Contains Futurist poems depicting portraits of several artist/poets. -- Source of annotation: Marvin or Ruth Sackner.

Edited by Geof Huth. -- Source of annotation: Marvin or Ruth Sackner.

Rubberstamped "Art Abject - Tabu - Lieutenant Murnau." -- Source of annotation: Marvin or Ruth Sackner.

Rubberstamped "Art Abject - Tabu - Lieutenant Murnau." -- Source of annotation: Marvin or Ruth Sackner.

A table of chronology of Portuguese concrete poetry included in this book indicates that it began in 1962 with publication of de Melo e Castro's book, "Ideogramas." The book reprints texts and correspondence from the early days of concrete poetry in Portugal. -- Source of annotation: Marvin or Ruth Sackner.

Five prints referred to in book are held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

This is one of 25 signed and numbered copies. The remaining 25 copies in the run were unsigned. In the introduction, Helmes writes "In the late 70's I met Ruth and Marvin Sackner and Richard Kostelanetz. They, along with Karl Kempton and Kay Arndt, have been critical supporters of my work for which I am continually grateful." This book consists of a varied selection of Helmes' poems, reproduced from rubberstamping, line stencilling and letraset collaging. -- Source of annotation: Marvin or Ruth Sackner.

The book contains several essays including works of Heidsieck from the collections of the Centre National Des Arts Plastiques, personal interviews and reminiscences, and The importance of the Text-Sound-Compositions Festival. The DVD contributes "an intimate portrait of Bernard Heidsieck, pioneer in the sound poetry movement since 1955 and founder in 1962 of action poetry." -- Source of annotation: Marvin or Ruth Sackner.

Victoria Combalia writes in her essay The Disturbing Objects of Joan Brossa that "certain themes on Brossa's work are easily recognized as 'Brossian': masks, letters of the alphabet, ordinary objects from daily life, playing cards...Perhaps the most important motif - or at the least the most utilized - by Brossa are letters of the alphabet. Brossa works with them as Cezanne did with his apples; he uses them in every way and in all places, as they are for him his dearest motif." In terms of his visual poetry, Combalia states that it "belongs to the long tradition of experimental poetry, in the line that goes from Mallarme to concrete poetry." -- Source of annotation: Marvin or Ruth Sackner.

These are dsh's notes on "paid sex literature" according to Charles Cameron or commercialized sex. -- Source of annotation: Marvin or Ruth Sackner.

This calligraphic text is the maquette for the folded print in Portfolio Chopin. It is a linear extract of letters by Henri and Bernard to each other from 1962 - 1977. The two are identified by heavy printed letters, BH and HC. -- Source of annotation: Marvin or Ruth Sackner.

Edited by Brian Lane and Trevor Wells. -- Source of annotation: Marvin or Ruth Sackner.

This is a collection of works using altered grainy photographs of nude women, comic strips, drawings, text, and the concept of "ejercicios para una escritura no pobre," or "exercises for non-poor writing." -- Source of annotation: Marvin or Ruth Sackner.

The Sackner Archive holds three artist books by Chancho from 1974-1980 that are depicted in a group of books on pages 68-69. -- Source of annotation: Marvin or Ruth Sackner.

The prints are reproductions of typed pages on varied colored papers. The Sackner Archive holds the original typing of Ilse Garnier's "coRRida" that is reproduced as a print in this work. For this copy, someone made a custom designed folder and slipcase. -- Source of annotation: Marvin or Ruth Sackner.