ArchivesSpace at the University of Iowa

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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.

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Feature art of the seventies from the Michael Morris/Vincent Trasov archive assembled between 1968-1980. The archive is the largest collection of mail art in Canada and numbers 10,000 items. -- Source of annotation: Marvin or Ruth Sackner.

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Mike Dyar writes on his note that "this was a collaboration between Ray Johnson & myself. He sent me this as a drawing & asked me to sculpt & cast it in plaster." -- Source of annotation: Marvin or Ruth Sackner.

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Michael Morris, Sharla Sava, Peter Schuyff, Muffet Jones, Robin Laba, Vincent Trasov and James Tyer contributed extensive essays on the work of Ray Johnson and the mail art network. -- Source of annotation: Marvin or Ruth Sackner.

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The book consists of three questions and answers posed by Clive Phillpot to Ray Johnson in response to three black & white photographs reproduced in the book. These were taken on the grounds of the Nassau Museum. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents The writings on the dried onion leaves consist of brief phrases, such as 'magic cloth.' The broadside documents the correspondence between Ray Johnson and Coco Gordon on onion skins beginning in 1981. It appears that the handwriting on the onion skins was done by Ray Johnson.Internet: Coco Gordon, born in Genova, lives and works from her NYC loft and her home in the red rocks of Lyons, Colorado. She emigrated to the United States in 1939. An Intermedia artist/ poet/ performer/ papermaker/ publisher of W Space artist book editions, she is also known as SuperSkyWoman. For the 2001 Venice Biennale Coco contributed her Superskywoman dialog "Forget Coming' to the Markers Project on Via Garibaldi and contributed her performance poem "Homage to the butterfly' to the Bunker Poetry Project at the Artiglierie of the Arsenale.13 SuperSkyWoman dialog posters showed at De Garage, Belgium May3-June 23 2002, curated by Luc Fierens. She has participated in the London and the Istanbul Biennales....

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The writings on the dried onion leaves consist of brief phrases, such as 'dildos & other games.' The broadside documents the correspondence between Ray Johnson and Coco Gordon on onion skins beginning in 1981. It appears that the handwriting on the onion skins was done by Ray Johnson. The documentation as to the edition size and number of this copy appears to have been lost. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents The writings on the dried onion leaves consist of brief phrases, such as 'magic cloth.' The broadside documents the correspondence between Ray Johnson and Coco Gordon on onion skins beginning in 1981. It appears that the handwriting on the onion skins was done by Ray Johnson.Internet: Coco Gordon, born in Genova, lives and works from her NYC loft and her home in the red rocks of Lyons, Colorado. She emigrated to the United States in 1939. An Intermedia artist/ poet/ performer/ papermaker/ publisher of W Space artist book editions, she is also known as SuperSkyWoman. For the 2001 Venice Biennale Coco contributed her Superskywoman dialog "Forget Coming' to the Markers Project on Via Garibaldi and contributed her performance poem "Homage to the butterfly' to the Bunker Poetry Project at the Artiglierie of the Arsenale.13 SuperSkyWoman dialog posters showed at De Garage, Belgium May3-June 23 2002, curated by Luc Fierens. She has participated in the London and the Istanbul Biennales....

Scope and Contents

The writings on the dried onion leaves consist of brief phrases, such as 'dildos & other games.' The broadside documents the correspondence between Ray Johnson and Coco Gordon on onion skins beginning in 1981. It appears that the handwriting on the onion skins was done by Ray Johnson. The documentation as to the edition size and number of this copy appears to have been lost. -- Source of annotation: Marvin or Ruth Sackner.

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This is designated Dossiers 4. -- Source of annotation: Marvin or Ruth Sackner.

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Stephen Perkins contributed an introductory essay about Johnson. -- Source of annotation: Marvin or Ruth Sackner.

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In the text printed on the dust jacket by William Wilson, Ray Johnson is described as living "a life that is a continuous revelation of pure and radiant design, the image of that life is art. Since the life itself is designed of coincidences, like a walk taking a line, the aesthetic reciprocal of that life is a Ray Johnson collage. Ray Johnson is not neo-dada or abstract or extract: he is an artist representing the reality of his life; it happens that his life is a collage." -- Source of annotation: Marvin or Ruth Sackner.