In this article, Vos states that he is a follower of the linguistic theories of Nelson Goodman. -- Source of annotation: Marvin or Ruth Sackner.

Finlay defines concrete poetry as follows, "There is a difference between a poem which is 'about' a thing and a poem which IS a thing - its own thing, but not necessarily without reference to something else." -- Source of annotation: Marvin or Ruth Sackner.

Book Depository WEB 2014: "This is an extensive primer to modern poetics, focusing especially on the Concrete poets. The problem is not only to transform poetry into something new compared to poetic tradition, but above all that through this transformation poetry becomes a total art. New experimental poetry is no longer exclusively interpretable as a force modifying the usual instruments of poetic creation, or as the necessity of overcoming national linguistic barriers to an explicitly international poetry. Today it seeks to become a total medium, to escape all limitations to include theater, photography, music, painting, typography, cinematographic techniques, and every other aspect of culture, in a utopian ambition to return to origins - from the back." -- Source of annotation: Marvin or Ruth Sackner.

Each participating artist was invited to make a proposal for a work in public space and a work for a portfolio. These artists all use text and language for their works. An introductory essay by Tjeu Teeuwen traces the relationship between text and image from early religious works through the influences of Mallarme, cubist collages, calligrams, futurism, dada, constructivism, De Stijl, concrete poetry, fluxus and conceptual art. Essays are also included on art in public places and nomadic art. -- Source of annotation: Marvin or Ruth Sackner.

Essay describes Ian-Hamilton Finlay's garden Stonypath in Scotland. -- Source of annotation: Marvin or Ruth Sackner.

This proposal for a revolutionary garden in Versailles was never carried out owing to a political perception in France that Finlay espoused pro-Nazi, anti-semitic views (this opinion is not shared by the Sackners). -- Source of annotation: Marvin or Ruth Sackner.

This exhibition was designed by Ian Hamilton Finlay and Pia Simig and took place at Tate St. Ives from March 23 to June 30, 2002. -- Source of annotation: Marvin or Ruth Sackner.

The catalogue was designed by Ron Costley. It includes a long critical introduction by Stephen Bann focusing on Finlay's contributions to concrete poetry and his swing toward neo- classicism in the picture poems carried out by inscriptions on stone plaques in the garden. The catalogue also has a reprinting of Finlay's "A Wartime Garden." The illustrations depict several unique stone, neon, and glass sculptures. -- Source of annotation: Marvin or Ruth Sackner.

Exhibition was curated by Thomas Kellein. Layout design was done by Hansjorg Mayer. The cover depicts a picture poem, "Homage to Modern Art." The catalogue is a retrospective of Finlay's ouevre. -- Source of annotation: Marvin or Ruth Sackner.

The critical essay was contributed by the Canadian poet, Stephen Scobie. He states that Finlay is "a Classical artist" in contrast to "a Romantic artist." who attempts to create the artistic world out of an isolated consciousness whereas the Classical artist works within tradition as emphasized by Finlay's Hommage series to other artists. As Scobie indicates, to call Finlay a Classical artist seems paradoxical since his work appears so experimental or inventive but "Classicism" refers to -- Source of annotation: Marvin or Ruth Sackner.

This exhibition was curated by John Deumans. Anne Moeglin-Delcroix contributed an essay on contemporary artist-collectors. -- Source of annotation: Marvin or Ruth Sackner.

The prior published essays in this book, edited by Ian Hamilton Finlay's son, present a comprehensive survey of his father's poetry and art, from 1958 to 1995. -- Source of annotation: Marvin or Ruth Sackner.

This publication which was edited by Zdenek Felix and Pia Simig was published on the occasion of Finlay's exhibition entitled Works - Pure and Political at Diechtorhallen, Hamburg Germany in 1995. Includes photographs b&w of Finlay's sculptural works, documentation on their significance, and a listing of his collaborators. Archival material forming the basis for several of these works is held by the Sackner Archive, e.g., Max Plank Institute, Stuttgart (1972). -- Source of annotation: Marvin or Ruth Sackner.

Sam Winston's, "Passion" print of the Romeo and Juliet series is depicted. The complete work of this series (6 prints, edition of five) is held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.