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The Sackner Collection is mentioned as holding Guillot's work. -- Source of annotation: Marvin or Ruth Sackner.

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Contains reproduction of Guillot's painting "...di cui cenore e inizio ..." (1988), which is held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

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The essay on Anna Guillot reproduces her painting held by the Sackner Archive, The End...di cui e inizio...1988. -- Source of annotation: Marvin or Ruth Sackner.

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Exhibition was curated by Giorgio Di Genova. -- Source of annotation: Marvin or Ruth Sackner.

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The text is written on painted white crumpled paper mounted on wooden board. The lower portion has typed text in Italian and English. -- Source of annotation: Marvin or Ruth Sackner.

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This book has an introductory essay on Gullot's work by Govanni Iovane. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents This exhibition catalogue features the written and printing paintings of six artists living in Italy. It is introduced with several critical essays. For example, Vincenzo Accame contributes an essay "The Relationship between Written and Painted Signs from the Viewpoint of an Aesthetic Communication in Perspective." The catalogue provides an illustration of a painting by Anna Guillot, "di cui cenere e inizio," held by the Sackner Archive, along with two detail views of this work. Gio Ferri writes in his essay, "Anna Guillot's obsessive and luminous surface is also made up of rifts and orders. She 'illustrates' the geological and archaeological component of the return journey. The dig and the passage through stratified sedimentations of writing to the sign, from calligraphic statement to painting. But the adventure of research, the journey into the deep beyond the surface, as they become revealed, under the imposition of systemised programming, reveal, first lightly, then...

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Salvatore Failla provided a critical analysis of Guillot's work. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents This painting was reproduced and described in the Italian periodicals, Demetra No.4, 1993 and Carte D'Arte No.1, 1992. Vira Fabra (wife of Ignazio Apolloni) writes in 2011: Will Anna Guillot's work - of which many have dealt exhaustively - be ATARAXIC TIME? And Miccini (what to write after him) who places Socrates and Lacan on the chessboard for a "serious game". A symptom? Further excavations are almost impossible if not for erroneously ludic purposes. Therefore, "What to do?" Joke, speak and not tell, remain silent and be a gardener in a convent, albeit for a short time, like Wittgenstein? Repeat and reflect on the anxieties of Gabriel Marcel, namely on the "questions of life" to which Savater leads to? On what presupposes large contradictions? On the triangle of Ogden and Richards? On the diagram of Bernar Venet who, motivated by profound considerations on Conceptual art, was to produce excessively intellectual works from which an intense relationship with philosophy united...

Scope and Contents

Reproduces and describes the painting of the same title which is held by the Sackner Archive -- Source of annotation: Marvin or Ruth Sackner.