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This exhibition of artists' bookplates commemorates the 25th anniversay of Printworks. Susan Barron contributed a bookplate for the Biblical Moses and Claire Van Vliet one for Rachel Carson. -- Source of annotation: Marvin or Ruth Sackner.

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The Sackners lent collages by Jess and Wallace Berman as well as their run of Semina to this exhibition. -- Source of annotation: Marvin or Ruth Sackner.

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The Elvis Presley Scrapbook 1982 by Joni Mabe that was lent to this exhibition is depicted on page 165 of this catalogue. -- Source of annotation: Marvin or Ruth Sackner.

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In this homage to Cornell, Buzz Spector "has created a romantic world behind the book by collaging the inside of the box with vintage post cards. Although the homage was published as an edition, each collage is unique and offers subtle commentary on the contents of the book. The post cards of far away places pay tribute to Cornell as an 'Enchanted Wanderer' while the blue plexi-glass covering the collage gives this work the deep blue tone that pervades many of Cornell's boxes." -- Source of annotation: Marvin or Ruth Sackner.

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The author of this article describes the work of Evans as he created notebooks of collages from discarded materials found on the streets of the East Village in New York. -- Source of annotation: Marvin or Ruth Sackner.

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The exhibition that accompanied this brochure was curated by Whitney Chadwick, Katy Kline and Helaine Posner. The Sackner Archive lent Cahun's photograph,"L'Humanite Poupee," two copies of the book "Aveux non avenus" by Claude Cahun, Francois Lepelier's "Claude Cahun: Un Monographie," and the catalogue "Claude Cahun Photographe" to the exhibition at its Miami Art Museum venue. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents The exhibition that accompanied this catalogue was curated by Whitney Chadwick, Katy Kline and Helaine Posner. The catalogue was edited by Whitney Chadwick. In her opening essay, "An Infinite Play of Empty Mirrors; Women, Surrealism, and Self-Realization," Chadwick writes that the rediscovery of Claude Cahun in the early 1980s is accompanied with a critical rereading of historical Surrealism. "The neatness with which Cahun's photographs have been annexed to post modern concerns with the decentered subject and with identity as contingent and mutable has obscured the complexity and contradictions of her writings and blinded many to the works' representations of conflicted identities." Katy Kline contributes an essay, "In or Out of the Picture: Claude Cahun and Cindy Sherman." She analyses the differences between the two artists and how they each participated in the Surrealist belief system. Kline notes that Cahun was one of few women close to the original Surrealist group and...

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Auction catalogue. -- Source of annotation: Marvin or Ruth Sackner.

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Published for the retrospective exhibition, the catalog was edited by Kynaston McShine. Dawn Ades' essay is titled "Joseph Cornell: Mechanic of the Ineffable." -- Source of annotation: Marvin or Ruth Sackner.