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Discusses the problems of typesetting concrete poems for printing, emphasizing the scale of the type. -- Source of annotation: Marvin or Ruth Sackner.

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The essay and photographs trace the history of the public toilets in Montparnass during the Belle Epoque. -- Source of annotation: Marvin or Ruth Sackner.

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de Campos describes his translation of the works of Marina Tsvietaieva a Russian poet (1892-1941). -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents This catalogue documents the years 1977 to 1999; the years 1965 to 1976 are documented in an exhibition catalogue at MOMA 1978 (also held by the Sackner Archive). The brochure with this catalogue was printed by the Museum of Contemporary Art, Chicago Illinois. Designed by Sol LeWitt and Bethany Johns. With an exhibition history, bibliography and exhibition checklist. This is the massive catalogue issued in conjunction with a substantive 2000 traveling retrospective organized by the San Francisco Museum of Modern Art of over three hundred pieces by Sol LeWitt - the most comprehensive exhibition of work by the late, great minimal master to date. Beautifully designed by the artist with a selection of his own writings, it includes reproductions of many previously unpublished works as well as essays by Gary Garrels, Martin Friedman, Andrea Miller-Keller, Brenda Richardson, Anne Rorimer, John S. Weber and Adam D. Weinberg. On page 42, it is mentioned that one of the most important...

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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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Stored with MCBA newsletter. -- Source of annotation: Marvin or Ruth Sackner.

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The Decoration of Medieval Manuscripts by Evelyn Cohen describes and illustrates Hebrew micrography. In "The Art of the Hebrew Book in the Twentieth Century, Leila Avrin describes the facsimile edition of David Moss' Haggadah, held by the Sackner Archive. The original was commissioned by Richard and Beatrice Levy. Also mentioned is Lynne Avadenka whose work is held by the Archive. -- Source of annotation: Marvin or Ruth Sackner.

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Irene Niechoda researched over twenty years of writing by bp Nichol in his sprawling poem, "The Martyrology." The poem, which filled ten volumes, has been described as an accumulation with "shifts, twists, leaps and catapults that delight us into the unfamiliar." This survey traces the evolution of "The Martyrology" in Nichol's writing in the first two volumes, outlines a compositional chronology, and provides annotations that elucidate personal and literary references, point out intertexts, and cultural artifacts.Of note is the introductory quotation by Edgard Varese which reads, "There is no avant-garde. There are only people who are a little late." The was paraphrased by the Australian concrete poet, Richard Tipping, who composed a Caution sign held by the Sackner Archive, "There is no avant-garde, only those who have been left behind." -- Source of annotation: Marvin or Ruth Sackner.

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This volume concentrates on Stein's experimental works many of which were previously unknown. The editor's textual scholarship "demonstrates Stein's constant questioning of the conventions of language, writing, and reading and her stunning subversion of the authority of language." -- Source of annotation: Marvin or Ruth Sackner.

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Laura Kruger, Curator, contributed an introductory essay. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents From Publishers Weekly: Gass loves words. His prose is extravagant, lush, sometimes overly florid (as when he talks of Flann O'Brien's death on "the first Fools' Day of April, 1966"), and in this new collection, his words have a tendency to get in the way of his subject matter. Which is a shame, because Gass, a novelist and award-winning critic, writes about books and authors often ignored by mainstream readers: Rabelais, Robert Burton, Elias Canetti. Then again, Gass doesn't write for the mainstream. He is the strangest of academic amalgams: a self-professed lover of the avant-garde as represented by Gertrude Stein, Flann O'Brien and Robert Coover, while at the same time he extols the virtues of what he calls "the classics." His definition of classic is, to be sure, expansive, but he applies an old-fashioned standard to all literature, declaring the need for those classics as the basis for a varied literary diet. Despite the occasional gem, such as a touching, if rambling, tribute...

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d.a. levy contributed a long poem "new year" about his father and his alienation from what he knew as Jewish life. The manuscript was received by the editors in the mail on October 14, 1968. levy shot himself to death in his East Cleveland apartment on November 24, 1968. -- Source of annotation: Marvin or Ruth Sackner.

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The book was edited by Paul Spaeth who is the curator of the Lax Archives at St. Bonaventure University, He also contributed an introductory essay. The style of several poems in this book are reminiscent of ee cummings. -- Source of annotation: Marvin or Ruth Sackner.

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Daniel Traister was the curator of the Tom Phillips exhibition with works lent by the Sackner Archive held at the Van Pelt Library, University of Pennsylvania, May 1993. -- Source of annotation: Marvin or Ruth Sackner.

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This essay traces the history of concrete and visual poetry through time and geography, including poesia visiva, fluxus, lettrisme, futurism, pattern poetry, constructivism and vorticism. It was written as an introduction to an exhibition catalogue of the four artists/poets. -- Source of annotation: Marvin or Ruth Sackner.

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Designated Writers Forum Pamphlet Three. -- Source of annotation: Marvin or Ruth Sackner.