The text describes Johns' printmaking process using several well known prints as examples. -- Source of annotation: Marvin or Ruth Sackner.

This is the second edition of an anthology that deals mainly with semiotic poetry as practiced in Brazil. -- Source of annotation: Marvin or Ruth Sackner.

Profile celebrates the individual designers who are partners of the international design studios of Pentagram. Nineteen partners are profiled by nineteen distinguished authors alongside explorations into Pentagram's strong collective ethos, uniquely succcessful organizational structure, and place in design history. Karrie Jacobs contributed an essay on Paula Scher titled 'Three Letters: e.V.O.' Concrete or shaped poetic layouts for graphic design projects are depicted for the folowing Pentagram partners: John Mcconnell, Angus Hyland, Paula Scher, Michael Bierut, Woody Pirtle, and Kit Hinrichs. -- Source of annotation: Marvin or Ruth Sackner.

This book is a history of Portuguese poetry. -- Source of annotation: Marvin or Ruth Sackner.

This book consists of a collection of anti-religious establishment essays. -- Source of annotation: Marvin or Ruth Sackner.

This book is a collection of brief, critical essays. -- Source of annotation: Marvin or Ruth Sackner.

Mottram discusses the career of Bob Cobbing from his first sound poetry performance at the ICA London in 1965, his organization of writers and poets beyond the traditional literary boundaries, and his relationship to the avant garde poets, musicians and theorists of the 1960's and 1970's. The panels "Spontaneous appealinair contemprate apollinare" that are depicted in this pamphlet are held by the Sackner Archive.This piece is reprinted from Second Aeon magazine No.16-17, 1973 and is also Designated Studies in Concrete Poetry No.1. -- Source of annotation: Marvin or Ruth Sackner.

Reproductions of paintings by Mark Rothko and Mark Toby are included in this book. -- Source of annotation: Marvin or Ruth Sackner.

Drucker writes that this "book is about the constraints and limits of language as a system (within the rules of grammar and syntax and orthography). Drucker uses a single font of type in the center section of each page and a second text printed from polymer plates on the top and bottom of the letterpress print font section. This second text is printed in red and becomes increasingly larger on each page. It "addresses the history of writing as technology, mythology, and cultural form." The title refers to the foundry label on new type that advises the printer to proof the font before setting it. Fifty copies were given to friends and 40 were sold to the public. -- Source of annotation: Marvin or Ruth Sackner.

Robert and Donna Jackson who sold these Burroughs papers is a friend of the Sackners. -- Source of annotation: Marvin or Ruth Sackner.

This exhibition catalogue deals with the works published by Mayer as well as his own experiments in concrete poetry. It is profusely illustrated with works by artist/poets published by the press and also with reproductions of Mayer's monoprints. -- Source of annotation: Marvin or Ruth Sackner.

Includes many reproductions of Hansjorg Mayer's publications. -- Source of annotation: Marvin or Ruth Sackner.

Subtitled "American and British Writers, Printers, and Publishers in Paris, 1920-1939." Includes a detailed description of Bob Brown and his book, "Readies" in the chapter, The Roving Eye. The Sackner Archive holds Readies - a gift of Eric Estorick. This edition is a reprinting of the book that was first published in 1975. -- Source of annotation: Marvin or Ruth Sackner.

Ferdinand Kriwet contributed an introductory essay, "Decomposition of the Literary Unit: Notes on Visually Perceptible Literature" that traced the historical antecedents of concrete and poetry. This is followed by an illustrated section on his own linguistic and compositional techniques involving circular concrete poems, "Rundsheiben." "Walk Talk," a vinyl, floor covering, a portion of which was given to the Sackners by Kriwet is depicted in the book.Kriwet defines his term "Sehtext" as a solution to the problem of visually perceptible literature. It is the tension between the physical act of seeing and the intellectual one of reading. Seeing is a process of perception; reading is the reaction to it. -- Source of annotation: Marvin or Ruth Sackner.