Scope and Contents

This exhibition was curated by Richard Andrews. The introduction and seven essays for this exhibition catalogue trace and describe Constructivism and its influence on Western art history in the twentieth century. Many of the works were drawn from Russian collections and are therefore newly seen in the west. The catalogue includes a timeline from 1909 to 1933 comparing events in Russia and in Western Europe. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents This exhibition was curated by Lynn Zelevansky and was shown at the Los Angeles County Art Museum in which books were lent by the Getty. The same books were lent by the Sackner Archive to the MIami Art Museum when it traveled there. Peter Frank contributed as essay entitled, "geometric literature: From Concrete Poetry to Artists' Books." Amazon Review: In the decades following World War II artists in Europe, North America, and South America began experimenting with geometric forms. Rebelling equally against the mathematical purity of earlier geometric modernism and what many saw as the emotional excesses of abstract expressionism and Art Informel, these artists emphasized three-dimensionality, the repetition of modular elements, the conceptual underpinnings of art, and the performative to engage the viewer in the creative process and achieve broader intellectual, sensual, and emotive range in their work. Beyond Geometry, which accompanies an exhibition at the Los Angeles County...

Scope and Contents

This is a museum recreation of a city wide festival of experimental art, poetry, music and dance that took place in Pamplona in 1972. The Sackner Archive loaned Leandro Katz's Word Column XII to the exhibition; it is depicted on page 266 of the catalogue. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

The closing paragraph states, "An interesting side note involves the Miami contribution. Because some of this work was intentionally prefab and repetitive, there are similar models of certain pieces. So when the Getty collection refused to allow 30 donated works to travel for this show, what a surprise it was to find replacements right here: 28 came from the private collection of Ruth and Marvin Sackner, a testament to the significance of local collections." -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This book includes two offset prints by Peter Roehr and Herman de Vries as well as other multiples by less known artists. The exhibition was organized by Peter Roehr and Paul Maenz. Each copy is unique as each is printed on a different sheet of commercially designed, rubberized plastic. Karl Lueg who contributed to this exhibition later changed his name to Karl Fischer and became an art dealer. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

The exhibition was curated by Maurice Tuchman and Stephanie Barron. This catalogue contains seventeen essays that provide a radical rethinking of abstraction with special attention to the pioneers of nonrepresentational art. The exhibition focuses on what the artist intended his painting to mean rather than how it looked. " By offering clues to the now-hidden meanings of abstract art, it helps make the esoteric accessible and the obscure visible, illuminating not only the art but also the spiritual beliefs that nourished it." -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

Andre superimposed a drawing for a floor sculpture on a graph paper, printed grid. Zaj was a Spanish fluxus-like group of artists/poets. This print is depicted in Encuentro De Pamplona 1972, a catalogue held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.