Scope and Contents

Stored with John Benjamins catalogues. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This exhibition was held simultaneously at several sites in NYC. Mira Schendel's concrete poetic works were shown at The Drawing Center. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

Every art work in this catalog depicts a hat. "The Shaman's Wedding Hat" by Dick Higgins, illustrated, is held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents Tom Phillips provides a brilliant review of a Hogarth exhibition. According to the the Bullfinch Guide to Art History on a web site "The Artchive," Hogarth, William (1697-1764) was an English painter and engraver. He was one of the leading British artists of the first half of the 18th century. He was trained as an engraver and by 1720 had established his own business printing billheads, book illustrations and funeral tickets. In his spare time he learned to paint, firstly at St. Martin's Lane Academy and then under Sir James Thornhill, whose daughter he married in 1729. He made a name for himself with small family groups (e.g. The Wollaston Family, 1730, H.C. Wollaston's Trustees) and conversation pieces (e.g. The Beggar's Opera, one of several versions, c1729, London, Tate Gallery). Around this time he also set himself up as a portrait painter. Shortly afterwards, in c1731, he executed his first series of modern morality paintings, a totally new concept intended for wider...

Scope and Contents

This issue includes a reproduction of page 17 of "A Humument" by Tom Phillips from 2006. It is listed in the index as Pen and Ink without any further references. Vincent Katz contributes and indepth essay entitled "Bartlett Shows Her Colors" stating the Jennifer Bartlett is a Conceptualist by origin, a painter at heart, and increasingly a rollicking storyteller who has recently received wide attention for work both old and new. Katz describes the technique and ideas of the the early plate works one of which from 1970 is held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

John Wilde painting is illustrated in an essay by Michael Duncan "Heretics of the Heartland." -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

Carter Ratcliff contributes an essay "And the Beats Go On." Al Hansen's exhibition at Gracie Mansion is reviewed as is Sherin Neshat at Annina Nosei. The photograph reproduced from Neshat's exhibition review is held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

Faye Hirsch contributes an essay "In Memoriam" describing how Jane Hammond mourns U.S. soldiers killed in Iraq one leaf at a time. Hirsch also wrote about the conceptual work of Lawrence Weiner in an essay titled "Where Words Go." It describes how Weiner's "essentially nomadic oeuvre has paused for a time in a voluble retrospective that explores many aspects of his language-based career." -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

Christopher Phillips' essay "To Imagine That I Am Another" reviews the exhibition of the work of the Surrealist artist Claude Cahun. The Sackner Archive holds a copy of the book "Aveux non avenus" described in the article (another one was deaccessioned. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

Raphael Rubinstein contributes an in depth essay "Fahlstrom Afresh" reexamining Oyvind Fahlstrom's timely art in the first U.S. retrospective in 20 years. Marcia E. Vetrocq writes abour the work of Alighiero Boetti in "Rules of the Game." -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

Gregory Volk contributes an essay on the culture of the visual arts in Brooklyn titled "Big Brash Borough." In it, he mentions and depicts the works of Joe Amrhein and Ward Shelley, artists held in the Sackner Archive. He also describes Pierugi Gallery founded by Amrhein. John Paoletti reviews the retrospective exhibition of Deiter Roth at MoMA Queens and PS 1. Sue Taylor writes about Lucas Samaras in her essay "From Tortured Youth to Enchanted Sage." Arden Reed reviews an exhibition of Doris Cross' "Dictionary Columns" in Santa Fe. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

Tom Phillips' exhibition :Humument Fragaments" at Flowers Gallery in New York was reviewd by Faye Hirsch. She writes, " Phillips here freshens his decades-old project, turning Matlocke to sudden currency." -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

Eileen Myles contributed an essay "True to Type" dealing with the concrete poetry and word art of Kay Rosen. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

Romero Britto's advertisement for Absolut vodka is reproduced. -- Source of annotation: Marvin or Ruth Sackner.