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Baroni also provides a diagramatic drawing of collage images. -- Source of annotation: Marvin or Ruth Sackner.

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The publication, designated Folio X, was produced for an exhibition at the Royal Academy of Arts in London from February 4 to March 3, l986. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents In the Diary series, Sterne is quoted, "Maybe I am saying something which is a truism, but I feel that my work all along was like a dairy." The artist "effortlessly weaves paraphases of quotes by poets, novelists, philosphers, and theologians throughout her conversations, enjoying their ability to communicate a polyphony of diverse yet interrelated ideas. She has noted, 'all in all my greatest mentors were always books.' Although establishing direct corollaries between her paintings and books that have influenced her remins impossible, Sterne's Diary series reveals the central role they play in her thought process as well as her work. For several months in 1976, Sterne placed blank, unstretched canvases on the floor of her main living space (which then, as now, functions as kitchen, dining room, and living room), and then drew a grid patterrn on each. Daily, she filled one square grid with either a quote of her own thought and the date. The handwriting in each square alternates...

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This is the first volume in a series of three on the work of Roth. It is divided into four sections. The first consists of Laslo Glozer's essay " Leaving to Depart - Dieter Roth: the nomad in His Time" links the artist's life and art. Part two shows the progression of Roth's unique pieces from 1950 to 1998. In part three, curator Dirk Dobke focuses on Roth's friendship and collaboration with Phillip Buse and part four contains the catalogue of the Dieter Roth Foundation. -- Source of annotation: Marvin or Ruth Sackner.

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About one half of this book consists of essays by several contributors that deal with various aspects of Kassak's work and life. The second half depicts reproductions of Kassak's work with Hungarian and English titles. -- Source of annotation: Marvin or Ruth Sackner.

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Pages 220-222 depict "Red Shift" (1967-1984) in which all the objects within a room are painted red except for the white walls and ceilings. This is reminiscent of Joel Hubaut's collages and poster monochromes (several held by the Sackner Archive). -- Source of annotation: Marvin or Ruth Sackner.

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The "Box Factory," a work held by the Sackner Archive which was lent to this exhibition, is depicted in the catalog. The exhibition was curated by Magdelena Dabrowski. -- Source of annotation: Marvin or Ruth Sackner.

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Anecdotes about Roth in this catalogue were provided by Ira Wool, Roth's major American collector. -- Source of annotation: Marvin or Ruth Sackner.

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This illustrated report on the Russian emigre poet, Konstantin K. Kuzminsky who serves as a mentor to young Russian American poets, describes the magazines Magazinnik and Koja. -- Source of annotation: Marvin or Ruth Sackner.

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The book edited by Claudia Salaris depicts Echaurren's oeuvre of paintings, ceramics, collage, book design, illustrations and stamp art. It features cartoon-like creatures. -- Source of annotation: Marvin or Ruth Sackner.

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This sumptious illustrated book depicts extensive examples of Dencker's visual poetry and artist books. In the introduction, Karl Young writes that Dencker's "unpublished archives may identify as many late 20th Century visual poets as any in the world. (The collection of Ruth and Marvin Sackner is the only probable contender for equal range.)" Also, designated publication PN1. The print accompanying this book was based upon a collage made in 1996. -- Source of annotation: Marvin or Ruth Sackner.

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This book deals with Hoffmeister's travel to Egypt. -- Source of annotation: Marvin or Ruth Sackner.

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This novel contains two distinct alternating biographies: the first is an allegorical story of W, a bizarre, mythical island civilization, symbolizing the Holocaust. It is printed in italics. The second text is Perec's memories of his childhood in Paris. Perec writes in his introduction that the two stories "are in fact inextricably bound up with each other, as though neither could exist on its own, as though it was only their coming together, the distant light they cast on each other, that could make apparent what is never quite said in one,never quite said in the other, but said only in their fragile overlapping." -- Source of annotation: Marvin or Ruth Sackner.

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Waldemar Cordeiro was the first poet/artist in Brazil to use computer art/text in his work. In bit international No.5/6 1969 (held by the Sackner Archive), it is mentioned that he was a participant in a program entitled, "computers and visual research" (1969). -- Source of annotation: Marvin or Ruth Sackner.

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The title of this book of non-fictional essays stems from Burciaga's parents pronunciation of the preamble to the American constitution while studying for citizenship, "We the People..." -- Source of annotation: Marvin or Ruth Sackner.