This drawing was made for the Venice Biennale 1978. -- 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 prints making up this catalogue were those that were displayed as the exhibition. They were reproduced from prior publications. Several originals by Dom Sylvester Houedard, Peter Mayer, Jeff Nuttall, and Tom Phillips from this exhibition are held by the Sackner Archive. There was no bound catalogue published on this exhibition. Therefore, the totality of this catalogue is unique. The work is an excellent reference for the examples of concrete and poetry done in the 60's and 70's. Edith Kalman did three micrographic calligraphic prints that have been scanned into this citation. The pamphlet lists the location of the works displayed. The prints comprising the exhibition are stored in their own box withing the cobbing matrial. -- Source of annotation: Marvin or Ruth Sackner.

The dedication reads, "to Marvin Sackner - The Ruth and Marvin Sackner Archive of Concrete and Visual Poetry MIAMI USA - whose colossal collection, stockpiled over many obsessive years guarantees that this form of poetry beloved of many dedicated exponents world-wide will in all good time become visible." The first page provides Claire's definition of concrete poetry repeated 4 1/2 times on the page. Each subsequent page was created by overprinting through altering the position of the page in the ink jet printer. -- Source of annotation: Marvin or Ruth Sackner.

Designated publication 30. The book comprises a retrospective of Claire's poetry on the occasion of a performance at The Voice Box, Royal Festival Hall, London, March 10, 1991. -- Source of annotation: Marvin or Ruth Sackner.

Designated ICPA Publication No.16. The theme of this poem deals with the girls who were burned so badly in the Hiroshima nuclear explosion that they cannot bear to look at themselves in the mirror. -- Source of annotation: Marvin or Ruth Sackner.

Designated ICPA publication No.5. A loose sheet introduces definitions of ether and ethereal, e.g. an elastic and subtle substance believed to permeate all space... This phrase is printed without spacing on transparent acetate to overlay each of five poems for a Moire effect. The repetitive text of one broadside reads Lovetherealove... (matted); lack of spacing causes the words, love and ethereal to combine. A tautology present here reads: Every breath even now changes to ether divine. -- Source of annotation: Marvin or Ruth Sackner.

The first performance of Cobbing, Claire and Chant for this record on July 6, 1971 marked the birth of the group now known as Konkrete Canticle. A copied tape cassette is also held by the Sackner Archive.The manuscript for Ga(il)o(ng) performed inthis record is held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

The first performance of Cobbing, Claire and Chant for this record on July 6, 1971 marked the birth of the group now known as Konkrete Canticle. A copied tape cassette is also held by the Sackner Archive.The manuscript for Ga(il)o(ng) performed inthis record is held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

Designated ICPA Publication No.6. A portion of a typed, concrete poem was repetetively recopied on a photocopier and enlarged such that its image diminishes page by page until it virtually disappears. -- Source of annotation: Marvin or Ruth Sackner.

Designated ICPA Publication No.22. This is the documentation of the collaboration between Claire and Paul San Casciani, a stained glass artist for an exhibition during Oxford Week 1988. -- Source of annotation: Marvin or Ruth Sackner.

Designated ICPA Publication No.20. Images of the poems depict galaxies of stars as imagined by Claire after staring at the sky for several nights following her attendence at a conference on galaxies. -- Source of annotation: Marvin or Ruth Sackner.

Designated ICPA Publication No.4. The images consist of the leaves from the Gingko tree and the work was performed at the Toronto Festival, Harbourfront Arts Centre 1984. -- Source of annotation: Marvin or Ruth Sackner.