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The original portfolio was discarded owing to water damage sustained in an accident and its frontpiece collaged to this replacement portfolio; no damage occurred to the prints. Seven copies hos commerce were given to each of the contributors. This festival was also printed as a smaller format exhibition catalogue. Copies of the exhibition catalogue with the same title are also held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

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The larger format edition (tirage 20) that consists of prints by Chopin and Berini is also held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

The larger format edition (tirage 20 copies) that consists of prints by Chopin and Berini is also held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents Wolman invented "Scotch Art" and the Sackner Archive has one such example. It consisted of sticking Scotch tape onto printed matter such as posters, magazine pages, newspapers and pamphlets, and, placing them in water so that the cellulose support of the paper dissolved, leaving the image on the surface of the tape. This was then first repostioned on thin pieces of wood and later on a cavas support on a stretcher. The Sackners met Wolman in his apartment in Paris in 1982. Adrian Dannatt who wrote his obituary for the London newspaper, The Independent, characterizes his life well. Gil Joseph (Gil J. Wolman), film-maker, writer, political activist - born Paris 7 September 1929; died Paris 3 July 1995 "Those who live by obscurity die by it also, so the minimal response to the disappearance of Gil J. Wolman is hardly surprising. Wolman led a brave, ferociously independent existence at war with the forces of contemporary conformity, the celebrity machine of the mass media being high...

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This is a pirated recording from the original 45 rpm records. -- Source of annotation: Marvin or Ruth Sackner.

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This letter is a lengthy polemic in which Cobbing argues with Chopin's assertions on contesting the history of sound poetry. He dates and mentions his own performances of sound poetry from his first attempts in 1942. He argues with Chopin on the dating of the works of Heidsieck, Wolman, de Vree, Lockwood, Dufrene, Gysin and Jandl. -- Source of annotation: Marvin or Ruth Sackner.

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Mentions that he is more interested in the Ultra-Lettrist movement than Lettrisme in relation to Situationism, as background for his book (Lipstick Traces). -- Source of annotation: Marvin or Ruth Sackner.

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This is the soundtrack to Marcus' book, Lipstick Traces. -- Source of annotation: Marvin or Ruth Sackner.

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This is the soundtrack to Marcus' book, Lipstick Traces. -- Source of annotation: Marvin or Ruth Sackner.

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Scotch art, collages that Wolman made with Scotch tape beginning in 1964 are described beginning on page 84. The Sackner Archive holds one such work as well as a "dechet d'oeuvre" depicted on page 207. This book provides a orderly review, year by year from 1950 to 1981 of Wolman's works including artworks, polemics and political texts. Frederic Acquaviva, an expert on Wolman's work, indicated that far less than 100 copies of this piece were made. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

Elisabeth Sussman, the editor, provided the introduction. Certain key texts selected by Greil Marcus have been translated and annotated by Thomas Levin. Debord, in his 1967 study "Society of the Spectacle" articulates his principal theses. Greil Marcus provides a critical essay on Debord's key publication "Memories". Key texts of Debord's are translated into English. An excellent chronology of the Situationist movement is provided. -- Source of annotation: Marvin or Ruth Sackner.