Scope and Contents

Tipping used the annoucement box from Ubu Gallery, New York [The Box: From Duchamp to Horn], to hold an enlarged replicate of an American penny. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

The cover of this catalogue and two of the pages depict photographic reproductions of crumpled pages of telephone books; the Sackner Archive holds a unique artist book by Sit of torn telephone pages. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

The book is punctured in its center with a hole to simulate that is a round circle that toward the end of the book becomes raged as a simulation of a bullet hole. Each page contains an identical landscape with the bullet hole placed above the horizon. At the bottom of each page are the different coordinates, e.g. 51o 21'N x 12o 25'E, that symbolize the location where violence took place. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

The book is the editioned version of Maher's original bookwork "100 Coordinates of Violence" which is held by in the Sackner Archive. It was published to coincide with an installation at Kunstbuncker in Nurnberg, Germany. The original book consisted of pages shot through by bullets. Now the 1000 coordinates that symbolize the location where violence took place are listed on each page. An afterward lists several pages of "better informed, better organized and more selflessly dedicated curmudgeons... to fuel your own investigations." -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This is Carl Andre's first one man show in a musem and his first catalogue. Johannes Cladders wrote the German text for the book object. All the English texts are in Andre's own handwriting and appear to be printed offset though another process might have been used. On the folder cover, Andre writes, "A man climbs a mountain because it is there. A man makes a work of art because it is not there." -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

Gertrude Jekyll was a leading designer of gardens. The rose of Gertrude Stein's well known poem can also be identified as the tip of the old-fashioned garden watering can. -- Source of annotation: Marvin or Ruth Sackner.

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The recto of the photograph announces a performance by Blaine at Galerie Donguy, Paris, on December 1, 1998. Some of the photographs are images of store facades with signs that stated "Mode a Suivre." -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

The object is a chewing gum cast of Descossey's tongue. In September 2000, over 3300 of Descossy's chewing gum sculptures were destroyed in a fire on a warehouse where they were stored. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This project was organized by Werner Pfeiffer, Professor of Art at Pratt Institute with input from Deirdre Lawrence, Principle Librarian, Brooklyn Museum of Art and was produced by students of Pratt Institute Art of the Book curriculum. The theme of this work is Brooklyn. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This gift to the Sackners for the millennium is a small wooden box stamped "Fragile 2000." It contains a golden egg nested in fine, spicey straw, with a red patch of silk. The loose sheet is printed with a poem " Be joyful - though you - have considered - all the facts." This work by Bart is a metaphor for the fragility of the future and its bright hope. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This a circular book object has a spiral spine completely encircling its cover so that it cannot be opened. This work was exhibited at the Agnes Scott College Gallery, Atlanta, January 2001. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents Signs Ltd. of Bellenden Road have, after some adjustments I made to the prototype, produced, in laminated plastic with perspex slide, a handsome multiple of my favourite device. This comment about the work originates from Phillips' Works/Texts to 1974 (1974), p. 266. "A shop that I pass regularly on the way to the studio had a small red and white plastic sign saying C LOOPSEEND. Since the shop sold yams and sweet potatoes I assumed that this was the name of the proprietor; the double vowels suggested Dutch however and I was puzzled each time I passed it. Having seen this name for about a year and having thought it odd but probably liable to rational explanation, I suddenly came across its double in a second-hand shop in Ipswich in 1965. I was about to ask the shopkeeper whether he was any relative of his namesake in Camberwell when I noticed, in the back of the shop, many piles of similar nameplates, each bearing the inscription C LOOPSEEND. For some reason I made no enquiry in the...

Abstract

Committed to the production and dissemination of systems art, CAYC was established as a multidisciplinary workshop in August of 1968. A collection of large scale works (each about 22 x 34 inches) was assembled in 1972 by Jorge Glusberg, CAYC Director, as an edition of 10 that circulated as traveling exhibitions. Apparently including about 72 works in 1972, the collection grew over time and the Iowa collection now consists of 143 diazo prints and appears to be the only extant copy. The collection includes a linear foot of catalogues, documentation, books and pamphlets, dating from 1970 to 1980 and a complete set of black and white photographs from which online images were derived.