Scope and Contents

This book was a result of an initial installation in the Freud Museum, London, 1994 called "The Reading Room." Hiller states that "it locates something else which is entirely distinct conceptually." The artist created complex boxes with found objects and texts "orchestrating relationships, and inventing fluid taxonomies, while not excluding [herself] from them...Sequences, patterns, repetitions and gaps structure this book." This is a second edition of this book which coincides with the exhibition of the work at the Tate Modern. The Sackner Archive also contains the 1995 first edition. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

The artist writes in an Afterward, "The title looks back on my recent experience of creating an installation at and for the Freud Museum and at the same time, it locates something else which is entirely distinct conceptually. What I think is positioned here is an extended and episodic view of my personal sense of inhabiting an historically-specific museum of culture with permeable boundaries...Probably artists function by simultaneously enacting the reciprocal roles of curator and subject, therapist and client; I've worked by collecting objects, orchestrating relationships, and inventing fluid taxonomies, while not excluding myself from them." -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This exhibition of works by American artists dealing with environmental issues was curated by Betty Bright who wrote a critical essay for the catalog. The Sackner Archive lent the artist book, Sisters of Menon, by Susan Hiller to the exhibition. The stapled pages are reviews of the exhibition. The catalog reproduces Rita Dove's print, "Ozone," which is held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This exhibition on art by women was curated and the catalogue edited by M. Catherine de Zegher. The contributing artists and critical texts are international in scope. The book was highly documented as evidenced by 56 essays. An essay by Laura Monahan on Claude Cahun depicts a photograph lent to the exhibition by the Sackner Archive. The art works are varied with only a small fraction being feminist art. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

The booklets of "It Is Almost That" edition are collected in one latched, wooden box, organized alphabetically by artist surname.

Scope and Contents

The editor of this boxed series is Lisa Pearson. This book consists of photographs of outdooradvertising signs for 'Psychics.' Hiller is American born but lives in London. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

John Furnival's print, "Woful Dane Bottom," that deals with the small town that the Welsh poet W.H. Davies spent the last years of his life is also held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This book was published on the occasion of Hiller's exhibition at Gimpel-Fils gallery in London in March-April 1983. The text of this book was produced by the technique of "automatic writing" in May 1972 during the artist's stay in France. The artist states that "my hands made the marks that form the inscriptions, but not in my characteristic handwriting (i.e., personal style of mark-making) or voice (i.e., usual tone or mode of utterance)." -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents In the preface, Nicholas Serota and Lewis Biggs write that Susan Hiller "uses ephemeral, everyday objects, telling their stories and extracting new meanings from them, producing art which is both visually stimulating and emotionally compelling." This major exhibition of Hiller's works brings together several of her major works that require viewer participation, shifting from the whole of the art piece to its particular elements and back again to the whole. One of Hiller's major works was installed in MOMA in the exhibition, "The Museum as Muse," which the Sackners viewed in New York. In it, the artist used ordinary materials to evoke moments of cultural, historical and personal disturbance inspired by Sigmund Freud's last home. Her found elements were boxed, labelled and categorized and placed in a large vitrine. Hiller indicated that the boxes "present the viewer with a word (each is titled), a thing of object, and an image or text of chart, a representation. And the three aspects...