Scope and Contents

A Psalm of David is presented in conventional fashion on the first page and presented on the third page with several words in each line cut out of the text. -- Source of annotation: Marvin or Ruth Sackner.

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This catalogue complements exhibitions at the Univwersity of Pennsylvania, University of Georgia, Scripps College and Smith College. Daniel Traister contributed an essay "The Press and the Poets." The Sackner Archive is cited as holding works of Enid Marks. -- Source of annotation: Marvin or Ruth Sackner.

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This is a listing of the printed material of Ian Hamilton Finlay from 1960 to 1990 donated by the Sackners to the Houghton Library in 1995. It is noted that there are no restrictions on access to this material and the collection is open for research. -- Source of annotation: Marvin or Ruth Sackner.

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Held provides a biography of Corbett that deals with his transition from a classically trained studio artist to a network artist making original rubberstamps. He notes that his rubber stamps reflect an intimate knowledge of Dada, Surrealism, Futurism, Constructivism, New Realusm, Gutai, and Fluxus. -- Source of annotation: Marvin or Ruth Sackner.

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This exhibition was presented to participants in the Central Agency for Jewish Education (CAJE) of Greater Miami tour of the Sackner Archive. Curated by Marvin Sackner, all 86 works on display demonstrated the use of Hebrew letters, words and texts in ancient and modern contexts. The catalog listing is illustrated with 30 images scanned into the Archive data base. -- Source of annotation: Marvin or Ruth Sackner.

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The dedication reads, "to Marvin Sackner - The Ruth and Marvin Sackner Archive of Concrete and Visual Poetry MIAMI USA - whose colossal collection, stockpiled over many obsessive years guarantees that this form of poetry beloved of many dedicated exponents world-wide will in all good time become visible." The first page provides Claire's definition of concrete poetry repeated 4 1/2 times on the page. Each subsequent page was created by overprinting through altering the position of the page in the ink jet printer. -- Source of annotation: Marvin or Ruth Sackner.

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The recording includes Marvin Sackner's unedited talk at this conference. -- Source of annotation: Marvin or Ruth Sackner.

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The recording includes Marvin Sackner's unedited talk at this conference. -- Source of annotation: Marvin or Ruth Sackner.

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Xenakis's Journal of 1974 is depicted that is also held by the Sackner Archive. The Sackner Archive catalogue of 1984 that list this and other works by Xenakis is listed in the bibliography of this book. -- Source of annotation: Marvin or Ruth Sackner.

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Gruner mainly describes five artist books published by Henry Gunther since 1991 under the imprint, Edition Balance. These books involved silkscreen prints and etchings by the artists who participated with tirage of 35 copies. Also mentions that the Sackner Archive holds copies of books published by Edition Augenweide and Uni/ vers. -- Source of annotation: Marvin or Ruth Sackner.

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This exhibition was curated by Betty Bright. Pages of Timothy Ely's unique book, "The Open Hand Discovers," which was lent to the exhibition by the Sackner Archive are reproduced. Henrik Drescher's book, "Too Much Bliss," a work also held by the Sackner Archive was depicted on the cover of the catalog. -- Source of annotation: Marvin or Ruth Sackner.

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The catalogue has several introductory essays including one contributed by Marvin Sackner. Other sections include a) Books, b) Unique Manuscripts & Books, and c) Drawings, Prints, Posters & Miscellaneous. Fifty catalogues had an accompanying print. The print is a red and blue colored concrete poetic landscape image formed by rubberstamping words in French and English. The unbound pages provide translations for the critical essays written in French. The print is stored separately in a de Charmoy box. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents This first page from Dante Diary, which is dated from February 28, 1979 to March 19, 1979, includes several indirect references to Ruth and Marvin Sackner. First, there is a sketch of a large drawing which was subsequently acquired by the Sackner Archive, "Letters from a Crane Skin Bag." Then Phillips mentions that Grove Press is working on a portfolio of Dante heads for "Martin Ackerman's [financial] scheme. Phillips introduced Ackerman to the Sackners who became became a close personal friends as well as continuing supporters of Phillips' work. Tom Phillips writes that a portrait of Hilary Hugh-Jones is in progress in the studio. Hugh-Jones was a friend of the Sackners. "Pella meets me from Edinburg" refers to Pella Erskine-Tulloch, Tom's bookbinder and friend whose work is well represented in the Archive. Finally, Phillips composed a poem about Mallarme whose most important work, "Un Coup de Des," became the initial starting point for the Sackner Archive collection. [There was...

Scope and Contents

This second page from Dante Diary, which is dated from March 27, 1979 to April 19, 1979, includes a direct reference to Marvin Sackner. Philllips mentions discussing with him regarding self publishing Dante's 'inferno.' There are several, diverse sketches depicted on this page including a portrait of Hilary Hugh-Jones near the center at the the lower border. Her husband Philip Hugh-Jones, a British pulmonary physician was a friend of Marvin Sackner. -- Source of annotation: Marvin or Ruth Sackner.

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This third page from Dante Diary, which is dated from May 10, 1979 to July 10, 1979, mentions Phillips' visit with the Sackners and receiving "good Miami postcards from Sara Sackner." The sketches on its right side depict installation plans for the British Council Show and a standing man wearing shorts viewed from the rear who appears to be in position for urinating against a wall. In addition, Phillips has sketched small drawings of Inferno pages (Una Selva) and a partially completed devil-like figure at the lower right corner. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents This ninth page from Dante Diary which is not dated, was drawn in Rio de Janeiro. Text at the top left corner reads, "dante in brazil," and on the top right corner, "Waiting for Pella in the New Wave." Pella refers to Tom's friend, the bookbinder Pella Erskine-Tulloch. A collaged "NY & Lakeville," with the name Lakeville scratched out, is placed below this caption. Phillips' handwritten notes explain that the plans to go to Lakeville, Connecticut with Martin and Diane Ackerman were cancelled. Phillips also writes that on his return trip from Brazil to New York via Miami he "was able to smuggle a postcard out of the tourist lounge at 5 a.m. to send to the Sackners whom I'd have loved to have seen." Phillips mentions his search for the Virgin Butterfly native to Brazil. The image of butterflys and poetry from "A Humument" is found in the third illustration of Canto II. ["A butterfly gives meaning to brighten poetry."] In his iconographical notes and commentary on the...

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In a section entitled "A Note on the Original Edition," Phillips mentions the following, "Heartening support was given by Ruth and Leo Phillips as well as the many patient collectors who bought their copies before a picture or a line was printed. Amongst those I should particularly like to mention Marvin and Ruth Sackner without those staunch encouragement the seven year trial of making the edition would have seemed so much less suprerable." -- Source of annotation: Marvin or Ruth Sackner.