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This is a review of the circumstances of Johnson's death by drowning. His work was exhibited in Feigen Contemporary and a film about him, "How to Draw a Bunny," shown at the Film Forum. -- Source of annotation: Marvin or Ruth Sackner.

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This item has a duplicate pamphlet. -- Source of annotation: Marvin or Ruth Sackner.

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The subtitle to this articleby Randy Kennedy is "Ray Johnson evaded art world fame. Now he's an inspiration." -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents This object is an announcement card for the publication of "An Anthology." According to 6 Decades Books: LaMonte Young devised this extraordinary pop-up multiple as a prepublication announcement for An Anthology of Chance Operations, the book he co-published with Jackson MacLow in 1963. An Anthology of Chance Operations was designed by George Maciunas and includes work by Young and Mac Low, along with George Brecht, John Cage, Terry Riley, Dick Higgins, Yoko Ono, Henry Flynt, Walter De Maria, Nam June Paik, Dieter Rot, Robert Morris, Al Hansen, and others. The publication is a compendium of the era's dada-inflected avant-garde represented by a collection of works in which traditional boundaries between music, writing, art, and theater were discarded in favor of an aesthetics based ideas, actions, and ephemerality. The book is widely regarded as the high point publication of the Fluxus movement and a founding document of contemporary art. Young created a few dozen copies of the...

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This broadside in an unfolded state together with other Ryosuke Cohen's Brain Cells and cards are stored in a large green & black folder. -- Source of annotation: Marvin or Ruth Sackner.

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The exhibition consisted of four sections: 1) Ray Johnson collages; 2) Michael Morris concrete/constructivist drawings; 3) international concrete poems and 4) film and tapes of sound poetry. Michael Rhodes traces the historic roots of concrete poetry from 1897 to 1964. Edwin Varney contributes an illustrated, critical essay defining concrete poetry that is expressed in concrete poetic terms. Ian Hamilton Finlay and Stephen Scobie collaborate with an essay on definitions of concrete poetry. -- Source of annotation: Marvin or Ruth Sackner.

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Eight artists and writers and friends of Ray Johnson contribute personal reminiscences to coincide with the Johnson exhibition at the Whitney Museum of American Art. -- Source of annotation: Marvin or Ruth Sackner.

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This is a compilation of the first 6 issues of Destroy All Monsters from 1975 to 1979. art work is by Mike Kelley, Cary Loren, Niagara and Jim Shaw. The issue is in memory of Joel Katz, Jack Smith and Ray Johnson. Destroy All Monsters started as a trash rock band and Carey Loren and others contribute a history of the group and the publication of the first issues of the magazine. -- Source of annotation: Marvin or Ruth Sackner.

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This envelope was addressed to John Evans, a maker of artist stamps and collages. -- Source of annotation: Marvin or Ruth Sackner.

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Includes an inciteful essay about mail art by Buzz Spector. -- Source of annotation: Marvin or Ruth Sackner.

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A typed, photocopied caption at the bottom of the sheet reads, You have been dropped from the New York Correspondence School - Ray Johnson. -- Source of annotation: Marvin or Ruth Sackner.

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This book was published by Hansjorg Mayer. One of the copies is accompanied by a separate pamphlet that lists the works in the exhibition along with advertisements. The catalogue consists of questionaires answered by the artists along with visual documentation. -- Source of annotation: Marvin or Ruth Sackner.

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This review of "Ray Johnson:Correspondences" at the Whitney Mueum of American Art describes Johnson's collages as masterworks. "The visual elements they incorporated were equally diverse: pieces of photographs, magazine clips, commercial logos, abstract shapes, cartoons and above all, words: jokes, puns, anagrams, song lyrics, poetry, nonsense syllables, exclamations, dedications and lists of names of artists and actors, social luminaries and friends. The results amount to a consummate insider, a figure who was at once everywhere and nowhere in the art world, and who used his work to spin a personal myth." The Sackner Archive contains a collage of Johnson's. -- Source of annotation: Marvin or Ruth Sackner.