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This print depicts an enlarged image of the 9 of spades playing card but with only eight spades on the card. It was exhibited in Visualog 2, San Luis Obispu, California, an exhibition curated by Karl Kempton. -- Source of annotation: Marvin or Ruth Sackner.

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Last of the Processual series, this work includes transformations of each of the images in all the fourteen works, which had been published previously. Cobbing also provides documentation for the composition of all these works. He dedicates Processual Quintet to Marvin Sackner "who visited at the time of its publication." -- Source of annotation: Marvin or Ruth Sackner.

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Designated Card Series No.11. -- Source of annotation: Marvin or Ruth Sackner.

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A photocopied image of the face of Mona Lisa is built up in four pages from the abstract to the visible. The facing pages have childlike handwritten phrases possibly done by Baroni's son. -- Source of annotation: Marvin or Ruth Sackner.

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Deals with Knowle's theme of the bean. -- Source of annotation: Marvin or Ruth Sackner.

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These prints were made by progressive enlargements of an original typewriitten 'a & i.' Beaulieu in prints #2-5 focused on enlargements of the 'a.' Emmett Williams' 'A-Journey' (1979) utilzed xerox enlargaments of the letter 'a' but at much less resolution and starting wit a typeset 'a.' -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents This book was edited by Marcella and Nicoletta Danon in homage to their late mother and grandmother, Betty Danon. In the introduction by Marcella Danon, mention is made that Betty Danon's work is held in the Sackner Archive. Conceptual artist and visual poet. Danon was born in Istanbul and lived in Milan, Italy, since 1956. She worked with Sound and Sign, starting from Jungian symbology, reducing circle and square in their primal elements - dot and line - that she will develop in her future works: abstract musical scores and interventions on Sound and Sign. She participated, in Italy and abroad, in many personal and collective exhibitions and twice in Special Exhibitions within the Venice Biennial, in 1978 and in 1980. Her work is well documented in many contemporary art magazines and international art archives. She voluntarily left, in the 1980's, the conventional art circuits in order to share her work with artists from all over the world trough Mail Art, and in order to spread...

Scope and Contents

Each page depicts the same image progressively enlarged from a microscopic size to cover the entire page through the xerox technique. It is reminiscent of Emmett Williams' xerox experiments carried out in 1979. Manuscripts from the latter period are held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

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All the images in this book are abstract. -- Source of annotation: Marvin or Ruth Sackner.

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Consists of selected texts by Bob Cobbing 1944-1990. Jennifer Pike, Bob's wife, also writes under the name Jennifer Cobbing. -- Source of annotation: Marvin or Ruth Sackner.

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David Barton's introductory essay describes Cobbing's work from 1942 to 1986 as the discovery of new sound and movement in poetry. The works reprinted in this book are mainly abstract xerox images from which Cobbing performs sound poetry. Examples of Cobbing's works in "Destruction in Art Movement," some of which are held by the Sackner Archive are also included. Cobbing denotes his mimeograph (a subclassification of "xerox art" in Archive) as duplicatorprints. -- Source of annotation: Marvin or Ruth Sackner.

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Many of the poems in this book, which are generally abstract, were performed by Birdyak (Hugh Metcalfe & Bob Cobbing). -- Source of annotation: Marvin or Ruth Sackner.