Documentation
Found in 3469 Collections and/or Records:
Forrest Mountain Scene[CR][River Boat Scene]] / Smith, Paul., 1968
Found Poem: The Mastless Barges / Finlay, Ian Hamilton ; Hincks, Gary., 1995
Adapted from a page in "Sailing For A Living" by Basil Greenhill. -- Source of annotation: Marvin or Ruth Sackner.
Four Hands Examining the Color of a Thought / Hendricks, Geoff ; Buczak, Brian ; Conz F ; Weiner L ; Knowles A., 2003
This catalogue was first conceived on the occasion of the exhibition "Geoffrey Hendricks, For Brian Buczak, in Memoriam" in Dorf Tyrol, Merano, Italy in 1997. It was re-published in 2003 in conjunction with the exhibition "Geoffrey Hendricks, Accidental Significance: Collaboration with Brian Buczak" at the Emily Harvey Gallery, New York. -- Source of annotation: Marvin or Ruth Sackner.
Four Pieces For John Tilbury / Phillips, Tom., 1966
This is Phillips' first musical score (Opus 1). The musical notations are composed of lines and rectangles presented as a constructivitic grid. One side of the print deals with Phillips' instructions for playing the piece. Depicted in Tom Phillips: Works Texts To 1974, page 248. The number is written in red ink adjacent to Phillips' signature on the envelope. -- Source of annotation: Marvin or Ruth Sackner.
Four Pieces For John Tilbury / Phillips, Tom., 1966
This is Phillips' first musical score (Opus 1). The musical notations are composed of lines and rectangles presented as a constructivitic grid. One side of the print deals with Phillips' instructions for playing the piece. Depicted in Tom Phillips: Works Texts To 1974, page 248. This copy is unnumbered. -- Source of annotation: Marvin or Ruth Sackner.
Four Shades / Finlay, Ian Hamilton ; Jones, Grahame., 1992
An artists' book by Ian Hamilton Finlay published to accompany Finlay's installation at Laumeier Sculpture Park in St. Louis, Missouri. -- Source of annotation: Marvin or Ruth Sackner.
Four Trees / Finlay, Ian Hamilton ; Costley, Ron., 1994
The pages depict reproductions of different trees in watercolor that relate to the personality of four historic figures as explained on the card, viz., Couthon, Rousseau, Goethe, and Friedrich. -- Source of annotation: Marvin or Ruth Sackner.
Fragment 1 2 & 3 / curry, jw., 1986
This +documents the poems for the Fragment series. -- Source of annotation: Marvin or Ruth Sackner.
Fragments for a Body of Knowledge / Hoyt, Shelley ; King, Susan E. ; Lyons, Joan ; Robinson, Sue Ann., 1992
Fragments of Berlin Wall / Eric Von Scholz., 1989
Note indicates that the fragments were collected from the Berlin Wall near Potsdammer Platz, November 30, 1989. -- Source of annotation: Marvin or Ruth Sackner.
Frame Details / Depew, Wally., 1983
Frame Details / Depew, Wally., 1982
Frame Structures: Early Poems 1974 - 1979 / Howe, Susan., 1996
The poems selected by the author for this volume are largely autobiographical and are printed in block-like forms. Much of Howe's writing reflects her New England, patriarchal background and her transition from the visual to the written word. -- Source of annotation: Marvin or Ruth Sackner.
Framed and Shaped Writing / Mayer, Peter., 1968
Framing Gratitiude / Moss, David., 2013
The Hebrew calligraphy is the prayer said upon waking every morning, Modeh Ani - Thankful am I. David Moss writes, "Next to each work I created a small frame. I then inserted family photos into it...Each morning it helped me expand my awareness of and gratitude for the abundant mercy that had been showered upon me...The piece is meant to be framed with your own pictures." -- Source of annotation: Marvin or Ruth Sackner.
Free Range / Breakwell, Ian., 1993
Free Structure - Structured Freedom / Moss, David., 2013
This work was inspired by the Tzitzit, the ritual fringe prescribed in the fifteenth chapter of Numbers. David Moss writes that he wanted to capture the meaning and history of the Tzitzit "not only to display [its] symbolic pattern but to actually embody it...The background, garment and knotted parts of the Tzitzit were produced by serigraphy - the traditional silk-screen process used to obtain flat, even, opaque colors. That aprt is a fixed traditional art edition print. But I added by hand the free flowing strings that spout forth from these rigid, fixed knots. Every string in every print is unique, free and unconstrained.Is this a print or an original? Defined or free? Like the Tzizit it is the unification of both." -- Source of annotation: Marvin or Ruth Sackner.
Freibord 1976-1990 / Jaschke, Gerhard, editor., 1990
Freibord Sonderreihe: Totentanz. No.29 / Pierre Garnier., 1990
Edited by Gerhard Jaschke. -- Source of annotation: Marvin or Ruth Sackner.