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This is the maquette for the exhibition poster. -- Source of annotation: Marvin or Ruth Sackner.

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This is the show poster for the exhibition.

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This is the print made from the exhibition poster; the Sackner Archive has copies No.2, 4, 5, 7, 8. -- Source of annotation: Marvin or Ruth Sackner.

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This is a New Year's greeting card. -- Source of annotation: Marvin or Ruth Sackner.

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The drawings have been executed in Satie's typical style. The photographs, including three self-portraits, depict scenes of New York, Stonehedge and Paris. -- Source of annotation: Marvin or Ruth Sackner.

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This print is based upon the Artist Book of the same title. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents According to a WEB site, Merante has been a member of Inism since its foundation (1980), taking an active part both on a creative/productive level as well as on a theoretical one in promoting on an international scale the ideas contained in the first Inist manifesto. He has taken part in all the activities the movement has organised or promoted as well as organising and running two inist exhibitions himself which took place in January 1985 at the University of Poitiers (France). He is the cosignatory of the second Ini manifesto Apollinaria Signa (Sant'Apollinaire - Perugia, 1987) as well as of the manifesto La Videoinipoesia. Manifesto Inista (Rome - Sant'Apollinaire, 1990). As a convinced promotor, like all inists, of the need to abolish every boundary that exists between the operative sectors in art and constantly preoccupied in reaching and stimulating all the senses of the spectator through a superimposition of levels of expression to be perceived simultaneously, he composes...

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This is the logo that is used in Inism exhibitions and on the cover of the Inist periodical, "Berenice." -- Source of annotation: Marvin or Ruth Sackner.

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The images of the scroll focus upon fantastic architectures. -- Source of annotation: Marvin or Ruth Sackner.

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The first five numbered copies contain an additional two rayogrammes (one of which is held by the Sackner Archive). The pictures include portaits of Isou, Lemaitre, Sabatier, Satie, and Woodie Roehmer. -- Source of annotation: Marvin or Ruth Sackner.

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The poem takes the form of a letter. -- Source of annotation: Marvin or Ruth Sackner.

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Hartmann drew a single vertical column of hieroglyphics on the outger edge of each page. -- Source of annotation: Marvin or Ruth Sackner.

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Print is composed of nine dark blue metallic hieroglyphics arranged as a 3 x 3 grid; they are printed with by the intaglio process on medium blue colored papercard. -- Source of annotation: Marvin or Ruth Sackner.

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The iconography is similar to the Swiss artist, Werner Hartmann. -- Source of annotation: Marvin or Ruth Sackner.

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Commissioned for "The Beauty In Breathing" exhibition. The upper half of this picture depicts a tube-like structure connected to a larger semi-circular one, presumably a highly stylized representation of the lungs. White squiggley lines on a black ground within the latter give an appearance of oceanic tides, thereby providing a metaphor for the title of this work, i.e. Tidal Breathing. The lower half of the picture contains untranslatable hieroglyphics by Ely, his charactistic gestural marks. -- Source of annotation: Marvin or Ruth Sackner.