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The reviewer writes, " What the show conveys most decisively, though, is a poetic side of Mr. Camnizer's art. Various writers have compared his text-driven pieces to concrete poetry - a genre based on how words function visually, rather that verbally, and that takes the instability of language as a given. The artist himself rejects this reading, insisisting that he has no interest in poetry, even dislikes what he sees as its artificiality and penchant for ego-centered sentimentality." -- Source of annotation: Marvin or Ruth Sackner.

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This is a review of the exhibiiton "Semina Culture: Wallace Berman & His Circle." -- Source of annotation: Marvin or Ruth Sackner.

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This exhibition "Africa: The Art of a Continent" at the Guggenheim Museum was curated by Tom Phillips and was a much smaller version of the show initiated at the Royal Academy in London. The Archive holds the RA catalog. The Sackners attended both the London and New York exhibitions. -- Source of annotation: Marvin or Ruth Sackner.

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This exhibition, Text as Image: An Homage to Lorenzo Homar and the Reverend Pedro Pietri, was assembled for the El Museo del Bario by Margarita Agiiuilar. Both are Puerto Rican poets, Homar a more conventional printmaker and Pietri a founding member of the Nuyorican Poets Cafe. -- Source of annotation: Marvin or Ruth Sackner.

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This review of Xu Bing's exhibition "Word Play" considers written language as performance. Bing's well known work "Books from the Sky" is installed at the Sackler Gallery in Washington and consists of "an architectural environment made entirely of books, wall panels and enormous paper scrolls that hang from the ceiling like a canopy. Every surface is covered with words, printed from thousands of wood block plates hand-carved by the artist. The language resembles Chinese but actually consists of nonsense characters he invented." -- Source of annotation: Marvin or Ruth Sackner.

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This is a review of an exhibition of the British collage artist and his wife. -- 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.

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Holland Cotter writes that at this exhibition at the Dorsky Gallery, "both artists, in different ways, give language a physical presence, making its formal shape and arrangement reflect nd determine its meanings. In the process, they contribute to a new (though very old) and interestingly nondidactic merging of art, poetry, and performance in late 1990's art." -- Source of annotation: Marvin or Ruth Sackner.

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This is a review of Ferrari's exhibition at the Drawing Center in New York. -- Source of annotation: Marvin or Ruth Sackner.

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This is a review of an exhibition of Ferrari's drawings at the Drawing Center in New York. -- Source of annotation: Marvin or Ruth Sackner.

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This exhibition titled Analogies & Differences reviews an exhibition at Henrique Faria Fine Art. -- Source of annotation: Marvin or Ruth Sackner.

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This is an exhibition review of the work of Glen Ligon. -- Source of annotation: Marvin or Ruth Sackner.

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The catalogue for this exhibition is held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents This review of an exhibition at MoMA in New York states that "Rachid Koraichi , raised in a Sufi family in Algeria and now living in Paris, invents 'calligraphic' texts with Arabic characters, Chinese-style ideograms and talismanic signs, and embroiders them in gold on silk banners to creat banners for a new, universal language." Cotter also writes that "Shirin Neshat, born in Iran, turns the written word - as distinct from calligraphy, with its very particular skills - into a quasi-revolutionary instsrument in a seies of 1996 studio photographs of young women wha are dressed in traditional black veils but carry guns and have passages from erotic poetry and paeans to religious martyrdom written in Persian on their faces and hands. The artist seems to be symbolically placing political power in the hands of the kinds of veiled women who are automatically assumed by many Westerners to be oppressed victims of Islamic religious law, but who don't necessarily see themselves that way at...

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Cotter reviews "The Next Word" at the Neuberger Museum of Art to which the Sackner Archive lent 25 books and pictures. Several of the works from the Archive are specifically described in the article including a manuscript by Jack Hirschman, a drawing by Anne Wolf, Emily McVarish's pasted-up words locked inside a metal frame, Paula Scher's "Opinionated Map: Central and South America" in which every inch on the Southern Hemisphere that is jammed with critical annotationt. "Elsewhere, the printed text, often taking a cue from advertising, comes to the fore. Blair Seagram's 'U Temp est Us' uses a sleek sans-serif type, offbeat spacing and shifting character sizes to hide phrases within other phrases." -- Source of annotation: Marvin or Ruth Sackner.