discusses the difference between livre d'artiste and artists' books in her essay '"Books at the Limit." She writes that artists' books "are very much an international twentieth century phenomenon...and frequently question the meaning and role of the book as an art form. Often the artists hark back to the original idea of a clandestine private press and use their artistic abilities to underscore their own political or social ideas. As a general rule one can expect private-press or fine-press books and livres d'artistes to be more in the classical tradition of book design than artists' books." -- Source of annotation: Marvin or Ruth Sackner.

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Pages 49 and 50 present palindromes in French, English and German. -- Source of annotation: Marvin or Ruth Sackner.