Scope and Contents

A book lent by the Sackner Archive, "Desire," is depicted on facing pages 26 and 27. This catalogue includes a critical essay by Dore Ashton and an interview conducted by curator Terence Dempsey with Bernard Maisner in which Maisner states that he loves "the joining of the written word and the visual image in art. Language activates one part of the brain, painting another. the two together are a powerful one, a powerful combination requiring a very receptive viewer." -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

The artist transforms handwritten letters, wire, envelopes, cards and places them in found wooden boxes or drawers or screws them in stacks.They create a mysterious, metaphorical presence. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

It is mentioned that Maisner's work is held by the Sackner Archive and the Archive lent this work to the exhibition. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents At the time of this exhibition in 1981, no one was paying attention to the ways in which visual artists were using sound, yet everyone was vaguely aware of it. Suzanne Delehanty and the Neuberger mounted this show, pulling together books, objects, installations, and performance to at least sketch the scope of the idea. There were performances by the Glass Orchestra, and Composers Inside Electronics among others; books and objects by Braque, Duchamp, Dick Higgins, Kandinsky, Alison Knowles, George Macunias, Man Ray, Rauschenberg, Schwitters, and Tinguely and more; instruments/sculptures by Agam, Bertoia, Calder, Paik, and more; installations by Acconci, Anderson, Cage, Monk, Robert Morris, Nauman, and more; and many, many records and tapes by artists including the foregoing, Ono, Dine, Dibbets, LeWitt, and too many to mention (e-mail for specific inquiries). This was in fact a blockbuster, and the catalogue alone serves as one of the best scholarly resources there is on the subject,...