ArchivesSpace at the University of Iowa

Scope and Contents

Live in Your Head re-examines the artistic legacy of the 1960s and 70s and attempts to clarify the points of origin of a formative generation in British art. It focuses on conceptual and experimental art in Britain. Each artist/poet is given a double-page spread, This catalogue also includes artists' statements and portraits, reproductions of numerous works, biographic and bibliographical information. In addition, Live in Your Head includes a lively and illustrated chronology of social and cultural events between 1965-1975, and essays by Michael Archer, Rosetta Brooks and co-curators, Andrea Tarsia and Clive Philpot. This catalogue has a yhellow cover whereas the other copy in the Sackner Archive has a blue cover. -- Source of annotation: Marvin or Ruth Sackner.

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This catalogue represents a retrospective exhibition of the work of Costa (1942-1995) whose theme is transformation, metamorphosis and cultural anthropology. It includes essays entitled, "The Theatre of Wreckage," A Journey, a Collection of Saints, a Charcoal-maker, Spring Water and the Magic of Artistic Expression,"In the Company of Human Brain and Prehistoric Man" and "The Reconstruction of the Human." -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents Amazon.com: Liam Gillick emerged as part of the generation of "Young British Artists" who energized the British art scene in the 1980s and 1990s. He is now one of the most influential (and perplexing) artists in all of contemporary art. Gillick's discursive mode of art practice"”often associated with "relational aesthetics""”complicates object production, embraces the exhibition as medium, and explores the social role and function of art. His body of work includes variations on "discussion platforms" (architectural structures that question or facilitate social interaction), text sculptures, and published texts that reflect on the increasing gap between utopian idealism and the real world. Artist, writer, curator, and provocateur, Gillick explores how an artistic practice can be conducted and represented, while at the same time questioning curatorial practice and the conventions of applied design. This reader coincides with a year-long, multi-venue, mid-career retrospective that...

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Romberg's paintings in this period consist of collaged photoreproductions of cave paintings and old masters up to Manet along with a written analysis and color swatches used by that painter as deduced from Romberg's observations. -- Source of annotation: Marvin or Ruth Sackner.

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Depicts images of Broodthaers' prints, "No Smoking," on front and back cover; these prints are held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents The editors of this volume are Bruce Gilcrist and Jo Joelson of London Fieldworks.Wikipedia: Gustav Metzger (born 1926) is an artist and political activist who developed the concept of Auto-Destructive Art and the Art Strike. Together with John Sharkey, he initiated the Destruction in Art Symposium in 1966. Metzger is recognized for his protests in the political and artistic realms. Metzger was born to Polish-Jewish parents in Nuremberg, Germany in 1926 and came to Britain in 1939 as a refugee under the auspices of the Refugee Children Movement. He has been stateless since the 1940s. It is with an experience of twentieth century society's destructive capabilities that led Metzger to a concentrated 'formulation of what destruction is and what it might be in relation to art.Metzger is known as a leading exponent of the Auto-Destructive Art and the Art Strike movements. He was also active in the Committee of 100 and took part in their early anti-nuclear base campaigns of direct action...

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This catalogue documents a collaborative video installation project of Hillary Leone and Jennifer Macdonald. "Passing chronicles the more quotidian drama of misreading and misrecognition through which someone can be said to pass for something or someone that they are not." -- Source of annotation: Marvin or Ruth Sackner.

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The works depicted in this booklet were part of an exhibition. -- Source of annotation: Marvin or Ruth Sackner.

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This catalogue was presented by the gallery for the XXVI Bienal de San Paulo. -- Source of annotation: Marvin or Ruth Sackner.

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This book was edited by Aaron Levy. It was published from results of the Slought Networks conference on the artist Oswaldo Romberg at the University of Pennsylvania. -- Source of annotation: Marvin or Ruth Sackner.

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This exhibition of commercial signage questions whether "signs in a contemporary city be specific?" The exhibition was held in Madrid, Paris and New York. -- Source of annotation: Marvin or Ruth Sackner.

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The concrete poem on the title page reads, "The void enclosed by the squares of three four and five." The poem is also reproduced on the back cover in a different shape. -- Source of annotation: Marvin or Ruth Sackner.

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The images in this book depict old hand tools. -- Source of annotation: Marvin or Ruth Sackner.

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Each participating artist was invited to make a proposal for a work in public space and a work for a portfolio. These artists all use text and language for their works. An introductory essay by Tjeu Teeuwen traces the relationship between text and image from early religious works through the influences of Mallarme, cubist collages, calligrams, futurism, dada, constructivism, De Stijl, concrete poetry, fluxus and conceptual art. Essays are also included on art in public places and nomadic art. -- Source of annotation: Marvin or Ruth Sackner.

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The works in the Monument a la Television series are similar to the Chernobyl sculpture in the Sackner Archive. This work was supposed to be included in the exhibition but was deemed too fragile to travel. -- Source of annotation: Marvin or Ruth Sackner.