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Designed and produced by Marksteen Adamson. -- Source of annotation: Marvin or Ruth Sackner.

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This assembling was a student project supervised by Werner Pfeiffer. It was produced on the occasion of an exhibition Half a Century of Book Arts at Pratt. -- Source of annotation: Marvin or Ruth Sackner.

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This catalogue was in the collection of Jan van der Marck, director of the MOCA and curator of the exhibition. He wrote in the introduction, "What characterizes the majority of works in this exhibition is their complex permutation of words and images. The resulting visual language tends towards poetic rather than communicative functions." Van der Marck also wrote the biographies of the artists. The Sackner Archive also holds the archive for the limited edition box with contributions from the artists that was assembled for this exhibition. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents This archive, from the collection of Jan van der Marck (1929-2010), who curated it, essentially duplicates the pamphlet that accompanied the limited edition box of the same title. It includes four announcement cards from Language I, II, III & IV exhibitions at the the Dwan Gallery 1967-1970 with artists that might have received his invitation to contribute to the "Pictures..." or "...Telephone exhibitions. The former is not included in the pamphlet catalogue nor is the invitation letter included in the Archive. Other missing elements from the Archive that are depicted in the pamphlet include correspondence from Al Howard & a found advertisement on bottle caps. Bauermeister writes a long rambling letter with her thoughts on her contribution according to van Marck's dictum, viz., an object with no intrinsic value that can be picked up in a dimestore, found on a beach or manufactured with little trouble - expressive of your likes & ideas, an element recurrent in your work...

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This duplicates the correspondence for the exhibition archive and includes letters and cards by Arakawa, George Brecht, Tenny Duchamp, Ovind Fahlstrom, Ray Johnson, Allan Kaprow, Alison Knowles, Ron Kitaj, Gianni Simonetti, and Wolf Vostell. There are drawings by Baruchello, Mary Bauermeister, George Brecht, and James Nutt, and a collage by Granni Simonetti that deals with plans for assembling the found objects to be placed in a plexiglas box by museum personnel. The box is also accompanied by the catalogue of the exhibition. -- Source of annotation: Marvin or Ruth Sackner.

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This project and the accompanying book are a spoof on a vehicle advertised in Frankfurter Allegmeine Sonntagszeitung, the "ResidenSea." The latter is a luxery liner and houseboat all in one with 110 holiday residences and 88 apartments for sale. The prices range from $680,000 to $3,900,000! The booklet gives the artist's take on this project and the box objects presents the artists' view of another kind of travelling. The top of the box is a painting by Brigetta Heidtmann. -- Source of annotation: Marvin or Ruth Sackner.

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This magazine is one of the earliest to use semiotic signs for its poems. It was published by a group of Brazilian poets who wanted to be more avant garde than the current style of concrete poetry popularized by the Noigandres group. -- Source of annotation: Marvin or Ruth Sackner.

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This copy has an additional 8 unbound pages (compared to other copy in Archive) by Nei Leandro De Castro regarding a semiotic poem for the third world. He states, "In terms of my encounter with these semiotic poems that consist of constructivistic-shaped ideograms & Portuguese translations, I read them with the same feelings as I do with Japanese visual poems that are presented to the West as Japanese ideograms and English translations." -- Source of annotation: Marvin or Ruth Sackner.

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This is a tribute to Wallace Berman done in the style of Semina magazine. The printed folder contains leaflets featuring photographs (including one of Berman by John Martin) and poetry. It includes "Haiku" by Jack Kerouac, the first appearance of this poem. Each issue contains a different gold and white fragment of Burroughs' "The Invisible Generation," International Times Broadside No.5-5, London, 1966. -- Source of annotation: Marvin or Ruth Sackner.

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This project is composed of self-portraits of the 130 artists themselves, who participated in the first part of this portrait project (also a book) by sending a portrait of Robin Crozier to Crozier. -- Source of annotation: Marvin or Ruth Sackner.

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This portfolio was made to celebrate the 20 years of the gallery's existence. The artists whose works are in this portfolio had exhibitions in the gallery. This portfolio includes 30 additional photocopied prints by Mary Bauermeister as a gift to the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

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A Tribute to John Cage was organized by Carl Solway and Allan Kaprow at the Carl Solway Gallery for the Chicago International Art Exposition. This work is stored on shelf near John Cage material. -- Source of annotation: Marvin or Ruth Sackner.

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This assembling was collected with a FAX machine to remember the 200th anniversity of the death of Caglostro, an important Italian alchemist, magician, healer, astrologer, and philanthopist of the 18th century (1743-1795). -- Source of annotation: Marvin or Ruth Sackner.

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Most of the colllaged elements are the same for the two catalogues but the periodicals are different albeit of similar dimensions. -- Source of annotation: Marvin or Ruth Sackner.