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Kate Rawlinson, Director of Galleries, acknowledges the "aesthetic insight and generous assistance in bringing this exhibition together." Marvin Sackner contributed an essay describing his relationship as a collector to the artist and his work. Sackner also coins the term Rap Concrete Poetry to describe the work in this exhibition. -- Source of annotation: Marvin or Ruth Sackner.

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The exhibition was curated by Ruth and Marvin Sackner. The catalogue was issued on the occasion of the exhibition and performance of Cobbing and Fencott at the Richter Library, University of Miami, February 25, 1982. The exhibition and performance was sponsored by Josephine Johnson, University of Miami. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents This page consists of three small rectangular panels in its right third and a collaged, almost obscured text from typed carbon backing on its left two thirds. The uppermost panel on the right side is a collage made from a logograph that also appears in Phillips' Dante's Diary book, entitled "WHYSPEND." The middle panel is a handwritten, micrographic portion of Phillips diary in which he discusses meetings with Peter [Greenaway] and viewing Edward Muybridge original photographs at the V&A. The lowermost panel consists of a rectangular collage made from the Sackner Archive stationery. The section on the right two-thirds of the drawing consists of the circular drawing WHYSPEND collaged onto the typed carbon backing of "the thirty three sheets of notes to accompany the Thames and Hudson edition of Dante. A careworn piece of paper." In this collage, only an illegible shadowy remnant of words remains. This drawing anticipates the typed carbon backing for the translation of Dante's...

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This page is divided into a grid of nine rectangles that are described by Phillips as "nine versions of 'many different tongues' connected to Dante and worked on on Sunday XV/VII, including scrambled script by myself, confused Mallock, random bank numbers, parts of the Sackner letterheading, reproductions of pictures of mine from Stuttgart & the Tate Gallery & Waddington Catalogue (after Dante in his study) & two fake scripts from scratch." -- Source of annotation: Marvin or Ruth Sackner.

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Omar Khouri contributes an introductory essay about De Araujo's poems. The web address of the Sackner Archive is listed under places with more of De Araujo's work. -- Source of annotation: Marvin or Ruth Sackner.

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Sackners are listed in the article by Allen Kurzweil's "America's Top 100 Collectors," a tribute to the most active, passionate collectors in the country. -- Source of annotation: Marvin or Ruth Sackner.

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The Sackner ARchive catalog printed in 1984 is listed at 1250 pounds equivqlent to $1250.The end papers are computer printouts from Kein Fehler Im System. -- Source of annotation: Marvin or Ruth Sackner.

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Austin writes that "by turning their home into a museum, collectors Ruth and Marvin Sackner have made concrete and visual poetry more like household words." The article and interview concisely defines and describes the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

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It is stated that this edition was sponsored by Ruth and Marvin Sackner. Biro recounts a tour through the far east with poems. -- Source of annotation: Marvin or Ruth Sackner.

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This is a sumptiously colored illustrated book on 40 book collectors and the way they live with and care for their books in their residences. The Sackners and Micky Wolfson collections are described in a section of the book entitled, "The Grand Passion." The collections of the Harris', Richard Minsky, and Michele Oka Doner are described in a section entitled, "Beautiful Bookscapes." -- Source of annotation: Marvin or Ruth Sackner.

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Meeting minutes mention Richard Tipping's description of his visit to the Sackner Archive and his display of the reprint from "At Home with Books." -- Source of annotation: Marvin or Ruth Sackner.

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The catalogue was written and the exhibition curated by Marvin Sackner. The viewing took place over a five day period at the Annual Meeting of the American Thoracic Society/American Lung Association in Miami Beach. -- Source of annotation: Marvin or Ruth Sackner.

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Lectures by Claus Cluver and Roland Greene were presented in conjunction with the exhibition. The Sackners lent most of the works in this exhibition. -- Source of annotation: Marvin or Ruth Sackner.

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This exhibition was presented to participants in the Central Agency for Jewish Education (CAJE) of Greater Miami tour of the Sackner Archive. Curated by Marvin Sackner, all 86 works on display demonstrated the use of Hebrew letters, words and texts in ancient and modern contexts. The catalog listing is illustrated with 30 images scanned into the Archive data base. -- Source of annotation: Marvin or Ruth Sackner.

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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.

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Handout at Book Arts Conference, Center for the Book Arts, New York. -- Source of annotation: Marvin or Ruth Sackner.