Scope and Contents

This is a photocopy of an art work based on a letter Marvin Sackner sent to Nikanova with a copy of "The Beauty in Breathing" catalog. In the original drawing contained in the Sackner Archive, the artist retyped fragments of the text of the letter and integrated them with colored rectangles of various dimensions. The same letters in different words are connected with freely drawn colored, lines ending in arrows. Nikonova calls this work, "architectural treatment," perhaps relating to the notion of Kamensky's ferro-concrete poetry. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

With exception of the 1st page that curry has written in red ink, the remaining pages are carbon copies of the letter sent to David UU. curry wrote the Sackners that he retained a photocopy of the carbon copy for his own files. The letter deals mostly with UU's typewriter poetry book, High C. curry sketches the pages for the book after the poems by UU. He annotates and makes comments for each page. In the last 1/3 of the letter, he writes to UU on progress of projects in which both are involved. -- Source of annotation: Marvin or Ruth Sackner.

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Poyner describes the symposium and exhibition held on the poet Dom Sylvester Houedard at the South London Gallery with a book launch by Occasional Papers .Marvin Sackner presented an illustrated talk on the drawings of Houedard and lent works for the pop-up exhibition. The Sackner Archive contributed the illustrations from the Archive for the catalogue. Stored in Houedard box. -- Source of annotation: Marvin or Ruth Sackner.

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The catalogue depicts photographic reproductions of the following prints that are held by the Ruth & Marvin Sackner Collection USA: 1) Dag Hammarskjold 1967, 2) Pumainen 1967, 3) Vanha pohjpiirustus 1967, and 4) Venaiainen monologi 1967. Ruutsalo died in 2001. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This art work is based on a letter Marvin Sackner sent to Nikanova with a copy of "The Beauty in Breathing" catalogue. The artist retyped fragments of the text of the letter and integrated them with colored rectangles of various dimensions. The same letters in different words are connected with freely drawn colored, lines ending in arrows. Nikonova calls this work, "architectural treatment," perhaps relating to the notion of Kamensky's ferro-concrete poetry. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents Amazon.com: Tennessee Williams (1911-1983) was one of the most acclaimed, popular, and controversial American playwrights of the twentieth century. The Glass Menagerie, A Streetcar Named Desire, and Cat on a Hot Tin Roof are all considered classics of modern theatre, and their characters and situations are iconic representations of the postwar South.In his early years, Williams concentrated his literary talents just as intently on poetry as on plays. Watching over him during this critical learning period was his close friend William Jay Smith (b. 1918), who met Williams in St. Louis as both were embarking on careers as writers. Smith would go on to publish thirteen collections of poetry and an epic sequence of poems describing the forced removal of Indian tribes east of the Mississippi. Both Smith and Williams were affected profoundly by memories of childhood and adolescence in Louisiana and Mississippi, and those experiences shaped their subsequent, mature work once they moved out...

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Book is dedicated to Ruth and Marvin Sackner. The bookbinding was made by Richard Minsky who also treated the paper of the book with Wei T'o spray for neutralizing against acids as explained on the cover text. -- Source of annotation: Marvin or Ruth Sackner.

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The book is dedicated to Ruth and Marvin Sackner. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

The book is dedicated to Ruth and Marvin Sackner. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This is a page from the manuscript dedicated to Ruth & Marvin Sackner. Kempton used a Panasonic electronic typewriter to produce the typewritings that he called glyphs. It was not published until 1993 by Runaway Press but then in a reduced size. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

A critical essay on this work was written by Marvin Sackner. -- Source of annotation: Marvin or Ruth Sackner.

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A critical essay on this work was written by Marvin Sackner as an Afterword; it is located within the insert on the inside back cover. -- Source of annotation: Marvin or Ruth Sackner.

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The author states that Boshoff's typewriter, concrete poetry book entitled "KykAfrikaans" is one of the most remarkable books ever published in South Africa. Twelve pages of this book deal with the making of "KykAfrikaans" along with representative images. The published book as well as the original typings are held by the Sackner Archive. Vladislavic also describes and provides reproductions of Kleinpen I and Bangboek. The former is held in its entirety by the Sackner Archive; for the latter, one original page, photocopied pages of the remainder, and the code decipher are held by the Sackner Archive. In the postscript essay, Ivan Vladsilavic declares, "In recent years, Boshoff has become one of South Africa's most visible, successful artists. This has awakened interest in his early works, such as KykAfrikaans and Bangboek, which have been shown internationally after long obscurity. He continues to make dictionaries." -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This catalogue consists of the listings of two exhibitions, viz., "Typewritten Art and Concrete Poetry" drawn solely from the Sackner Archive, and "Words and Images" from the Sackner Archive and other collections. -- Source of annotation: Marvin or Ruth Sackner.