This is the deluxe edition that is accompanied by a portfolio of 19 drawings. The ordinary edition of this book is also held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

This is the ordinary edition of the book. The deluxe edition that includes a portfolio of 20 drawings is also held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

Gillo Dorflies wrote the introductory essay for this book. This is the second edition, the first was published in 1971. -- Source of annotation: Marvin or Ruth Sackner.

The bottle is a perfume bottle. Sixteen pages of the 23 are blank. -- Source of annotation: Marvin or Ruth Sackner.

Page 50, plate 44, depicts Wingbook, an artist book in edition of 12 that is held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

Baroni contributes an extensive essay on the artist book. The twig and card in the bag were done by Remy Penard (18/50). -- Source of annotation: Marvin or Ruth Sackner.

Castellano aka LUCA. -- Source of annotation: Marvin or Ruth Sackner.

Surprisingly, there is no explcit information about concrete poetry in this book. -- Source of annotation: Marvin or Ruth Sackner.

This catalogue represents a retrospective exhibition of the work of Costa (1942-1995) whose theme is transformation, metamorphosis and cultural anthropology. It includes essays entitled, "The Theatre of Wreckage," A Journey, a Collection of Saints, a Charcoal-maker, Spring Water and the Magic of Artistic Expression,"In the Company of Human Brain and Prehistoric Man" and "The Reconstruction of the Human." -- Source of annotation: Marvin or Ruth Sackner.

Goeritz, who was of Protestant (?) or Jewish zzzzz9/) heritage, was born in Danzig and migrated to Mexico circa WWII. According to this catalogue, Goeritz made concrete poetry between 1952 and 1966. Throughout his career, he mostly made public sculptures and practiced architecture. -- Source of annotation: Marvin or Ruth Sackner.

Beatrix Ruf writes that "the language of the LUSTMORD texts is as direct as the images of the daily media reporting on war, horrors, crimes, and murder...LUSTMORD produces feelings, perceptions intuitions of the danger which lurks in the tangle if act, participation, sympathy, helplessness and disgust." Holzer's texts were displayed on LED screens, carved benches, as tattoos, bones, labels. The exhibition took place at the former Carthusian Monastery at Ittengen. -- Source of annotation: Marvin or Ruth Sackner.

The presentations at this conference related to magic. -- Source of annotation: Marvin or Ruth Sackner.

This invitation was published for the exhibition on the work of the British poet, Bob Cobbing. The exhibition was curated by Matthew Abess who was the scholar in residence at the Sackner Archive during the summer of 2006 between his sophomore and junior years at the University of Pennsylvania. He also wrote the catalogue essay and organized a symposium at the Kelly Writers House with Maggie O'Sullivan and cris cheek, compatriates of Bob Cobbing, participating in the event along with Charles Bernstein and Marvin Sackner. All the Cobbing material for the exhibition came from the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

This catalogue was published for the exhibition of works of Bob Cobbing selected from the Sackner Archive. The curator, Matthew Abess, SAS '08, was an intern in the Archive during the summer of 2006 when he researched the material for this exhibition. In addition to writing an in-depth catalogue essay, Matthew Abess organized recorded sound poetry readings on multiple head phones in the gallery, and planned a seminar with cris cheek and Maggie O'Sullivan at the Writers House. This is the second printing of the catalogue with the pages evenly printed throughout. -- Source of annotation: Marvin or Ruth Sackner.

This catalogue was published for the exhibition of works of Bob Cobbing selected from the Sackner Archive. The curator, Matthew Abess, SAS '08, was an intern in the Archive during the summer of 2006 when he researched the material for this exhibition. In addition to writing an in-depth catalogue essay, Matthew Abess organized recorded sound poetry readings on multiple head phones in the gallery, and planned a seminar with cris cheek and Maggie O'Sullivan at the Writers House. Since the printing was faded in various parts of sentences on the last pages, Marvin Sackner pointed out that this should be considered a varient and was reminiscent of Cobbing's photoduplicator books. The catalogue was subsequently reprinted appropriately. -- Source of annotation: Marvin or Ruth Sackner.