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Bohn analyzes Apollinaire's exhibition catalog dealing with Leopold Survage and Irene Lagut using calligrams of prose as the vehicle for his critique. Bohn is especially intrigued with the rare handcolored edition of the catalog that he mentions is owned by the Columbia University rare book collection; it was the only copy he was able to find. Just after publication of his book, Bohn visited the Sackner Archive and learned of its handcolored edition - too late to include in the book. -- Source of annotation: Marvin or Ruth Sackner.

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This book is replete with examples of Apollinaire's hand drawm calligrsaphic poems as well as the printed ones. -- Source of annotation: Marvin or Ruth Sackner.

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Isabel Andrews contributes an essay of Tom Phillips entitled "The Artist as Collector. She indicates that "Tom Phillips' collection of African goldweights - miniature sculptures from West Africa - is probably the finest in private hands. He talks to Apollo about why these objects echo his love of iimaginative territory." -- Source of annotation: Marvin or Ruth Sackner.

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The number 9 is substituted for all the letters "n" of the words in this text. Curt Cloninger in his Master of Fine Arts in Studio Arts thesis wrote about (Maine College of Arts 2008) "Apophatic Art: Enacting Exhaustive Language / Exhausting Enacted Language." He defined Apophatic Writiing: Apophatic writing in the Christian tradition is a way of talking about God that seeks to properly revere him by not overly delimiting him. "Apophasis' is negation and "kataphasis' is affirmation. Since God is beyond all we can affirm about him, in order to more accurately describe him, we must balance our affirmations with reverent negations. Theologian Bruce Ellis Benson (2002) explains, "One affirms something but denies it, because to affirm it too strongly would be heretical and to deny it completely would also be heretical." -- Source of annotation: Marvin or Ruth Sackner.

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Every Revolution Is a throw of the Dice by Daniele Huillet and Jean-Marie Straub describes the process of making "A Throw of the Dice..." by Mallarme into a film. Cha had a short life (1951-1982). She was murdered months after her marriage by a security guard in the Tuck Building NYC. -- Source of annotation: Marvin or Ruth Sackner.

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This catalogue was published in three editions, 40 copies with signed original prints, and five copies with signed photographic documentation by Thomas Gunther along with a signed print by Zylla. This copy was one of the latter series. The first sectionof this catalogue depicts colored photographic reproductions of gouaches by Zylla that illustrate books written by Thomas Bernhard. The second section depicts paintings, gouaches, and prints by Zylla that illustrate Karlheinz Deschners' novel, Die Nacht steht um mein Haus. -- 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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Deals with the history of flying machines with flapping wings designed by Da Vinci and Tatlin as modified by Truck in a computer simulation. In addition, the relation of such a device to virtual reality is described. -- Source of annotation: Marvin or Ruth Sackner.

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This is a spoof on marks made on gallstones by Coca Cola. -- Source of annotation: Marvin or Ruth Sackner.

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Didier Semin provided the introductory essay. This book deals with and prints reproductions of Dufrene's written texts. -- Source of annotation: Marvin or Ruth Sackner.

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Article (pp 35-63) titled "Art and Artifice describes Phillips' new studio in Camberwell, London, designed by Eric Parry Associates. -- Source of annotation: Marvin or Ruth Sackner.

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Sheila Murphy provided critical remarks at the end of this book. The layout of all the poems in this book is the same. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents curry writes that Underwhich Editions began in 1978 as a consortium of publishers and poets gathered to publish the catalog for the 11th International Festival of Sound Poetry held in Toronto 1978. The group comprised Dean, Nichol, McCaffery, Truhlar Riddel, S. Smith, Dedora, & Dutton. Their first publication edited by McCaffery & Nichol was "Sound Poetry A Catologue," released in time for the festival. The audiographic series began in 1979 with seven titles emphasizing sound poetry up until 1983. Through the influence of Truhlar, music was introduced into the listings after 1983. curry provides an annotated bibliography of the recordings that were published as well as a three tape cassette bp Nichol recording of The Martyrology Books I-IV that was never published. This archive contains two similar versions of an introductory essay, one entitled "Cultural Clutter: The Needle, The Works," the other, "Needling Theehead with a Laser: Inder Which Works." -- Source of...

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Cinicolo expresses disappointment with the V&A museum show of concrete poetry particularly with reference to the construction of the 3 dimensional pieces. -- Source of annotation: Marvin or Ruth Sackner.

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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.