Scope and Contents

This catalogue was edited by Rene Morales, curator at the PAMM museum, for the exhibition at the museum opening in the first week of December 2013. Johanna Drucker contributed in depth essay titled "Visual Poetics and the Technics of Conception." Rene Morales contributed "Imaged Words, Worded Images: A conversation with Ruth and Marvin Sackner." The contibutors cited consist of only those whose work is depicted in this catalogue. The image on the dust jacket was done by Jeremy Adler, the frontispiece by Tom Phillips and the end papers by Willem Boshoff. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This catalogue was edited by Rene Morales, curator at the PAMM museum, for the exhibition at the museum opening in the first week of December 2013. Johanna Drucker contributed in depth essay titled "Visual Poetics and the Technics of Conception." Rene Morales contributed "Imaged Words, Worded Images: A conversation with Ruth and Marvin Sackner." The contibutors cited consist of only those whose work is depicted in this catalogue. The image on the dust jacket was done by Jeremy Adler, the frontispiece by Tom Phillips and the end papers by Willem Boshoff. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This documentation includes a letter of introduction by Johanna Drucker to the Dutch collector Meneer C.A. Groenendijk written on December 8, 1978, that requests an appointment to show him "from A to Z." Drucker has included a four page resume with the letter. A handwritten letter to the collector, dated January 17th, is included with ten typed pages of an explanation of "from A to Z." The detailed, personal, complex description illuminates the typographic masterpiece and writing of this poet/printer at the early stages of her career, and was considered lost until it was purchased by Marvin Sackner from a bookdealer in Holland. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This manuscript summarizes books and essays published by Kostelanetz over the years dealing with the subject of the title. He has dedicated the book to Ruth & Marvin Sackner. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

Includes descriptions of each of the books in the 10th anniversary exhibition. It also lists suggested readings relevant to artists books. Includes a photograph of Pat Oleszko's Glove Story, a book held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents This catalogue is described on the back cover as follows: "Artists' books have emerged over the last twenty-five years as one of the most engaging contemporary art forms, addressing subjects from poetry to politics, incorporating a full spectrum of artistic media and bookmaking methods, and taking every conceivable form. Female painters, sculptors, calligraphers, and printmakers have played a primary role in developing this new mode of artistic expression. The Book as Art presents more than one hundred of the finest artists' books culled from the collection of the National Museum of Women in the Arts. These exquisitely crafted objects are certain to provoke unexpected and surprising conclusions about what constitutes a book." In her essay, "The Brightest Heaven of Invention" curator Krystyna Wasserman writes, "Among private collections, The Ruth and Marvin Sackner Achives of Concrete and Visual Poetry in Miami, Florida, has been a source of continual revelation and several...

Scope and Contents

This catalogue depicts the typefaces designed with the Apple computers by Zuzana Licko and Rudy VanderLans and the origins of Emigre Magazine they founded in 1984. For these achievements, Licko and Vanderlans received the fifth Charles Nypels Award, given every two years to an individual or institution that has made innovations in the area of typography in the briadest sense. This catalogue published to commemorate the award was edited by Gor Rosbeek and Jean Rosbeek. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This is a critique of Ligorano and Reese's "Corona Palimpsest." -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

Johanna Drucker contributes an introductory essay on historic aspects of visual poetry which is carried forth to multimedia information systems of today. She also was responsible for the cover design. Karl Young contributes an afterword in which he focuses on mail art. He particularly addresses his own, ongoing Shadow Project that refers to the faint traces people left on nearby surfaces after they were vaporized by the atomic bombs in Japan. Young indicates that d.a. levy stands out as the major figure in the last three decades who left an indelible inprint on underground publications and visual poetry. He also adds that Tom Phillips is the most complete book artist. The Sackner Archive partially funded this exhibition. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents This book is number 10 of Avant Garde Critical Studies and is based on the Yale Symphosophia held in April 1995 which was originally conceived to honor the Brazilian Concrete poet Haroldo de Campos on his 75th birthday. The symposium brought together over forty poets and performers and produced this volume of review and critical appraisal of an international perspective of avant garde poetic production. The volume includes the scholarly papers delivered at Yale and is divided into the following themes: Experimentation and Its Historical Moment; Experimentation in the Language Arts; Concrete and Neo-Concrete Poetry including Memoirs of Concrete; The Yale Symphosymposium on Contemporary Poetics and Concretism - A World View from the 1990s. The Sackners were invited to attend the symposium and were noted in the preface as follows: The Symposophia benefited from the perspectives of Ruth and Marvin Sackner, professional collectors representing the most extensive and complete archive of...

Scope and Contents This book is number 10 of Avant Garde Critical Studies and is based on the Yale Symphosophia held in April 1995 which was originally conceived to honor the Brazilian Concrete poet Haroldo de Campos on his 75th birthday. The symposium brought together over forty poets and performers and produced this volume of review and critical appraisal of an international perspective of avant garde poetic production. The volume includes the scholarly papers delivered at Yale and is divided into the following themes: Experimentation and Its Historical Moment; Experimentation in the Language Arts; Concrete and Neo-Concrete Poetry including Memoirs of Concrete; The Yale Symphosymposium on Contemporary Poetics and Concretism - A World View from the 1990s. The Sackners were invited to attend the symposium and were noted in the preface as follows: The Symposophia benefited from the perspectives of Ruth and Marvin Sackner, professional collectors representing the most extensive and complete archive of...

Scope and Contents Charles Bernstein writes in the introductory essay that "Figuring the Word" is a wide-ranging collections of Drucker's essays in which she "presents herself as a visual artist, a literary writer, a scholar/historian, and an aesthetician. In all these areas, Drucker has made substantial contributions. But it is her synthesis of these fields that is her most extrardinary achievement." Chapters of collected essays in the book include Writing as Artifact, including a section on hypergraphy and Maurice Lemaitre; Visual Poetics; Artists' Books Past and Future; The Future of Writing; Personal Writing. In the section "The Interior Eye: Performing the Visual Text," Drucker traces visual poetry in the perfomance work of Massin & Ionesco's "The Bald Soprano," Tzara's "Boxe," Marinetti's "At Night," Iliazd "Lendentua as Beacon," and Gomringer's "Ping Pong" and other icons of visual poetry.In the section, "Iliazd and the Book as a Form of Art," Drucker discusses and/or illustrates the...

Scope and Contents

In the introduction, Saiber describes Bruno as a 16th century polymath who was a philosopher, poet, playwright, mnemonist and magus but at his core an architect of ideas. Saiber further adds that "Many among the educated class familiar with esoteric learning, like Bruno, looked to locate and empower themselves through spacial manipulation and symbloic permutation, such as memory theaters. encyclopedias, kabbalah, natural magic, alchemy, and searches for the 'perfect language.' Bruno's writing indeed contains verbal patterns that signal an unusual sensibility to the shape of of space - whether of the heavens, between people, on a page, or of one's mind." -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

Subtitled "explorations of an uneasy relationship." this book consists of essays related to the title. Paul Elliman's essay deals mainly with the books by Georges Perec. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

Includes several statements concerning visual poetry. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

Consists of a review of the books published by Steve Clay, the proprietor of Granary Press. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

Each page of prose is layered with visual imagery from a wide source of images in Selby's distinctive style. The text does not serve solely as a narrative but as an integral feature with the images. Favorable comments on this book by Clemente Padin and Johanna Drucker are printed on its back cover. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

The exhibition, subtitled "Text and/as Image and/as Design and/as Meaning," was an interdisciplinary exhibition of visual art, artists' books, graphic design, and visual poetry by artists who were examining the ways that texts and images produced meaning in contemporary society, specifically in the United States in the 1990s. In a detailed essay, the curator, Johanna Drucker writes, "In the late 20th century artists in all areas work with an awareness of the legacy of conceptual art's attention to language and idea, with pop art and postmodernism's interest in appropriating language and image from the realm of popular and consumer culture, and with the ongoing engagement of artists with a commitment to the traditions of innovative expression." The Sackner Archive lent twenty five works to this exhibition and are acknowledged in the curator's note. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

Drucker writes that this "book is about the constraints and limits of language as a system (within the rules of grammar and syntax and orthography). Drucker uses a single font of type in the center section of each page and a second text printed from polymer plates on the top and bottom of the letterpress print font section. This second text is printed in red and becomes increasingly larger on each page. It "addresses the history of writing as technology, mythology, and cultural form." The title refers to the foundry label on new type that advises the printer to proof the font before setting it. Fifty copies were given to friends and 40 were sold to the public. -- Source of annotation: Marvin or Ruth Sackner.