Includes illustrations of "A Journey," silkscreen prints by Emmett Williams; the originals are held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

This pamphlet lists exhibitions and catalogues of concrete and visual poetry in international venues from 1959 through 1980. -- Source of annotation: Marvin or Ruth Sackner.

Includes illustrations of "A Journey," silkscreen prints by Emmett Williams; the originals are held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

Consists of an anthology of the works by 12 Czechoslovakian concrete poets from the sixties and seventies. -- Source of annotation: Marvin or Ruth Sackner.

The work of Monica Bengoa was installed in a designated gallery at the Frost Museum at Florida International University. -- Source of annotation: Marvin or Ruth Sackner.

Director Glenn Lowry writes in the catalogue forward that "Dieter Roth was an endlessly inventive and thought-provoking artist whose substantial body of work, made over the course of nearly five decades, is both prodigious and idiosyncratic. In his experiments with forms, materials, and language, Roth challenged the boundaries not only between mediums but between art and everyday life." Curator Sarah Suzuki writes that "it is easier to describe what he is not than what he is : Above all, he is not a propagandist, and he is not a prophet. He is neither a moralist nor an immoralist. And he is no joiner...He is a member of no ism, group or movement, although many movements, groups, and isms would like to claim him as one of their own." -- Source of annotation: Marvin or Ruth Sackner.

This exhibition was co-curated by Alma on Dobbin (N.Y.) and Laura Kruger. The exhibition was done in tribute to 600,000 Hungarian Jews who perished in the Holocaust. Waldsee was a deception by the Nazis as a ficticious place from where postcards of lies describing their happiness as dictated by the Nazis were sent to other Jews but in reality were written before being killed in the gas chambers of Auschwitz. -- Source of annotation: Marvin or Ruth Sackner.

Review of W. Berman exhibition at L.A. Louver Gallery. -- Source of annotation: Marvin or Ruth Sackner.

This work was published for the session on "Innovation and the Carnivalesque in Postmodern Canadian Poetry" at the Northeast Modern Language Association. The text is designed in short spaced paragraphs in two columns. The loose sheet contains variations of Gomringer's poem Silencio by Christian Wagenknecht. -- Source of annotation: Marvin or Ruth Sackner.

This is the first edition of this text by the authors of "The Medium is the Massage." It brings together all forms of conflict, political, racial, and religious, into meaningful perspective. It offers ideas and an understanding essential to the "electric age." The ideas presented in this book seem to forecast the information age and even the advent of the Internet. The text is combined with multiple black and white images and includes many relevant quotations in the margins from James Joyce's "Finnagan's Wake." -- Source of annotation: Marvin or Ruth Sackner.

This is part one of a trilogy in regards to thhe way language is used as an atempt to resolve conflicts.he work is a mechanically reproduced collage of texts relating to war and peace. Laid in are a folded one-page statement about the piece and a folded sheet, printed on both sides, titled "A History of the Arms Race;" this is present in one copy but not in the other copy. Riddell writes in his statement: 'The literary format offered is unusual, in that it employs a strategy which shifts the responsibility for production- communication from the traditional power-locus of an exclusive Authority towards the 'reader-participant/s'." -- Source of annotation: Marvin or Ruth Sackner.

In this book, Heissenbuttel attempts to make a case for the nonvisual, concrete elements in poems that antedated contemporary, concrete poetry. -- Source of annotation: Marvin or Ruth Sackner.

The authors present the history of their first publication of this book in the intoduction. Steven Heller, Kit Hinrichs, April Greiman, Michael Carabetta and George Lois all contributed statements in the afterward about the influence this book, first published in 1962, had on them as graphic designers. -- Source of annotation: Marvin or Ruth Sackner.