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This paper was presented an the SHARP 2001 Conference. The Sackner Archive is mentioned as providing crucial support to many authors working in the field of book arts. -- Source of annotation: Marvin or Ruth Sackner.

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The Sackner Collection is mentioned as holding Guillot's work. -- Source of annotation: Marvin or Ruth Sackner.

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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.

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This is an English translation of an article in the periodical, Berenice that compares Sackner to Jacques Doucet, a Parisian couturier who established a great collection of the avant garde of the early twentieth century. -- Source of annotation: Marvin or Ruth Sackner.

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Omar Khouri contributes an introductory essay about De Araujo's poems. The web address of the Sackner Archive is listed under places with more of De Araujo's work. -- 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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Ruth and Mavin Sackner are featured in an illustrated interview written by Leah Singer. The article titled "It even has a name" contains 14 pages of text and apartment photographs tracing the history of the archival collection. -- Source of annotation: Marvin or Ruth Sackner.

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Ruth and Marvin Sackner are listed among "America's Top 100 Collectors" as collectors of art with text and artists' books. -- Source of annotation: Marvin or Ruth Sackner.

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Tom Austin wrote an essay, "The Power of the Pen," in which he describes the Sackner Archive as the world's largest privately held collection of text art. The essay is illustrated with eight colored photographs by Chris Little. -- Source of annotation: Marvin or Ruth Sackner.

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Kaelen Wilson-Goldie contributes an essay, "The Rematerialization of Artists' Books" in which she mentions the Sackner Archive as the largest collection of artworks that blend text and image in private hands. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents Marvin Sackner reviewed the book and wrote a blurb for the dust jacket. Betty Bright is a co-founder and curator of the Minneapolis Center for Book Arts who was responsible for over 50 exhibitions in a nine year-period. She has written a book on artist books that removes the chaos from the many flavors of this genre. Her analysis is confined almost exclusively to British and American writers and artists. She discusses artist books chronologically based upon the classification of the fine press book, deluxe book, bookwork, sculptural books and hybrids She begins the journey with the books by William Morris of the English Arts and Crafts movement in the late nineteenth century. She mentions that Morris was preoccupied with the design of the book because he believed that such books should not only tell a story but cause the reader to enter into a new world, a remark that seems apropos to the artist book today. Along the way, she cites exhibitions and catalogues, some well known and...

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This catalogue is a retrospective of Kocman's Artists' Books and Papers. Jiri Valoch contributed a critical essay that traced the interdisciplinary art movements of the 1970's, the European political and artistic community in which Kocman worked, and his studies in bookbinding and aesthetics. He describes Kocman's work as "a synthesis combining intellectual detachment informed by his conceptual experience with a remarkable sensibility and strong lyricism and with a continuous questioning of the nature of art." Several examples of Kocman's works are held by the Sackner Archive. For example, the catalogue depicts a reproduction of Poe's "The Raven," one of Kocman's paper re-making books that is held by the Sackner Archive. The catalogue lists "The Metamorphosis" by Kafka (1980) and Fragment of Videvdat and Other Fragments (1988), as well as several editioned books held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

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Austin writes that "by turning their home into a museum, collectors Ruth and Marvin Sackner have made concrete and visual poetry more like household words." The article and interview concisely defines and describes the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

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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.

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The essay by Marvin Sackner in the catalogue has been altered in the style of Broaddus' work. The Catalogue itself is presented as an Artist Book. -- Source of annotation: Marvin or Ruth Sackner.

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Lectures by Claus Cluver and Roland Greene were presented in conjunction with the exhibition. The Sackners lent most of the works in this exhibition. -- Source of annotation: Marvin or Ruth Sackner.

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This catalogue was edited by Volker Rattemeyer and Renate Petzinger. Gerz created his body of visual/concrete poetry during his sojourn to Paris from 1969-1972 as depicted in pages 24-45 of this book. The Sackners met him in 1981 in Paris and purchased several of the works that are depicted in this catalogue. -- Source of annotation: Marvin or Ruth Sackner.

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This exhibition catalogue lists Andryczuk's personal publications and provides illustrations of them that are ofter tipped-in. It also lists publications of other poets that he has published. -- Source of annotation: Marvin or Ruth Sackner.