Scope and Contents

This book is a collaboration of writing by Johanna Drucker, artwork by Susan Bee, designed by both artists and published by Steve Clay. The theme deals with young girls' fantasies in their relations with themselves and boys. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This book is a graphic melodrama of romance, crime, and passion. It addresses adolescent angst in all of its fashionably gory details. The snares and pitfalls of contemporary life, which all girls must struggle to survive, are here revealed through darkly comic and fiendishly noir prose, accompanied by lurid collages and unusual typography. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This book consists of five essays on artists books with extensive footnotes and a detailed bibiliography. Lucy Lippard is quoted on Artist Books as "not books about art, or on artists, but books as art. They can be all words, all images, or combinations thereof. At best they are a lively hybrid of exhibition, narrative, and object." -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This article about Ruth Laxson notes that she received the first prize for her new book "A Hundred Years of : LEX FLEX" from the Pyramid Atlantic Book Conference. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

Includes descriptions of each of the books in the 10th anniversary exhibition. It also lists suggested readings relevant to artists books. Includes a photograph of Pat Oleszko's Glove Story, a book held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents This catalogue is described on the back cover as follows: "Artists' books have emerged over the last twenty-five years as one of the most engaging contemporary art forms, addressing subjects from poetry to politics, incorporating a full spectrum of artistic media and bookmaking methods, and taking every conceivable form. Female painters, sculptors, calligraphers, and printmakers have played a primary role in developing this new mode of artistic expression. The Book as Art presents more than one hundred of the finest artists' books culled from the collection of the National Museum of Women in the Arts. These exquisitely crafted objects are certain to provoke unexpected and surprising conclusions about what constitutes a book." In her essay, "The Brightest Heaven of Invention" curator Krystyna Wasserman writes, "Among private collections, The Ruth and Marvin Sackner Achives of Concrete and Visual Poetry in Miami, Florida, has been a source of continual revelation and several...

Scope and Contents

This exhibition presents works from the Joan Flasch Artists' Book Collection as well as books made by students, staff and faculty of the School of the Art Institute of Chicago. The catalogue contains three essays on artists' books and the exhibition titled "Twenty-six (plus ten) Years Later: Nothing Left But Gas?" by AnneDorothee Boehme, "Artists' Books: Forever Young, Still Emerging and Not Yet Defined" by Christine E. Humpl, and "Value, the Book and the Artists' Book: A Re-evaluation of Cultural Meaning" by Melissa Azzi. -- Source of annotation: Marvin or Ruth Sackner.

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Curated by Betty Bright who acknowledged Ruth Sackner and others in aiding the preliminary research for the exhibition. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This is a critique of Ligorano and Reese's "Corona Palimpsest." -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

The back cover is a letter to Paul Vangelisti. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This consists of the labels used for the exhibition. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents This book is a semi-autobiographical novel dealing with romance, self revelation, and poets and writers in her life while she lived in San Francisco bay area as expressed with "tour de force" experimental typography and layout. Drucker purchased a variety of cold typefaces for letterpress printing and set out to use the entire set in writing this book. As a reviewer writes, "Linguistic architecture in the personal voice as manifest in particular elements of vigorous typographic representation." In a personal communication to the Sackners, Drucker stated that 100 copies were intended but only 96 were actually collated.The following explanation of the book as copied from a 10 typed page letter, dated January 1979, addressed to Mr Groenendijk, a collector living in Amsterdam, is reproduced below. This letter is held by the Sackner Archive - the Sackners sent a copy to Johanna Drucker after a personal communication revealed that she did not have a copy in her possession.I did this book...

Scope and Contents

This book encompasses at least four non-sequential story lines as denoted by a typographic style for each one. One phrase in the book may have originated from a conversation that Marvin Sackner had with Johanna Drucker, "Meyer Lansky read the dictionary and the Rand reports." -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This book encompasses at least four non-sequential story lines as denoted by a typographic style for each one. One phrase in the book may have originated from a conversation that Marvin Sackner had with Johanna Drucker, "Meyer Lansky read the dictionary and the Rand reports." -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

Comprises the text of the poem embossed on lead pages in the artist book of the same title which is held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This book was critically reviewed by Marjorie Perloff in Harvard Library Bulletin Vol.3 No.2, 1992, a periodical held by the Sackner Archive. This is the trade edition of the book that was first printed in a limited edition of 70 copies in 1990. -- Source of annotation: Marvin or Ruth Sackner.