Scope and Contents

It is mentioned that works of the Gerlovins are held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This catalogue lists examples of artistic ephemeral material (mainly exhibition announcements) for sale in a presentation that is designed with the cover and format like the art magazine, "Artforum" but which is titled "Artform." The annotations include reference to the 1986 catalogue of the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents This is the first edition of the book. Lost Books synopsis: Who invented the miniskirt? What avant-garde artist made a film of 200 human behinds? Why is a themepark a work of art? Who turned a urinal upside down, mounted it to a board, and submitted it to an art exhibit, signed "R. Mutt"?Our era is one of nearly constant innovation and change. The new is constantly pushing aside the old; and the once unimaginable-even the once ridiculed-is now commonplace. A Dictionary of the Avant-Gardes recognizes that change is a driving force in all the arts. It covers major trends in music, dance, theater, film, visual art, sculpture, and performance art--as well as architecture, science, and culture. Entries are divided between important individuals and trends and movements. Each entry includes a complete bibliography, discography, and videography; works list; and appropriate web links. The book is richly illustrated with original art works and an 8-page color insert. For anyone with an...

Scope and Contents

The Sackner Archive is cited as a reference in the bibliography of concrete poetry on page 132 and visual poetry on page 648. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents In an introductory essay, Stephen Bann writes that "artists like Willem Boshoff and Frederic Bruly Bouabre clearly demonstrate the fertility of language-based investigations on African soil: Boshoff prepared for his work with dictionaries by lengthy exercises in concrete poetry." Okwui Enwezor contributes an essay "Where, What, Who, When: A Few Notes on "African" Conceptualism." Bann adds that "Willem Boshoff's conceptual practice is an elaborate effort dedicated to the study of ignorance, that is, pushing to the point of dissolution the idea that the world is knowable. Imprisoned by South African authorities for his refusal to serve in the military (the micrographic work, Kleinpen I, was produced in prison as a way to maintain mental equilibrium)... Boshoff finds in obscure and obsolete words a way to construct a map that denies sight but empowers knowledge...His study of linguistics and Wittgensteinian philosophy led him to explore other ways of rendering words into pulsating...

Scope and Contents

This anthology is mostly concerned with feminist issues. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

Exhibition was curated by Susan Goodman. The Sackner Archive lent El Lissitzky's "Beat The Whites With The Red Wedge" (p.196) and Chashnik's "Maxim Gorky - Vladimir Lenin" book cover design (p.163) as well as two El Lissitzky books. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

The print on the slipcase was designed by Rimma Gerlovina. The Sackner Archive holdss the second version of Vilen Barsky's poem on toilet paper, "Message of the Toilet Paper" that is photographically reproduced on page 117 and Lev Nussberg's book "Tits of Burluk David's Motherland" on page 125 are held by the Sackner Archive. Collective Farm Magazine, also held by the Sackner Archive, is photographically reproduced on page 153. Vagrich Bakhchanyan, Michael Chernyshov, Rimma Gerlovina, Valery Gerlovin, Henry Khudyakov, and Komer & Malamid each contributed a lithograph to the accompanying portfolio. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

The Sackner Archive contains the second version of Vilen Barsky's poem on toilet paper, "Message of the Toilet Paper" that is photographically reproduced on page 117 and Lev Nussberg's book "Tits of Burluk David's Motherland" on page 125 are held by the Sackner Archive. Collective Farm Magazine, also held by the Sackner Archive, is photographically reproduced on page 153. Vagrich Bakhchanyan, Michael Chernyshov, Rimma Gerlovina, Valery Gerlovin, Henry Khudyakov, and Komer & Malamid each contributed a lithograph to the accompanying portfolio. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

The symbols of the big band are the swastica and the star of David, both of which are interpreted by the artists and described in an interview and critical texts. -- Source of annotation: Marvin or Ruth Sackner.