Scope and Contents

This book is the catalogue for the retrospective exhibition for Schippers in the Centraal Museum, Spring 1997. It includes documentary material of his Fluxus works, publications, radio shows and performances. Overlaping texts were printed in red (Flemish) and green (English) such that the opposite colored acetate sheet must be placed over the text in order for the selected language to be solely rendered visible. The envelope contains small paper reproductions of Schippers' works from the book. The presentation of text and images in this book that depend upon superimposition of colored acetate sheets is uncommon - this is the only book in the Archive so produced. -- Source of annotation: Marvin or Ruth Sackner.

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Edited by Jerome Rothenberg. -- Source of annotation: Marvin or Ruth Sackner.

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This book consists of a collection of essays dealing with the book. Mike Gibbs translated Mallarme's essay, "The Book" and illustrated it with photographs. Karl Young contributed an essay on performance books in which the book functions as a dynamic object; he also describes and depicts Mayan glyphs. Allison Knowles describes her Book of Bean; she was interviewed by George Quasha. Jack Hirschman translated the interview from Liberation with Edmond Jabes. -- Source of annotation: Marvin or Ruth Sackner.

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This is a listing of works with prices. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents Stephen Balbach (Amazon webite): "Lanham has been a university professor for about 40-years, Yale-educated, English lit and rhetoric. He came of age pre-computer revolution, when writing meant manual type-writers and white-out and transcription. This series of connected essays are his ideas about what the digital revolution means for the future of books, universities and what he calls "the economics of attention" - how the world operates when information is plentiful and the scarce resource are "eyeballs" (attention). We are flooded with high-quality art, news, books, movies, data of every type - it is not an "information economy" because information is as plentiful as air - the scarce resource is peoples attention. In that environment, style (the wrapping paper, the ornamentation, packaging, literary style, etc..) becomes more important than substance - style is the substance (think for example all the crazy cultural things that come out of Japan - all style, no substance). He...

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Consists mainly of reviews of books by American poets. Includes review of Dick Higgins' Pattern Poetry -- Source of annotation: Marvin or Ruth Sackner.

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In the text printed on the dust jacket by William Wilson, Ray Johnson is described as living "a life that is a continuous revelation of pure and radiant design, the image of that life is art. Since the life itself is designed of coincidences, like a walk taking a line, the aesthetic reciprocal of that life is a Ray Johnson collage. Ray Johnson is not neo-dada or abstract or extract: he is an artist representing the reality of his life; it happens that his life is a collage." -- Source of annotation: Marvin or Ruth Sackner.

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Richard Morris reported a survey of 65 poet-editors of different schools of poetry and who were asked "the best poets currently writing in the English language." The results included among others Antin, Ashbery, Beckett, Berrigan, Blaser, Bukowski, Bunting, Cage, Codrescu, Coolidge, Corman, Corso, Davey, Dorn, Elmslie, Ferlinghetti, Ginsberg, Giorno, Hirschman, Hollo, Houedard, Ronald Johnson, David Jones, Kryss, Lifshin, McClure, Mac Low, Meltzer, Merrill, Merwin, Meyer, Perchik, Plymell, Raworth, Rothenberg, Simic, Snodgrass, Charles Stein, Swenson, Tarn, Keith Waldrop, Emmet Williams, Jonathan Williams, Zulovsky. -- Source of annotation: Marvin or Ruth Sackner.

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This pamphlet explores the state of the arts and the "intermedia" at the end of the 1960's and beginning of the 1970's. Higgins presents a very pessimistic view on the future monetary value of paintings by mainstreet artists which time has proven him wrong. -- Source of annotation: Marvin or Ruth Sackner.

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These poems reflect Lurie's relationship with language and music. Lurie writes that he is a poet/musician who crosses "that fine border of separation between language and music, molding those two disciplines into a single unified form." In this book language is shaped with the forms of music: fugues, rondos, canons, counterpoint and crab-fugues. -- Source of annotation: Marvin or Ruth Sackner.

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This exhibition of silkscreen, cloth multiples published by Francisco Conz was curated by Wayne Baerwaldt. It demonstrated several Fluxus conceptions: sharing ideas between artists, a publisher and the public; capturing the ephemeral in Fluxus productions; exposing the ideas of original works which would otherwise remain hidden in private collections. The silkscreen print editions on cloth offer the viewer the opportunity to investigate the contentious nature of Fluxus oriented art. "The editions of large-scale drawings, texts, musical scores, collages, and appropriated images are retouched, or redrawn directly on the silk-screens by the artists, reinforcing what we already know about intermedia, the myriad combinations of literary prose and/or concrete poetry; music and/or sound; theatre and/or performance." The Sackner Archive holds several cloth works by fluxus artists, Lettrists, and concrete poets published by Conz. -- Source of annotation: Marvin or Ruth Sackner.

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Consists of critical essays with photographic reproductions of several poems. -- Source of annotation: Marvin or Ruth Sackner.