This set of cards depicts four paintings that were held by the Sackner Archive as well as many other works of art. -- Source of annotation: Marvin or Ruth Sackner.

The exhibition consists of works from Boekie Woekie, the artist book gallery and press in Amsterdam. -- Source of annotation: Marvin or Ruth Sackner.

This exhbition in 1967 was the first manifestation of the international postwar Avantgarde Art in Germany. -- Source of annotation: Marvin or Ruth Sackner.

This exhibition on the 75th anniversary of the founding of Hauswedell & Nolte featured books of the Cranach Press, Bremer Press, Gunnar A Kaldewey, and Dieter Roth. -- Source of annotation: Marvin or Ruth Sackner.

This book was published by Hansjorg Mayer. One of the copies is accompanied by a separate pamphlet that lists the works in the exhibition along with advertisements. The catalogue consists of questionaires answered by the artists along with visual documentation. -- Source of annotation: Marvin or Ruth Sackner.

Each book consists of a one page drawing entitled "Stupidogramm" consisting of a grid of commas with an area enclosed by an ink line drawing. Not one of the 200 copies is alike. This publication is stored in the 'R' flat files drawer. Note that Roth uses the name Diter Rot for this issue. -- Source of annotation: Marvin or Ruth Sackner.

Letter concerns poets Blaine has contacted requesting work for exhibition of Davis UU. -- Source of annotation: Marvin or Ruth Sackner.

DeCampos provides a brief discussion of his first meeting with Gomringer in his first communication with Houedard. He thanks Houedard for sending him typogrammes..."very interesting as studies of form though I personally prefer always to use the semantical element." States that both Gomringer and his group began from the same starting point, i.e., Mallarme's the throw of the dice, "the threshold of new poetry." -- Source of annotation: Marvin or Ruth Sackner.

The letterhead is Monks Pond. Merton writes Emmett Williams that "All the things you are making happen sound good. Or helping make happen. Yes, visual poetry. I'd like to see that exhibit in Minneapolis. When will it be?" He continues, "I'm starting on some visual stuff. Hasn't loosened up yet but I think it will start to break soon. If only we had some more type here and the monastery printer had more time we could really do something about it." In a postscript, Merton adds a handwritten request, "Could I see a copy of the Bense reader? Looks interesting. Also the MacLow stanzas, as I am doing some, that - & Dieter Rot. Your catalog is very good. Only interesting one I've seen in a long time. -- Source of annotation: Marvin or Ruth Sackner.

This pamphlet was distributed at the exhibition. -- Source of annotation: Marvin or Ruth Sackner.

Charles Cameron writes that these pages are "numbered by hand, with many dsh correx + typesetter's markups for 'the flip side of language' -- looks like it might be dsh's entry for the issue of the Oxford mag ISIS on concrete poetry which I edited, but I don't have a copy for comparison & it's hard to say..." This essay appeared in ISIS No.1507, 1966, a periodical hels by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

This essay is another copy of the manuscript with slightly different handwritten correctionss and appeared in ISIS No.1507, 1966, a periodical held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

All the images in this book were based upon a postcard from the collection of Rita Donagh (Richard Hamilton's wife). A postcard that it similar but with slight differences was used by Tom Phillips in hia book "The Postcard Century" to open the 1974 section. -- 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.