Scope and Contents

Subitiled "L'art vivant autour du musee de Lodz," the exhibition and catalogue was more than a panorama or a retrospective of the intellectual, artistique and spiritual center of art in Poland. It was a multi-discipline manifestation of a utopian community which started in the 1930's and gave a voice to the cultural and artistic collaboration between Poland and France. The Sackners attended this exhibition held at the Pompidou Centre. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This book consists of 72 essays or partial essays of established writers, poets and philosphers. Also included are five texts relating to perspectives of Pettibon by contemporary writers and critics. Pettibon's drawings that are dispersed throughout the texts, are described as "disjunctive, and all inclusive...His initial style relied on the carefully acquired tricks and conventions of cartoon illustration...Pettibon's genius rests on the mysterious alchemy of image and text that his drawings effect. His is a poetry that defies verbal of visual categories, but relies on effacing th boundaries of each." Walter Benjamin contributed an essay, "Unpacking My Library; A Talk about Book Collecting." -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

Dworkin selects and critiques in detail several high spots of Illegible Texts to support the title of this book, e.g., text over text, cancelled texts, neologisms. These include Guy Debord's 'Fin de Copenhague' & 'Memoires,' Susan Howe's poetic works, Charles Bernstein's 'Veils,' of which five originals are held by the Sackner Archive, Rosemary 'Waldrop's 'Camp Printing,' John Cage's mesostics, Ezra Pound's 'Cantos,' Tom Phillips' 'A Humument,' Ronald Johnson's 'Radi Os,' Ken Campbell's 'Father's Garden,' and Fraenkel's version of Mallarme's 'Coup de Des' (held by the Sackner Archive). The book is accompanied by a large section of notes to the text. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This exhibition depicted the illustrated artist books from four presses. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This is the second edition of a book with the same title printed letterpress in 1988. Crombie describes the history of the neighborhood and the artists and writers who lived there. He provides the history of printing by the Kickshaws Press whose shop was initially housed in Montparnasse. The Press was closed in 1994 but Crombie still retains a small shop in another location in Paris. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

Exhibition catalogue edited by Alice Legg and published in conjunction with exhibition at MOMA held February 3 - April 4, 1978. Catalogue was designed by LeWitt, and includes essays on LeWitt by Robert Rosenblum, Lucy R. Lippard, and Bernice Rose. Also included are a list of illustrations, a selection of writings by Sol LeWitt, a selected bibliography and list of exhibitions. -- Source of annotation: Marvin or Ruth Sackner.

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The cover drawing is by Tom Clark. "Shaped Poetry" published by Arion Press, which is listed, is held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This book is an unauthorized translation by Crombie of the French edition by Beckett. It was not for sale. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This book is "an introduction to happenings, kinectic environments, and other mixed-media performances." Nine members of the 1960's avant garde discuss their works with Kostelanetz in the new theatre forms, including John Cage, Robert Rauschenberg, Allan Kaprow, Claes Oldenberg and La Monte Young. Richard Kostelanetz contributes two essays interpreting the new theatre in terms of its historical, social and aesthetic meaning. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

Contains concrete poem by Jacques Barzun. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents This exhibition was curated by Kevin Ray, Head of Special Collections of the Olin Library. In his introductory essay, Ray writes, "The writer's notebook is the precursor, the ancestor of writing, even moreso of reading. Before the note, before the thing to be noted, it was there, and it remains, the locus becoming, by its presence and its persistence, capable of not simply holding or transmitting what is within it, but of producing and recreating it. The notebook as a visual space of chiefly, though not exclusively, texts, allows for several things to be happening within the same space and, more uncertainly, the same readerly time, yet they are of very different, even wildly divergent times...The notebook becomes then a place of juxtapositions, and with this ability to juxtapose, to hold together without necessary or obvious link, the notebook, as a form or genre, comes into its own, and comes into the intellectual life of published, of printed work." -- Source of annotation:...