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The loose sheet announces the replacement of Tom Phillips' Terminal Grey Arrangement 1974/5 with Terminal Greys IV-VII 1971/3. -- Source of annotation: Marvin or Ruth Sackner.

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Out of Africa, by Steven Vincent reviews the exhibition curated by Tom Phillips "Africa: Art of a Continent" opening at the Guggenheim Museum. The show which was principally curated for the Royal Academy in London presents the Africa continent's "objects...as works of art equal in aesthetic quality to Western artwork." The Sackner Archive holds the elegant, well illustrated catalog for this exhibition. -- Source of annotation: Marvin or Ruth Sackner.

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The cover is a reproduction of one of Tom Phillips' "Conjectured Pictures from the Mappin Art Gallery." An article entitled "Tom Phillips: Or, Empiricism through an English Painter's Eyes" by R.C.Kenedy reviews his works including "A Humument." -- Source of annotation: Marvin or Ruth Sackner.

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There is border of micrographic writing that surrounding the images of this print. It reads, "Whether I might write about this pieceof linoleum is pure speculation except that it was found in a much begained (?) condition lying on the rubbish in a step outside of a house on the left hand side of Lyndhurst Grove Camberwell, London SE 15..." In this print there are four paragraphs of micrographic text spaced from each other, a map of Camberwell London, a reproduction of page 53 of A Humument, and two stencilled ink colored sentences. This print constitutes the final print of six drawn from walks 1/2 mile around Phillips studio - it is based on the belief that there are no dull walks, only dull walkers. The texts of the other five prints are brought together in readibel form that includes a map of the walk. -- Source of annotation: Marvin or Ruth Sackner.

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John Russell reviews the exhibition of Tom Phillips in the Lefebre Gallery, New York including a detailed description of "A Humument." The Sackners attended this exhibition and the large exhibition in the Basle Kunsthalle. -- Source of annotation: Marvin or Ruth Sackner.

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Deals with a print donated by Tom Phillips to support Art Line magazine. -- Source of annotation: Marvin or Ruth Sackner.

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Brief review of Tom Phillips' exhibitions in London in November 1992, viz., Royal Academy, Berggruen & Zevi, Angela Flowers. -- Source of annotation: Marvin or Ruth Sackner.

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The cover is a reproduction of Tom Phillips' "Dante in His Study." Pat Gilmour reviews Phillips' exhibition at Marlborough Fine Arts. -- Source of annotation: Marvin or Ruth Sackner.

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Kevin Powers reviews the trade edition of "A Humument" by Tom Phillips and reproduces page 190. -- Source of annotation: Marvin or Ruth Sackner.

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Cover is reproduction of page 191 from "A Humument" by Tom Phillips. -- Source of annotation: Marvin or Ruth Sackner.

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This is a gouache drawing that was intended for Ciaran Carson's book of poems, Opera et Cetera, Wake Forest Press, 1996, but not utilized in the printed edition. The text is from Carson's poetry. Carson's book is also held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

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This is a colored drawing that was intended for Ciaran Carson's book of poems, Opera et Cetera, Wake Forest Press, 1996, but not utilized in the printed edition. The printed page is Carson's poetry. Carson's book is also held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

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This is a gouache drawing that was intended for Ciaran Carson's book of poems, Opera et Cetera, Wake Forest Press, 1996, but not utilized in the printed edition. The text is from Carson's poetry. Carson's book is also held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents Over six hundred years ago the Akan started to make brass weights for weighing gold dust, the currency of their region of Ghana and the Ivory Coast. Eventually they produced the most complete three dimentional inventory of any culture in hisitory. Virtually every animal, bird, fish, or object known to them became the subject of a miniture sculpture. Human figures are represented in the activities of everyday life and sacred or courtly rituals, together with pioneer casts from nature and a wealth of abstract and ornamental designs. The artist Tom Phillips has, in the last thirty years, built up the world's most comprehensive collection of these lively and imaginative artefacts and here presents a selection of more than five hundred chosen for their artistry and interest, accompanied by a full descriptive text about their history, styles, and mode of manufacture. The facsimile edition, in an edition of 300, from Phillips' original note book from the 1970's of his pen and ink drawings...

Scope and Contents Tom Phillips has created a discourse based on seventeenth and eighteenth century masterpieces in the collection at the Dulwich Picture Gallery. Desmond Shawe-Taylor writes that Phillips is "the ideal creative commentator, an artist of bewildering range and imagination and a writer of elegance and insight. His text is full of surprises; or as he puts it 'chance and risk are at the heart of the artistic enterprise.' He opens up the experience of art, exploring the overlap between creating and responding. the clarity of the writing masks the complexity of the issues. Tom Phillips's questioning leads in a daunting variety of directions, but this is an essential journey of discovery for those who believe in life beyond the label."The alphabetical structure of the book, where each letter of the alphabet is drawn with poetry from "A Humument," involves the topics of Abstraction, Beauty, Conservation, Detail, Education, Frame, Grammar etc. as related to specific paintings in the Dulwich....