Scope and Contents

These photographs are reproductions of large silkscreen prints. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents The white cover and spine are embossed in Pessin's typical style of repeated abstract markings or hieroglyphics that are utilized as a personal alphabet. Similar markings are contained on the three folded pages embossed on white, brown and beige papers. The remaining pages contain reproduced, handwritten French text by Pessin that offers an explanation of his personal alphabet. A poetic text by Jean-Pierre Spilmont and a critical text by Michel Butor are included in this catalogue. A description of Pessin's work which was included in the exhibition, "Civilisations Imaginaires" follows. The distinctive trademark of Marc Pessin's prints is a sophisticated system of waffle printing producing pages where the signs appear in relief. Using the same technique, a series of books were made with drawings from self taught outsider artists like Pierre Pascaud, Alain Pauzie, lan Pyper, Patrick Guallino and Jean Paul Baudouin. Born in 1933 in Paris, in a family of fairground artists, Marc Pessin...

Scope and Contents Tom Phillips provides a brilliant review of a Hogarth exhibition. According to the the Bullfinch Guide to Art History on a web site "The Artchive," Hogarth, William (1697-1764) was an English painter and engraver. He was one of the leading British artists of the first half of the 18th century. He was trained as an engraver and by 1720 had established his own business printing billheads, book illustrations and funeral tickets. In his spare time he learned to paint, firstly at St. Martin's Lane Academy and then under Sir James Thornhill, whose daughter he married in 1729. He made a name for himself with small family groups (e.g. The Wollaston Family, 1730, H.C. Wollaston's Trustees) and conversation pieces (e.g. The Beggar's Opera, one of several versions, c1729, London, Tate Gallery). Around this time he also set himself up as a portrait painter. Shortly afterwards, in c1731, he executed his first series of modern morality paintings, a totally new concept intended for wider...

Scope and Contents This exhibition was subtitled, "Five Contemporary Outsiders." The colored illustrations of each of the five artists featured in this exhibition are printed on heavy stock paper. The commentaries in French and English of their work are printed on lighter stock paper. The print included in this catalogue was an add-on to the purchase. This exhibition, which was seen by the Sackners is well summarized by Lauren Danchin's essay in the catalogue. He writes, "Nothing at first could bring together the cave painting style of Christine Sefolosha, the exaggerated fetishes of Joseph Kurhakec and the pseudo tibetan manuscripts or the ritual shields of Lidia Syroka. Nor the little vegetable people living in Jephan de Villiers' legendary land, the Arbony, or Marc Pessin's fictitious archeology with its proliferous writing. Nothing except a common affinity with what could be named the archaic perception of the world, a common feeling for the materials, the techniques and the sensitivity of...

Scope and Contents

This work represents photographs of Pessin's objects and wall work. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This catalogue depicts Senghor's books illustrated by various artists. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

Pessin's writing of a Butor text is presented in gold ink on a black paper background. -- Source of annotation: Marvin or Ruth Sackner.