Scope and Contents

Although the text is oriented to Italian poets of the region, it covers the entire concrete and poetic international movement of the 1960s. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

Auction catalogue. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

Tom Phillips' The Birth of Art (1973), 10 etchings, is depicted on page 85; this work is not held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This catalogue provides descriptions and images of international artists' magazines from 1960 to 2008 that were exhibited in Cabinet du Livre d'Artiste in Rennes, Galerie des Urbanistes in Fougeres and Lendroit Galerie in Rennes. It lists a number of French magazines that are not known to the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This is a scholarly work which analyzes the artist book in several contexts including the book as idea and form, early 20th century avant-garde books, the codex, the book as a visual form, books as verbal exploration, and the book as document. The Sackner Arcvhive is mentioned in a footnote and as a major source of Johanna Druckers collected works. Drucker provides classification of artist books through headings and examples throughout this book but omits listing them in a tabular form for easy access. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This is a personal history of international artists' magazines from 1968-1988. For the bibliographic section, there is an ikon for each of the following: multimedia publication, fluxus/concept/neodada, concrete & visual poetry/experimental literature, assembling, mail art/network publication, rubber stamp, xerography/copy & electrographic art, graphism/graphzine, radicalism/neoism, theory/review/history, and by/about computer. Toward the end of this boo,k Perneczky provides a complete listing of Commonpress issues. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents Ross: Amazon.com: The book is beautifully produced on excellent stock, binding and gorgeous reproductions; the artists use maps as a "medium for expressing their observations, passions and anxieties about the contemporary world." There are 360 maps made from all sorts of media, traditional painting, modified globes, tree branches, butterfly wings, spider webs and more. Unusual examples include: Kim Baranowski's map of alien-abduction sites, which is part of the "Mappa Mundi" series: "information that would give schoolchildren nightmares; areas of the world not yet hit by asteroids, potential U.S. nuclear targets ... or "show-and-tell for the paranoid." Vik Muniz created a world map using junk from garbage dumps, assembled with the help of youngsters from the shantytowns of Rio de Janeiro. Corriette Schoenaerts, 'Europe,' 2005, is a construction of countries and continents made out of clothing. In 2002, China's Long March Project embarked upon a `Walking Visual Display' along the...

Scope and Contents Art & Language Uncompleted offers a detailed view of one of the most complex aesthetic identities of the postwar era. A major influence on the development of Conceptualism, Art & Language was founded in the UK in 1967 but by the early 1970s had expanded into an international collaboration involving artists such as Terry Atkinson, Joseph Kosuth, Philip Pilkington, Kathryn Bigelow and Michael Corris; between 1968 and 1982, about 50 people were actively associated with the group. The literary character of the group, exemplified in its legendary publication, Art-Language, challenged the power of the institution to generate and circulate artistic research. Art & Language Uncompleted, the most comprehensive publication on the work of this crucial group, draws from the Philippe Meaille Collection of Art & Language works at MACBA in Barcelona, which includes more than 800 works. Marvin Sackner met Philippe Meaille in Chinon France who gave him this book. -- Source of...

Scope and Contents This book is the first sustained consideration of the manifold infiltrations of the written word into the visual arts from the nineteenth century to the present day.Publisher: "From the cut-up Cubist collages of Picasso to the monumental filmic narratives of Fiona Banner, and from the schoolboy subversion of Magritte to the demotic scrawl of Cy Twombly, the use of words is one of the defining features of modern art. Indeed, with many contemporary works, only those without text are remarkable. Exploring the strange, unsettling, and often humorous results when words escape their traditional confines and inhabit artworks, this book is the first sustained consideration of the manifold infiltrations of the written word into the visual arts from the nineteenth century to the present day. Simon Morley traces the growing bond between word and image, explaining how artists have harnessed the resulting tension to form identities, challenge authority, and make sense of a world in constant...