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This book documents and illustrates Goeritz's career beginning in Germany and continuing mainly in Mexico. A chapter consisting of six pages depicts his concrete poems from 1959 - 1968. This definitive biography of Goeritz was written by Lily Kassner. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents This beautifully produced catalogue was published for the exhibition in the Olin Library at Washington University by the curator, scholar and Head of Special Collections, Kevin Ray. It coincided with the exhibition and symposium "The Dual Muse: The Artist as Writer and the Writer as Artist" organized by the Gallery of Art and the International Writers Center. The Sackner Archive lent nine handwritten and typed bound volumes of Phillips' Dante manuscripts, two silkscreen prints, eleven collages from the "Dante Diary," and a typewriter work on backing paper incorporating all the words of Phillips' first translation of the Inferno. Kevin Ray contributed an illuminating essay tracing the history of translations and illustrations of Dante, including the works of Botticelli, Gustave Dore, Blake and Rauschenberg. Ray writes that in the Tom Phillips' Inferno, the artist, incorporates "much of the method he developed in creating A Humument, 'treating' an existing text and making of it...

Scope and Contents This beautifully produced catalogue was published for the exhibition in the Olin Library at Washington University by the curator, scholar and Head of Special Collections, Kevin Ray. It coincided with the exhibition and symposium "The Dual Muse: The Artist as Writer and the Writer as Artist" organized by the Gallery of Art and the International Writers Center. The Sackner Archive lent nine handwritten and typed bound volumes of Phillips' Dante manuscripts, two silkscreen prints, eleven collages from the "Dante Diary," and a typewriter work on backing paper incorporating all the words of Phillips' first translation of the Inferno. Kevin Ray contributed an illuminating essay tracing the history of translations and illustrations of Dante, including the works of Botticelli, Gustave Dore, Blake and Rauschenberg. Ray writes that in the Tom Phillips' Inferno, the artist, incorporates "much of the method he developed in creating A Humument, 'treating' an existing text and making of it...

Scope and Contents Amazon.com: Can techniques traditionally thought to be outside the scope of literature, including word processing, databasing, identity ciphering, and intensive programming, inspire the reinvention of writing? The Internet and the digital environment present writers with new challenges and opportunities to reconceive creativity, authorship, and their relationship to language. Confronted with an unprecedented amount of texts and language, writers have the opportunity to move beyond the creation of new texts and manage, parse, appropriate, and reconstruct those that already exist. In addition to explaining his concept of uncreative writing, which is also the name of his popular course at the University of Pennsylvania, Goldsmith reads the work of writers who have taken up this challenge. Examining a wide range of texts and techniques, including the use of Google searches to create poetry, the appropriation of courtroom testimony, and the possibility of robo-poetics, Goldsmith joins...

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The works in this exhibition were clothing labels, from a varied group of manufacturers, sewn together as a wall work . These were accompanied by calligraphic drawings that interpreted the visual labels in text. -- Source of annotation: Marvin or Ruth Sackner.

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The works in this exhibition were clothing labels, from a varied group of manufacturers, sewn together as a wall work . These were accompanied by calligraphic drawings that interpreted the visual labels in text. The drawing accompanied this deluxe edition is entitled "all duty." The Sackner Archive is cited as containing the works of Berty Skuber. -- Source of annotation: Marvin or Ruth Sackner.

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Tom Phillips describes what he learns from the paintings at the RA Exhibition "Cezanne: The Early Years." -- Source of annotation: Marvin or Ruth Sackner.

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This exhibition of silkscreen, cloth multiples published by Francisco Conz was curated by Wayne Baerwaldt. It demonstrated several Fluxus conceptions: sharing ideas between artists, a publisher and the public; capturing the ephemeral in Fluxus productions; exposing the ideas of original works which would otherwise remain hidden in private collections. The silkscreen print editions on cloth offer the viewer the opportunity to investigate the contentious nature of Fluxus oriented art. "The editions of large-scale drawings, texts, musical scores, collages, and appropriated images are retouched, or redrawn directly on the silk-screens by the artists, reinforcing what we already know about intermedia, the myriad combinations of literary prose and/or concrete poetry; music and/or sound; theatre and/or performance." The Sackner Archive holds several cloth works by fluxus artists, Lettrists, and concrete poets published by Conz. -- Source of annotation: Marvin or Ruth Sackner.

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Includes reproduction of self portrait of Burciago on page 142 expressed in calligraphic text, a work held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

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The compact disc includes Hausmann's readings of 1) RLQS, 2) Phonemes, 3) Interview avec les Lettristes, and 4) Sound-Reel. The original score of the latter is held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

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Consists of critical essays with photographic reproductions of several poems. -- Source of annotation: Marvin or Ruth Sackner.

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The works in the Monument a la Television series are similar to the Chernobyl sculpture in the Sackner Archive. This work was supposed to be included in the exhibition but was deemed too fragile to travel. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents In the Diary series, Sterne is quoted, "Maybe I am saying something which is a truism, but I feel that my work all along was like a dairy." The artist "effortlessly weaves paraphases of quotes by poets, novelists, philosphers, and theologians throughout her conversations, enjoying their ability to communicate a polyphony of diverse yet interrelated ideas. She has noted, 'all in all my greatest mentors were always books.' Although establishing direct corollaries between her paintings and books that have influenced her remins impossible, Sterne's Diary series reveals the central role they play in her thought process as well as her work. For several months in 1976, Sterne placed blank, unstretched canvases on the floor of her main living space (which then, as now, functions as kitchen, dining room, and living room), and then drew a grid patterrn on each. Daily, she filled one square grid with either a quote of her own thought and the date. The handwriting in each square alternates...

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This is the first volume in a series of three on the work of Roth. It is divided into four sections. The first consists of Laslo Glozer's essay " Leaving to Depart - Dieter Roth: the nomad in His Time" links the artist's life and art. Part two shows the progression of Roth's unique pieces from 1950 to 1998. In part three, curator Dirk Dobke focuses on Roth's friendship and collaboration with Phillip Buse and part four contains the catalogue of the Dieter Roth Foundation. -- Source of annotation: Marvin or Ruth Sackner.

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Banana's essay originally printed in American Institute for Graphic Arts Journal. -- Source of annotation: Marvin or Ruth Sackner.

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Introduction by Giorgio Terrone. -- Source of annotation: Marvin or Ruth Sackner.

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Includes essay by M. Jochimsen, "Stories Behind the Story: Remarks on Michael Badura's New Works," a reproduction of Badura's list of works from period 1957-1975, and a reproduction of "Pladoyer" held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

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This catalogue was edited by Jiri Valoch. -- Source of annotation: Marvin or Ruth Sackner.