ArchivesSpace at the University of Iowa

Scope and Contents

This catalogue consists entirely of a critical essay by Stephen Bann on Finlay's works dealing with the French Revolution. The cover is red paper stock, the end papers are blue paper stock, and the text is printed on white paper stock, e.g., the French tricolor flag. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

The Sackner Archive holds a Clock that was made by Kenelm Cox on behalf of Dom Sylvester Houedard. Also in the Archive is the sculpture Suncycle that was planned with Nicholas Logsdale at the Lisson Gallery, cast in brass and sold as a multiple without a motor. The author title for this book is "Ken Cox." -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

The Sackner Archive holds a Clock that was made by Kenelm Cox on behalf of Dom Sylvester Houedard. Also in the Archive is the sculpture Suncycle that was planned with Nicholas Logsdale at the Lisson Gallery, cast in brass and sold as a multiple without a motor. The author title for this book is "Ken Cox." -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This catologue includes facsimile examples of Finlay's poems, a bibliography, a list of works in the exhibition together with prices, and a history of the Wild Hawthorne Press. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents Amazon.com: "An explosion of little architectural magazines in the 1960s and 1970s instigated a radical transformation in architectural culture, as the magazines acted as a site of innovation and debate. Clip/Stamp/Fold takes stock of seventy little magazines from this period. The book brings together a remarkable range of documents and original research which the project has produced during its continuous travels over the last four years starting with the exhibition at the Storefront in November 2006. The book features transcripts from the "Small Talks" events in which editors and designers were invited to discuss their magazines; a stocktaking of over 100 significant issues that tracks the changing density and progression of the little magazine phenomenon; transcripts of more than forty interviews with magazine editors and designers from all over the world; a selection of magazine facsimiles; and a fold out poster that offers a mosaic image of more than 1,200 covers examined...

Scope and Contents

This book consists of a collection of the following essays. Raines contributed a poem about Stonypath. Bann discussed Heroic Emblems by Finlay (designated Picture Poems in the Sackner Archive). Douglas Hall wrote of Finlay's collaboration with Jud Fine in their series of 20 drawings. Miles Orvell analyzed Finlay's "Pacific." Scobie provided an essay on Finlay's picture poem, "Homage to Kahnweiler." Finlay created a pun on Daniel-Henry Kahnweiler's critical book on Juan Gris "Life" and "Work" with the caption Juan Gris: His "Knife" and "Fork." -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

Raines contributes a poem about Stonypath. Bann discusses Heroic Emblems by Finlay (designated Picture Poems in the Sackner Archive). Douglas Hall writes of Finlay's collaboration with Jud Fine in their series of 20 drawings. Miles Orvell analyzes Finlay's "Pacific." Scobie provides an essay on Finlay's picture poem, "Homage to Kahnweiler." Finlay creates a pun on Daniel-Henry Kahnweiler's critical book on Juan Gris "Life" and "Work" with the caption Juan Gris: His "Knife" and "Fork." Pencilled-in corrections in an unknown hand have been made for two typographic errors, 'r' for 't' on page 7 to change the word 'takes' to 'rakes' and 'n' for 'r' to change the name 'Gallard' to 'Galland.' -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This catalogue features works by Ian Hamilton Finlay. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

These documents include an essay by Thomas A. Clark on Finlay's controversial sculpture, OSSO at ARC in 1987 that included the logo of the Waffen SS. This work was considered by Art Press, a Parisian based journal as being pro-Nazi whereas Clark argues that it is anti-Nazi. They includes a copy of a protest letter on Finlay's behalf by Sol Lewitt to Jack Lang, the French cultural minister. Stephen Bann contributes a critical essay on Finlay's proposal for a revolutionary garden in Vers -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This is an extensive architectural project for a German bank that was planned from the onset of construction. It consisted of six carved, lettered stone sculptures for the facade, poetic wall paintings, poems on glass doors, and a floor poem. The concrete and picture poems were modified from earlier published versions, e.g., wave/rock, star, evening will come, sackcloth n., wild flower n. Bann wrote a critical analysis, Simig helped in production, & Sloan provided the stone carvings. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

El Lissitzky describes his theatrical plans for "The Electrical-Mechanical Spectacle." It was published as a folio of ten colored lithographs which were used by Mayakovsky in "For Reading Out Loud." The Spectacle used the music from "Victory Over the Sun" by Krutchyck with sets by Malevich. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

The introductory essay by Stephen Bann deals with Finlay's belief in the decline of innovation in concrete poetry in the seventies and his own shift toward classicism. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

The card is accompanied by a critical essay by Bann and photographic reproductions of Finlay's works in the show. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

Photographs of bronze sculptures in the exhibition were collaged onto the pages. The catalog was designed by Finlay, Pia Simig, and Paul Khera. The photographs were taken by Antonia Reeve and Stephen White. Stephen Bann contributes an essay that describes and analyzes each work in the exhibition. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

The text is printed in blue and red colors that are interwoven, blue for French and red for English. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

Letter discusses catalogue and guide for the Brighton Festival exhibition; asks whether Furnival is in possession of "Arc/Ark" piece and whether Furnival's "Ajar" piece is "still in an exhibition-worthy state." -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

Bann thanks Furnival for typographical material and requests use of two designs in the Alan Ross anthology. Bann asks that Furnival consider an outdoor rather than an indoor site for his installation at the Brighton Festival. -- Source of annotation: Marvin or Ruth Sackner.