The poems in this book by Darwish are about the suffering of the Palestinian people. The calligraphic illustrations done by Koraichi were also displayed as prints in the Global Conceptualism exhibition (catalogue held by the Sackner Archive). The arabic calligraphy of the poems was rendered by Massoudy. The critical text was written by Khatibi. This is the first publication of the Abdul Hameed Shoman Foundation, documenting the works of artists from the Arab world. -- Source of annotation: Marvin or Ruth Sackner.

This is one of a suite of 21 prints written by Massoudy of a poem by the Palestinian activist poet, Mahmoud Darwish. These prints accompanied the artistic renditions of the poem done by Rachid Koraichi. -- Source of annotation: Marvin or Ruth Sackner.

The dominant image is the capital letter "A" that is filled with calligraphic text, calligraphic markings and abstract markings. -- Source of annotation: Marvin or Ruth Sackner.

Sandra Jackman writes about her family cruise from Miami. -- Source of annotation: Marvin or Ruth Sackner.

This drawing is a page from the scrapbook of John Furnival. It contains Lettrist statements, handwriting, abstract drawings and a cartoon-like figure speaking an unkown language in a bubble.The verso has other artifacts from the Furnival scrapbook. -- Source of annotation: Marvin or Ruth Sackner.

This first proposal for an environmental work by Finlay was originally published in 1979 in an edition of five copies and here is reproduced as a section in Mr. Aislabie's Gardens. It is based upon a description by Jean-Jacques Rosseau (1712-1778). It consists of minimalist poems on plaques held by trees along with plans for a nature environment. -- Source of annotation: Marvin or Ruth Sackner.

The name Gertrude Jekyll who was a famous British gardener is inscribed in the drawing which relates to a quotation from Gertude Stein, the American expatriate writer. Since Stein in German means glass, these factors are interelated with the design. -- Source of annotation: Marvin or Ruth Sackner.

The card depicts a photograph made by Gloria Wilson of a wall with white painted, handwritten names of fishing boats. -- Source of annotation: Marvin or Ruth Sackner.

The title "a snow mouse " reads the same upside down. The other two reversals are "aw noh / you me." -- Source of annotation: Marvin or Ruth Sackner.

The book extolls America with poems in several languages. These languages, Spanish, Arabic, Japanese, Russian, and Armenian, are calligraphed and printed on different colored backgrounds opposite an American seal which picks up the same color in one of its components. All the handwritten texts are also printed together on the fold-out page. -- Source of annotation: Marvin or Ruth Sackner.

The poem by Daive in this book is illustrated by Tapies. -- Source of annotation: Marvin or Ruth Sackner.

This first page is dated with handpainted Roman numeral 26 Mar 1984. Phillips writes, "A year after our first proper meeting, Peter [Greenaway] and I are ready to start; as usual the waiting for finance causes most of the delay...It was only after I consulted my chronology notes I realized and remembered that Dante's journey actually begins on March 26th. Thus the auspices seemed good indeed." -- Source of annotation: Marvin or Ruth Sackner.

In this drawing, Tom Phillips describes the rehearsals and actors for the Dante Inferno video. The two colored photographs collaged onto the drawing are stills of a female and two male nudes from the video. There is extensive application of rubberstamping with images that include large numerals, a clock face, Dante's head, and two Egyptian-like eyes, fleur de lise, skull and cross bones, and skull in profile. Some images are crossed out and others may have been used by Phillips in the Dante work, as he discusses rubberstamped images in the handwritten text. -- Source of annotation: Marvin or Ruth Sackner.

In this drawing, Phillips describes the technical aspects of filming the flight of doves for a sequence of TV Dante. A drawing collaged onto the work is a line drawing of doves. Two colored photographic fragments in this work are stills taken from the Dante Inferno video. -- Source of annotation: Marvin or Ruth Sackner.

In this drawing, Phillips describes the techical difficulties that he is experiencing at CAL video in making Dante's Inferno video piece and mentions utilization of the Muybridge doves. Several words are painted on the page including Love, history, starlings and amor. The playing card, the six of hearts, torn into two fragments, is placed on the left side of the drawing, adjacent to the three versions of the word "Amor." -- Source of annotation: Marvin or Ruth Sackner.

The left side of the drawing consists of handwritten instructions for "Attitudes & Positions for Almeida Shoot." The right side continues the dialogue of production schedule and work on the film. Phillips mentions that "Hansjorg Mayer picks up Dante proofs for publication." A drawing of an Egyptian amulet with colored pictograms is placed on the bottom center of the page. To the left of this image, Phillips writes the interpretation of the pictograms. -- Source of annotation: Marvin or Ruth Sackner.

Phillips describes the difficulties and pleasures of working on-line and rehearsing off-line. He writes, "What an enormous pleasure I have in this collaboration with Peter [Greenaway]. Sets me right back on my toes again." -- Source of annotation: Marvin or Ruth Sackner.