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This catalogue documents each issue of De Tafelronde and reproduces exemplary visual/verbal poems from the publications. An index of contributors is provided. This book is stored with the periodical of the same name. -- Source of annotation: Marvin or Ruth Sackner.

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Provides an illustrated description of Finlay's garden at Stonypath where he has lived since 1967. -- Source of annotation: Marvin or Ruth Sackner.

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The text was written by Janet F. Murchison, one of Finlay's nieces. The exhibition consisted mainly of Finlay's cards and books. -- Source of annotation: Marvin or Ruth Sackner.

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This catalogue consists entirely of a critical essay by Stephen Bann on Finlay's works dealing with the French Revolution. The cover is red paper stock, the end papers are blue paper stock, and the text is printed on white paper stock, e.g., the French tricolor flag. -- Source of annotation: Marvin or Ruth Sackner.

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A review of the Arcadian garden of Ian Hamilton Finlay that is stored in Finlay box. -- Source of annotation: Marvin or Ruth Sackner.

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Most of the works to this exhibition were loaned from the Sackner Archive but artists such as John Furnival and Margaret Riggs also loaned their works. -- Source of annotation: Marvin or Ruth Sackner.

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Jennifer R. Gross has contributed a scholarly, in depth essay "Them's Fightin' Words" to the catalogue. Her research and interpretations of Finlay's work add significantly to the critical texts of this multi- talented artist. The exhibition contained 112 pieces by Finaly and his collaboartors. -- Source of annotation: Marvin or Ruth Sackner.

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This exhibition explores how the accordion fold has been used in the West within a variety of different printed matter contexts with a special emphasis on publications produced by artists from the 1960s onwards. -- Source of annotation: Marvin or Ruth Sackner.

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Little Sparta, the garden in Scotland by Ian Hamilton Finlay, is described and illustrated in the chapter titled, "Poetry in Nature Unredeemed." The chapter also includes an interview of Finlay. A chapter features the work of Dieter Kiensast who utilizes concrete poetic structures in his landscape architecture. -- Source of annotation: Marvin or Ruth Sackner.

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Stored with issues of the periodical, "Born to Concrete." -- Source of annotation: Marvin or Ruth Sackner.

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The loose sheet consists of a typed poem by Peter Dent entitled "Seaspray." The book includes critical analysis of Clark's poems by John Freeman, Ian Green, and Robert Stacey. Green provides an analysis of Clark's poem "Out of the Wind" using numerical group theory to explain its structure. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents Amazon.com: "An explosion of little architectural magazines in the 1960s and 1970s instigated a radical transformation in architectural culture, as the magazines acted as a site of innovation and debate. Clip/Stamp/Fold takes stock of seventy little magazines from this period. The book brings together a remarkable range of documents and original research which the project has produced during its continuous travels over the last four years starting with the exhibition at the Storefront in November 2006. The book features transcripts from the "Small Talks" events in which editors and designers were invited to discuss their magazines; a stocktaking of over 100 significant issues that tracks the changing density and progression of the little magazine phenomenon; transcripts of more than forty interviews with magazine editors and designers from all over the world; a selection of magazine facsimiles; and a fold out poster that offers a mosaic image of more than 1,200 covers examined...

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This catalogue, that was written by Christopher McIntosh, provides a long critical essay. He mentions the runic symbol of the SS as an example which evolved from the interchangeable f's and s's in the 18th century symbolizing grace, elegance and high culture. He notes that Finlay's interest in the SS symbol is an example of coincidence, for this has passed into the visual symbology of "pop" culture; the rock group "Kiss" use it and it is frequently scrawled as grafitti. -- Source of annotation: Marvin or Ruth Sackner.

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This book consists of a collection of the following essays. Raines contributed a poem about Stonypath. Bann discussed Heroic Emblems by Finlay (designated Picture Poems in the Sackner Archive). Douglas Hall wrote of Finlay's collaboration with Jud Fine in their series of 20 drawings. Miles Orvell analyzed Finlay's "Pacific." Scobie provided an essay on Finlay's picture poem, "Homage to Kahnweiler." Finlay created a pun on Daniel-Henry Kahnweiler's critical book on Juan Gris "Life" and "Work" with the caption Juan Gris: His "Knife" and "Fork." -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

Raines contributes a poem about Stonypath. Bann discusses Heroic Emblems by Finlay (designated Picture Poems in the Sackner Archive). Douglas Hall writes of Finlay's collaboration with Jud Fine in their series of 20 drawings. Miles Orvell analyzes Finlay's "Pacific." Scobie provides an essay on Finlay's picture poem, "Homage to Kahnweiler." Finlay creates a pun on Daniel-Henry Kahnweiler's critical book on Juan Gris "Life" and "Work" with the caption Juan Gris: His "Knife" and "Fork." Pencilled-in corrections in an unknown hand have been made for two typographic errors, 'r' for 't' on page 7 to change the word 'takes' to 'rakes' and 'n' for 'r' to change the name 'Gallard' to 'Galland.' -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This a critical text dealing with issues after the exhibition, "Between Poetry and Painting" at the ICA in London 1966. -- Source of annotation: Marvin or Ruth Sackner.