This issue deals with Hubaut's installation piece in Toulouse. The newsletter includes a reproduction of the poster, diagram of the work, biography of Hubaut and a cover portrait of Hubaut in a pink wig and glasses. It also cites other artists who made pink artworks for the Toulouse exhibitions in the past. -- Source of annotation: Marvin or Ruth Sackner.

This catalogue presents the monochromatic art works of Hubaut who writes that he constructs his "sites" from given or borrowed objects donated by a public, often isolated from the art millieu. Further, producing visually aesthetic and seductive monochrome sites reveals the disorder in the world and the hierarchical tensions and ideological significance of the colors. Hubaut has made ideographic drawings on the inside front cover and title page of this copy. -- Source of annotation: Marvin or Ruth Sackner.

This catalogue presents the monochromatic art works of Hubaut who writes that he constructs his "sites" from given or borrowed objects donated by a public, often isolated from the art millieu. Further, producing visually aesthetic and seductive monochrome sites reveals the disorder in the world and the hierarchical tensions and ideological significance of the colors. -- Source of annotation: Marvin or Ruth Sackner.

Every object, person, item of clothing in this installation reproduction is colored pink. Joel Hubaut himself is pictured in the center with a pink wig, wearing sunglasses and holding a pink pig. Poster versions of this print are held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

Every object, person, item of clothing in this installation reproduction is colored pink. Joel Hubaut himself is pictured in the center with a pink wig, wearing pink sunglasses and holding a pink pig. A print version of this poster is held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

The editor states that the 17 essays in this book are concerned with poetry readings, the sound of poetry and the visual performance of poetry. They "offer original and wide-ranging elucidations of how twentieth-century poetry has been practiced as a performance art." Johanna Drucker contributed a chapter titled "Visual Performances of the Poetic Text" in which she describes and illustrates several poems of early 20th century visual poetry movements including an in depth analysis of "Poesie de mots inconnus" by Iliazd, a book that is held by the Sackner Archive. A listing of audio resources and a bibliography are included. -- Source of annotation: Marvin or Ruth Sackner.

A tribute to Bob Cobbing on his 70th birthday, Hansen states "thanks & gratitude for 23 years of friendship!" -- Source of annotation: Marvin or Ruth Sackner.

This book is a score for a performance piece given at Magazzini del Sale in conjunction with the exhibition, Materializzazione del Linguaggio, organized for the Venice Biennale by Mirella Bentivoglio. The work was based upon a treated text of John Ruskin's commentary, "The Stones of Venice" (1851-1953). -- Source of annotation: Marvin or Ruth Sackner.

The Zaj group of artists consisted of Hidalgo, Marchetti, Castillejo, and Ferrer. This catalogue includes photographs of pianos modified by Zaj for Archivo Conz. Thirty-two large scale silkscreen prints on cloth published by Conz of Zaj images are depicted. The Sackner Archive holds several of the originals which are often postcard size. -- Source of annotation: Marvin or Ruth Sackner.

This book includes poetry and performance notes which document several published works by Cobbing. -- Source of annotation: Marvin or Ruth Sackner.

Bill Griffiths' introductory essay explains how Cobbing has used the duplicator, ink, stencils and over-printing to create texts of shapes and textures. They "move away from word and letter as conventional symbols...into a new semantics of shape. The works in this book date from 1970 to 1976. -- Source of annotation: Marvin or Ruth Sackner.

This book incorporates all the material in the two publications, Sound Poems (An A B C in Sound), January 1995, and Kurrirrurriri, November 1967. It consists largely of sound poems though some are written in expressive visual format. The earliest poem in the book, 'Worm' was written in 1954 but did not achieve its final version until 1964. -- Source of annotation: Marvin or Ruth Sackner.

The print depicts a photograph of Davies with the grill hanging from his head by red string. The caption at the bottom of the print provides instructions for playing this found instrument that accompanies the image. The top of the print depicts drawings of the right and left ears that have a single perforation for supporting the grill with the string for framing. -- Source of annotation: Marvin or Ruth Sackner.