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Artist book

 Subject
Subject Source: Sackner Database

Found in 2678 Collections and/or Records:

Apianus 2 / Carlos Macia., 1990

 Item
Identifier: CC-06434-6552
Scope and Contents

Petrus Apianus was a German, Renaissance astronomer and astrologer born 1501. Apianus 2 is based upon his book "Astronomicum Caesarem," 1540. It mixed mathematics, geography, astronony, astrology, cartography and theology in order to prepare horoscopes and predictions. Its validity was criticised by Kepler, which he considered "nothing more than what exists in the mind of man." Macia made this book in homage to the imagination which is "free to invent as many universes as there are created." This work was exhibited at the Agnes Scott College Gallery, Atlanta, January 2001. -- Source of annotation: Marvin or Ruth Sackner.

Dates: 1990
Found in: The Ruth and Marvin Sackner Archive of Concrete and Visual Poetry / The Ruth and Marvin Sackner Archive of Concrete and Visual Poetry: Poem and Book Objects

Apollo Amerika / Kriwet, Ferdinand., 1969

 Item
Identifier: CC-37394-39247
Scope and Contents

Kriwet documents events around the time of the Apollo space shot to the moon in 1969 as well as the space shot itself as an artist scrapbook. He uses newspaper and periodical clippings and also altered them in the form of decollage as integral to the text. -- Source of annotation: Marvin or Ruth Sackner.

Dates: 1969
Found in: The Ruth and Marvin Sackner Archive of Concrete and Visual Poetry / Ruth and Marvin Sackner Archive of Concrete and Visual Poetry: Books

Appointment Book / Deisler, Guillermo., 1993

 Item
Identifier: CC-15209-15530
Dates: 1993
Found in: The Ruth and Marvin Sackner Archive of Concrete and Visual Poetry / Ruth and Marvin Sackner Archive of Concrete and Visual Poetry: Books

[April 8th] / Chrissicopoulos, Stathis., 1983

 Item
Identifier: CC-17070-17427
Dates: 1983
Found in: The Ruth and Marvin Sackner Archive of Concrete and Visual Poetry / Ruth and Marvin Sackner Archive of Concrete and Visual Poetry: Books

April: New Books at the Eagle Gallery / Eagle Art Gallery ; Bicknell L ; Tipping R., 1997

 Item
Identifier: CC-34158-35842
Dates: 1997
Found in: The Ruth and Marvin Sackner Archive of Concrete and Visual Poetry / Ruth and Marvin Sackner Archive of Concrete and Visual Poetry: Catalogs

Aquatic Yoga With Dangerous Foods / Haynes, Ric., 1984

 Item
Identifier: CC-30417-31837
Dates: 1984
Found in: The Ruth and Marvin Sackner Archive of Concrete and Visual Poetry / Ruth and Marvin Sackner Archive of Concrete and Visual Poetry: Booklets

Aquatic Yoga with Dangerous Foods / Ric Haynes., 1983

 Item
Identifier: CC-57721-58129
Scope and Contents The fish figures are drawn by Hayes in specific yoga poses with unhealthy foods illustrated on each page.The slipcase has two realistic rubber fishes attached to each side.WEB site 2013: Ric Haynes was born in York, Pennsylvania in 1945. As a child he constantly made art that told stories and spent hours producing large works that depicted epic battles, circus life, and Indian wars and villages. He went to a boys' school that was located next to a reformatory and often was confused with those who were serving time. Haynes attended The Maryland Institute College of Art in 1964-68 on a Ford Foundation Grant, and later the Skowhegan School of Painting and Sculpture in 1967, where he studied with Walter Murch, Ben Shahn and Philip Pearlstein. He briefly attended The University of Pennsylvania where he refused to paint like his teachers, and in 2002 he received a MFA in Visual Arts from Vermont College of Norwich University. He teaches painting and creative book making at Endicott...
Dates: 1983
Found in: The Ruth and Marvin Sackner Archive of Concrete and Visual Poetry / The Ruth and Marvin Sackner Archive of Concrete and Visual Poetry: Poem and Book Objects

Aquatic Yoga with Dangerous Foods / Ric Haynes., 1983

 Item
Identifier: CC-57721-58129
Scope and Contents The fish figures are drawn by Hayes in specific yoga poses with unhealthy foods illustrated on each page.The slipcase has two realistic rubber fishes attached to each side.WEB site 2013: Ric Haynes was born in York, Pennsylvania in 1945. As a child he constantly made art that told stories and spent hours producing large works that depicted epic battles, circus life, and Indian wars and villages. He went to a boys' school that was located next to a reformatory and often was confused with those who were serving time. Haynes attended The Maryland Institute College of Art in 1964-68 on a Ford Foundation Grant, and later the Skowhegan School of Painting and Sculpture in 1967, where he studied with Walter Murch, Ben Shahn and Philip Pearlstein. He briefly attended The University of Pennsylvania where he refused to paint like his teachers, and in 2002 he received a MFA in Visual Arts from Vermont College of Norwich University. He teaches painting and creative book making at Endicott...
Dates: 1983
Found in: The Ruth and Marvin Sackner Archive of Concrete and Visual Poetry / The Ruth and Marvin Sackner Archive of Concrete and Visual Poetry: Poem and Book Objects

Arcadia / Cepl, Gernot., 1989

 Item
Identifier: CC-19623-20009
Scope and Contents

Cepl has partially cancelled blocks of text with multicolor crayons. -- Source of annotation: Marvin or Ruth Sackner.

Dates: 1989
Found in: The Ruth and Marvin Sackner Archive of Concrete and Visual Poetry / Ruth and Marvin Sackner Archive of Concrete and Visual Poetry: Books

Arcadian (altar) egos / Heart Fine Art ; Masson A ; Matta R ; Merz M ; Michals D ; Nitsch H ; Paik NJ ; Phillips T ; Rothenberg J ; Roth D ; Spoerri D ; Schneemann C ; Seuphor M ; Shiomi M ; Siegelaub S ; Tuttle R ; Vostell W ; Weiner L., 2003

 Item
Identifier: CC-40717-42691
Dates: 2003
Found in: The Ruth and Marvin Sackner Archive of Concrete and Visual Poetry / Ruth and Marvin Sackner Archive of Concrete and Visual Poetry: Catalogs

[Archive for Found Poems] / Gallo, Philip; Sackner RK; Sackner MA; Kelm D., 1989 - 1994

 Item
Identifier: CC-29042-30380
Scope and Contents

The material for each print in the book or project is stored in individual folders or envelopes. Material is also included that was not utilized in the final version of the book. For example, in the print, On the Corner..., the typed poem was considered but rejected, e.g., die neue SS: Lightening bilts shaved in - black on black - in the Razored and Jerrocombed hair - in the Razored and Jerrocombed hair. The title page content and layout changed considerably over the five years it took to produce the book. A section contains poems that were not used in the final version of this book. The Sackners provided financial support for this project. -- Source of annotation: Marvin or Ruth Sackner.

Dates: 1989 - 1994
Found in: The Ruth and Marvin Sackner Archive of Concrete and Visual Poetry / Ruth and Marvin Sackner Archive of Concrete and Visual Poetry: Various Formats

Archive for Homage to Robert Lax / Finlay, Ian Hamilton; Harvey, Micheal; Lax, Robert., 1974

 Item
Identifier: CC-61242-68315
Scope and Contents

This archve includes manuscripts of Finlay'a book as wella as a lettle of critique from Robert Lax himself. -- Source of annotation: Marvin or Ruth Sackner.

Dates: 1974
Found in: The Ruth and Marvin Sackner Archive of Concrete and Visual Poetry / Ruth and Marvin Sackner Archive of Concrete and Visual Poetry: Various Formats

Archive for Ten Fingers --- Several Hands; Dix Doigts --- Plusieurs Mains / de Charmoy, Cozette., 1981

 Item
Identifier: CC-35980-37747
Scope and Contents

The text was first written by de Charmoy in English. A French translation by Daniele Devitre was published in RESSAC No.2 Geneva 1981. Illustrations of hands accompany the non-fictional text. -- Source of annotation: Marvin or Ruth Sackner.

Dates: 1981
Found in: The Ruth and Marvin Sackner Archive of Concrete and Visual Poetry / Ruth and Marvin Sackner Archive of Concrete and Visual Poetry: Various Formats

Archive of Abracadada / Bory, Jean-Francois., 1997

 Item
Identifier: CC-27682-28770
Scope and Contents

The linear, black printed text is laid out with mixed typefaces and sizes. The maquette is a sketch book with chaotically arranged handwritten text that employs several colored inks and calligraphic styles. The manuscript appears to have made with a combination of photocopying and colored letraset type. -- Source of annotation: Marvin or Ruth Sackner.

Dates: 1997
Found in: The Ruth and Marvin Sackner Archive of Concrete and Visual Poetry / Ruth and Marvin Sackner Archive of Concrete and Visual Poetry: Various Formats

Archive of Correspondence: [Booklet from Cinicolo to Houedard] / Houedard, Dom Sylvester ; Cinicolo 3, Donato., 1971

 Item
Identifier: CC-09502-9691
Scope and Contents

The communication has been rendered in the form of a booklet. Cinicolo mentions that he has been accepted by St. Martin's as a graduate student. The carbon paper is yellow stock. A mirror image poem by DC# using the word mirror is contained in the booklet. -- Source of annotation: Marvin or Ruth Sackner.

Dates: 1971
Found in: The Ruth and Marvin Sackner Archive of Concrete and Visual Poetry / Ruth and Marvin Sackner Archive of Concrete and Visual Poetry: Booklets

Archive of the Limited Edition of Dante's Inferno: Canto I/1 / Phillips, Tom., 1983

 Item
Identifier: CC-54517-989982
Scope and Contents Canto I/1 Phillips comments: The dense, direct and haunting opening to Dante's Comedy: Just halfway through this journey of our life I came awake to find myself inside a dark wood, way off course, the right road lost. shares immediately with the reader that claustrophobia of accumulated habit and error which reveals to human beings in middle life that they have been building a trap around themselves, which, having had no formal entrance, offers no apparent way out. In this image I have further developed a procedure used in several paintings from 1969 on (cf. Works/Texts to 1974 pp 74 & 184) involving stencilled letters. With the title phrase Una Selva Oscura (a Dark Wood) I have made a linguistic thicket by superimposing letters of different height so that this phrase crosses and cancels itself over and over again. Thus the title, moving in and out of phase, becomes the picture, in the manner of a fugue or canon in music. The motif, and variations on it, reappears throughout...
Dates: 1983
Found in: The Ruth and Marvin Sackner Archive of Concrete and Visual Poetry / Ruth and Marvin Sackner Archive of Concrete and Visual Poetry: Various Formats

Archive of the Limited Edition of Dante's Inferno: Canto I/3 / Phillips, Tom., 1983

 Item
Identifier: CC-54518-989983
Scope and Contents Canto 1/3 Phillips comments: Like all great literature Dante's Comedy grows from the body of literature that precedes it. The illustrations here frequently emphasise the fact that Inferno is a book that contains books; books that it models itself upon (the Aeneid) and books that it transcends (the Tesoro of Ser Brunetto; cf. Canto XV/2). Virgil is here represented in the form in which Dante first knows him, his work, and in particular the Aeneid of which this is perhaps the first page of a sumptuous illuminated manuscript; hence the initial `A' for the opening of the epic, Arma virumque cano (Arms and the Man, I sing. . .). Dante would have seen such volumes in the mansions of his wealthy patrons: we do not however know how many books the peripatetic exile actually owned; books at that date are handwritten, huge, heavy and very expensive. It is doubtful that Dante owned a complete Bible even: he probably owned fewer than Chaucer's scholar with his 'twenty books clad in black and...
Dates: 1983
Found in: The Ruth and Marvin Sackner Archive of Concrete and Visual Poetry / Ruth and Marvin Sackner Archive of Concrete and Visual Poetry: Various Formats

Archive of the Limited Edition of Dante's Inferno: Canto II/1 / Phillips, Tom., 1983

 Item
Identifier: CC-54519-989984
Scope and Contents Canto II/1 This companion-piece to Dante in his Study shows Virgil in a similar room. The positions of the figure and the book derive also from Signorelli, but more remotely. Since no authoritative image of Virgil exists he is pictured without features. As with Dante the hands are my own and drawn from life. He is poised over the book of his Works. It is open at the Sixth Book of the Aeneid, the principal source for the Inferno. A bookmark indicates the Fourth Eclogue in which Virgil (as it seemed to the mediaeval world) prophesied the Coming of Christ. The Eagle of the Empire signifies Virgil's allegiance to the other Rome (a separation much to Dante's political tastes). In the left hand corner a distorted star with seven points and inscribed with alchemical devices is falling from the framework of the picture. This refers to Virgil's role in the mediaeval thought as a Magus (his book was used as a work of divination in the manner of the I Ching), a reputation Dante is eager to...
Dates: 1983
Found in: The Ruth and Marvin Sackner Archive of Concrete and Visual Poetry / Ruth and Marvin Sackner Archive of Concrete and Visual Poetry: Various Formats

Archive of the Limited Edition of Dante's Inferno: Canto II/2 / Phillips, Tom., 1983

 Item
Identifier: CC-54524-989989
Scope and Contents 11/2 Phillips comments: The lily, as well as being the emblem of Dante's native city, is the flower of the Annunciation, and a traditional attribute of the Virgin Mary. The speech of Beatrice to Virgil, entrusting him with the mission of saving his fellow poet, is a cryptic parallel to the Annunciation: thus Beatrice (also of course a Florentine) is associated with the Virgin Mary and this is the spiritual counterpart of her role in Dante's life, as the Lady of his love and art. The enclosure, here represented as a lawn surrounded by a triangle of walls, is part of the standard iconography of the Annunciation (hortus conclusus) as is the locked entranceway which symbolises virginity. The three steps prefigure those of the Angel in Purgatorio. In the sky above are the nine circles of Paradise of which the nine rings of Hell are the infernal counterparts. The lily itself is constructed (cf. notes to the frontispiece) according to the Golden Section and derives from a wall-painting...
Dates: 1983
Found in: The Ruth and Marvin Sackner Archive of Concrete and Visual Poetry / Ruth and Marvin Sackner Archive of Concrete and Visual Poetry: Various Formats

Archive of the Limited Edition of Dante's Inferno: Canto II/4 / Phillips, Tom., 1983

 Item
Identifier: CC-54525-989990
Scope and Contents

II/4 Dante likens his renewed morale to the opening up of flowers which close at night. The various stages of the daffodil (chosen as a flower of this season of pilgrimage) as it unfolds were etched from life in 1978 and formed part of one of the first images to be tackled. The rising sun, also an emblem of renewed vigour, pictured over the sea, echoes two of Dante's images for Virgil as well as contrasting with the twilight opening of the canto. The Virgin Butterfly, her mission fulfilled, departs. -- Source of annotation: Marvin or Ruth Sackner.

Dates: 1983
Found in: The Ruth and Marvin Sackner Archive of Concrete and Visual Poetry / Ruth and Marvin Sackner Archive of Concrete and Visual Poetry: Various Formats

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