ArchivesSpace at the University of Iowa

Cobbing mentions that nearly a thousand items were included in this exhibition that took place over one month's period which thirty thousand people attended un London's Royal Festival Hall.. -- Source of annotation: Marvin or Ruth Sackner.

This article describing The Midland Group Gallery in Nottingham specifically relates to an exhibition of concrete poetry, the catalog of which is contained in the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

This is a review of a two person show at MOMA NYC featuring Leon Ferrari and Mira Schendel. -- Source of annotation: Marvin or Ruth Sackner.

This is a brief review of "Tangled Alphabets," at exhibition at MoMA featuring Leon Ferrari and Mira Schendel. -- Source of annotation: Marvin or Ruth Sackner.

This is a review of the Brighton Festival (April 14-30, 1967). The Brighton Festival program guide is held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

Review of University of Florida Brazilian Concrete Poetry Exhibition. Also includes an announcement of a forthcoming exhibition, "Brazilian Concrete and Visual Poetry From The Ruth and Marvin Sackner Archive." -- Source of annotation: Marvin or Ruth Sackner.

This is a review of a photographic exhibition of Ian Hamilton Finlay's garden in Little Sparta at the Portrait Gallery. The reviewer describes the garden as arguably one of the great art works of art ever made on Scottish soil. "Certainly, it's the greatest ever made of Scottish soil - the realisation of one man's vision of a classical garden in the midst of an untamed land." -- Source of annotation: Marvin or Ruth Sackner.

This article reviews the "Between Poetry and Painting" exhibition held at the ICA London, in 1965. -- Source of annotation: Marvin or Ruth Sackner.

This review is related to the Nottingham Midland Group of Artists exhibition which included several British concrete poets. The catalog is held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

Review of "Between Poetry and Painting" at the ICA in London. Lucie-Smith states "Concrete poetry is difficult to describe but easy to recognize." Stored with other material about this exhibition. Stored with material dealing with the Archive of "Between Poetry and Painting." -- Source of annotation: Marvin or Ruth Sackner.

This is a review of Richard Tipping's exhibition in Ubu Gallery. -- Source of annotation: Marvin or Ruth Sackner.

This is an exhibition review of French Art from the Sackner Archive held at the Bass museum. -- Source of annotation: Marvin or Ruth Sackner.

Review of an exhibition of garden sculptures executed by Finlay at Stockwood Craft Museum and Gardens, Bedfordshire, England. -- Source of annotation: Marvin or Ruth Sackner.

This is a review of "Personal Choice: Selections from Four Penn Alumni Collections" at the ICA at the University of Pennsylvania in which selections from the Sackner Archive were included. -- Source of annotation: Marvin or Ruth Sackner.

Cotter reviews "The Next Word" at the Neuberger Museum of Art to which the Sackner Archive lent 25 books and pictures. Several of the works from the Archive are specifically described in the article including a manuscript by Jack Hirschman, a drawing by Anne Wolf, Emily McVarish's pasted-up words locked inside a metal frame, Paula Scher's "Opinionated Map: Central and South America" in which every inch on the Southern Hemisphere that is jammed with critical annotationt. "Elsewhere, the printed text, often taking a cue from advertising, comes to the fore. Blair Seagram's 'U Temp est Us' uses a sleek sans-serif type, offbeat spacing and shifting character sizes to hide phrases within other phrases." -- Source of annotation: Marvin or Ruth Sackner.

Fernando Gonzalez reviews the multi media performance of De Campos, Poetry Is Risk, and the concrete poetry movement in Brazil in his first article; he describes the Sackner Archive in the second section. The Sackners are photographed in their gallery. -- Source of annotation: Marvin or Ruth Sackner.