Scope and Contents

The original of this Rumanian magazine was published in 1924 and consisted of a sole issue. HP stood for horse power. The subject of the review was modernity and all manifestations of the then current technology, entertainment, communication and transportation. The texts and typography transgressed all rules of grammar and orientation. A particularly interesting page that is photographically reproduced in this book is entitled, "Pictopoezzie" an invention of Victor Brauner & Ilarie Voronca. It is a prototypical visual poem. Marina Vanci-Perahim wrote an introductory essay that includes photographs and visual works of and by the editors. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

The photocopied loose sheet is a price list. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

The first section of this catalogue written by Michael Ilk presents an illustrated chronology of the Rumanian Avant Garde movement from 1892 to 1947 on a year by year basis. The second section deals with periodicals including among others Contemporanul, Pictopoezia, Punct, Integral, and Umu. The third section depicts pages and covers from illustrated books and the final section is a bibliography. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

The print depicts a line drawing of a self-portrait head. A letter to Chopin from Janco is reproduced below it in white ink on a gray background. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This catalogue presents an extensive listing with photographic reproductions of visual art by Dadaists as well as pages, documents and periodical covers reproduced on similar papers to the originals. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

One of the loose sheets documents the method that Chopin utilizes to perform th esound poems. Thei tape is allso designated No.9 in the series. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents In the Diary series, Sterne is quoted, "Maybe I am saying something which is a truism, but I feel that my work all along was like a dairy." The artist "effortlessly weaves paraphases of quotes by poets, novelists, philosphers, and theologians throughout her conversations, enjoying their ability to communicate a polyphony of diverse yet interrelated ideas. She has noted, 'all in all my greatest mentors were always books.' Although establishing direct corollaries between her paintings and books that have influenced her remins impossible, Sterne's Diary series reveals the central role they play in her thought process as well as her work. For several months in 1976, Sterne placed blank, unstretched canvases on the floor of her main living space (which then, as now, functions as kitchen, dining room, and living room), and then drew a grid patterrn on each. Daily, she filled one square grid with either a quote of her own thought and the date. The handwriting in each square alternates...