Scope and Contents

This object was formed from by photocopied hand lettered text in the style Phillips uses for his text based sculptures, where each letter is physically linked to adjacent ones. The photocopied sentence of the title, glued onto the cube is repeated twice on each of its surfaces. The Sackner Archive also holds the hand-drawn maquette for this work. The text is by the philosopher Ludwig Wittgenstein. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

For this piece, Tom Phillips lettered the text in the style he used for his text based wall sculptures. Each letter is linked to adjacent ones. The sentence of the title is repeated twice on each surface of the cube. The text is by the philospher Ludwig Wittgenstein.Phillips writes, "The series of cubes began with a cage of wire made for The Globe Theatre's production of A Winter's Tale. A cage of wire words followed to exemplify Wittgenstein's proposition 'The Limits of My Language are the Limits of My World'. Printing this on an acrylic cube where the inside can be seen and, by an oddity of optics, experienced from the outside seemed to unite the reading of a statement with its perception as a metaphor. Reversing the text on the outside in a later version emphasised the trap of language that Wittgenstein describes." -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

For this maquette, Tom Phillips hand lettered the text in the style he used for his text based wall sculptures. He marked design changes in small, red symbols. Each letter is linked to adjacent ones. The sentence of the title is repeated twice on each surface of the cube and hand-drawn on each surface of the wooden cube. The maquette is slightly smaller than the finished work that is also held by the Sackner Archive. The text is by the philospher Ludwig Wittgenstein. -- Source of annotation: Marvin or Ruth Sackner.

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The poem reads, "The cliche kiss, engraved upon the air - a rain of rice when wrong boys finger the yellow sand; - Two that look then burst the loaded bus" -- Source of annotation: Marvin or Ruth Sackner.

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The poem reads, "a nine muse world beyond the portico of legends - beyond the library - rest n a rock - beyond the music of a blossoming horse." The border of the page consists of rows of colored book spines. -- Source of annotation: Marvin or Ruth Sackner.

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The poem reads, "A son like myself - of a Greek engineer - only the word pictures the word - plied words slipped - into his heart like surprise and pleasure. The background depicts colored wave-like forms. -- Source of annotation: Marvin or Ruth Sackner. Housed with "Ulysses [raises]". Identifying label calls the piece "a sun like myself." Added: CEND.

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The poem reads, "244 raises. How do I know that? By a very simple test - I know it by its fruits. And what may its fruits be? They are the glittering beings. - art of departure over the pages and waves - So back to to his ocean - to the helm to the rising and falling, turning and returning, appointed courses, of man." A stylized, line drawing of a man is present in the background. -- Source of annotation: Marvin or Ruth Sackner. Housed with "Ulysses [a son like myself" Added: CEND.

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The poem reads, "rock music sing, enchant the ear - one hell of a noate in his ear - art of drinking - toge and bloom come together - the dissipation expedition." The border of the page consists of musical staves. -- Source of annotation: Marvin or Ruth Sackner. Housed with "Ulysses [a nine muse world]," 2000. Added: CEND

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This announcement reproduces Phillips' typewriter poem that consists of all the words of the Inferno. The original work was held by the Sackner Archive bjut later donated to PAMM. -- 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...

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This is an announcement for a musical drama performance. -- Source of annotation: Marvin or Ruth Sackner.

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This is an imagined portrait of Virgil for Phillips' translation of Dante's Inferno. He is poised over the sixth book of the Aeneid, the principal source for Dante's Comedy. A detailed analysis of this work written by Phillips is printed on page 236 of Works and Texts (1992). -- Source of annotation: Marvin or Ruth Sackner.

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This print depicts a portrait of a banker. -- Source of annotation: Marvin or Ruth Sackner.