Scope and Contents The fish figures are drawn by Hayes in specific yoga poses with unhealthy foods illustrated on each page.The slipcase has two realistic rubber fishes attached to each side.WEB site 2013: Ric Haynes was born in York, Pennsylvania in 1945. As a child he constantly made art that told stories and spent hours producing large works that depicted epic battles, circus life, and Indian wars and villages. He went to a boys' school that was located next to a reformatory and often was confused with those who were serving time. Haynes attended The Maryland Institute College of Art in 1964-68 on a Ford Foundation Grant, and later the Skowhegan School of Painting and Sculpture in 1967, where he studied with Walter Murch, Ben Shahn and Philip Pearlstein. He briefly attended The University of Pennsylvania where he refused to paint like his teachers, and in 2002 he received a MFA in Visual Arts from Vermont College of Norwich University. He teaches painting and creative book making at Endicott...

Scope and Contents The fish figures are drawn by Hayes in specific yoga poses with unhealthy foods illustrated on each page.The slipcase has two realistic rubber fishes attached to each side.WEB site 2013: Ric Haynes was born in York, Pennsylvania in 1945. As a child he constantly made art that told stories and spent hours producing large works that depicted epic battles, circus life, and Indian wars and villages. He went to a boys' school that was located next to a reformatory and often was confused with those who were serving time. Haynes attended The Maryland Institute College of Art in 1964-68 on a Ford Foundation Grant, and later the Skowhegan School of Painting and Sculpture in 1967, where he studied with Walter Murch, Ben Shahn and Philip Pearlstein. He briefly attended The University of Pennsylvania where he refused to paint like his teachers, and in 2002 he received a MFA in Visual Arts from Vermont College of Norwich University. He teaches painting and creative book making at Endicott...

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Cepl has partially cancelled blocks of text with multicolor crayons. -- Source of annotation: Marvin or Ruth Sackner.

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The material for each print in the book or project is stored in individual folders or envelopes. Material is also included that was not utilized in the final version of the book. For example, in the print, On the Corner..., the typed poem was considered but rejected, e.g., die neue SS: Lightening bilts shaved in - black on black - in the Razored and Jerrocombed hair - in the Razored and Jerrocombed hair. The title page content and layout changed considerably over the five years it took to produce the book. A section contains poems that were not used in the final version of this book. The Sackners provided financial support for this project. -- Source of annotation: Marvin or Ruth Sackner.

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This archve includes manuscripts of Finlay'a book as wella as a lettle of critique from Robert Lax himself. -- Source of annotation: Marvin or Ruth Sackner.

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The text was first written by de Charmoy in English. A French translation by Daniele Devitre was published in RESSAC No.2 Geneva 1981. Illustrations of hands accompany the non-fictional text. -- Source of annotation: Marvin or Ruth Sackner.

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The linear, black printed text is laid out with mixed typefaces and sizes. The maquette is a sketch book with chaotically arranged handwritten text that employs several colored inks and calligraphic styles. The manuscript appears to have made with a combination of photocopying and colored letraset type. -- Source of annotation: Marvin or Ruth Sackner.

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The communication has been rendered in the form of a booklet. Cinicolo mentions that he has been accepted by St. Martin's as a graduate student. The carbon paper is yellow stock. A mirror image poem by DC# using the word mirror is contained in the booklet. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents Canto I/1 Phillips comments: The dense, direct and haunting opening to Dante's Comedy: Just halfway through this journey of our life I came awake to find myself inside a dark wood, way off course, the right road lost. shares immediately with the reader that claustrophobia of accumulated habit and error which reveals to human beings in middle life that they have been building a trap around themselves, which, having had no formal entrance, offers no apparent way out. In this image I have further developed a procedure used in several paintings from 1969 on (cf. Works/Texts to 1974 pp 74 & 184) involving stencilled letters. With the title phrase Una Selva Oscura (a Dark Wood) I have made a linguistic thicket by superimposing letters of different height so that this phrase crosses and cancels itself over and over again. Thus the title, moving in and out of phase, becomes the picture, in the manner of a fugue or canon in music. The motif, and variations on it, reappears throughout...

Scope and Contents Canto 1/3 Phillips comments: Like all great literature Dante's Comedy grows from the body of literature that precedes it. The illustrations here frequently emphasise the fact that Inferno is a book that contains books; books that it models itself upon (the Aeneid) and books that it transcends (the Tesoro of Ser Brunetto; cf. Canto XV/2). Virgil is here represented in the form in which Dante first knows him, his work, and in particular the Aeneid of which this is perhaps the first page of a sumptuous illuminated manuscript; hence the initial `A' for the opening of the epic, Arma virumque cano (Arms and the Man, I sing. . .). Dante would have seen such volumes in the mansions of his wealthy patrons: we do not however know how many books the peripatetic exile actually owned; books at that date are handwritten, huge, heavy and very expensive. It is doubtful that Dante owned a complete Bible even: he probably owned fewer than Chaucer's scholar with his 'twenty books clad in black and...

Scope and Contents Canto II/1 This companion-piece to Dante in his Study shows Virgil in a similar room. The positions of the figure and the book derive also from Signorelli, but more remotely. Since no authoritative image of Virgil exists he is pictured without features. As with Dante the hands are my own and drawn from life. He is poised over the book of his Works. It is open at the Sixth Book of the Aeneid, the principal source for the Inferno. A bookmark indicates the Fourth Eclogue in which Virgil (as it seemed to the mediaeval world) prophesied the Coming of Christ. The Eagle of the Empire signifies Virgil's allegiance to the other Rome (a separation much to Dante's political tastes). In the left hand corner a distorted star with seven points and inscribed with alchemical devices is falling from the framework of the picture. This refers to Virgil's role in the mediaeval thought as a Magus (his book was used as a work of divination in the manner of the I Ching), a reputation Dante is eager to...

Scope and Contents 11/2 Phillips comments: The lily, as well as being the emblem of Dante's native city, is the flower of the Annunciation, and a traditional attribute of the Virgin Mary. The speech of Beatrice to Virgil, entrusting him with the mission of saving his fellow poet, is a cryptic parallel to the Annunciation: thus Beatrice (also of course a Florentine) is associated with the Virgin Mary and this is the spiritual counterpart of her role in Dante's life, as the Lady of his love and art. The enclosure, here represented as a lawn surrounded by a triangle of walls, is part of the standard iconography of the Annunciation (hortus conclusus) as is the locked entranceway which symbolises virginity. The three steps prefigure those of the Angel in Purgatorio. In the sky above are the nine circles of Paradise of which the nine rings of Hell are the infernal counterparts. The lily itself is constructed (cf. notes to the frontispiece) according to the Golden Section and derives from a wall-painting...

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II/4 Dante likens his renewed morale to the opening up of flowers which close at night. The various stages of the daffodil (chosen as a flower of this season of pilgrimage) as it unfolds were etched from life in 1978 and formed part of one of the first images to be tackled. The rising sun, also an emblem of renewed vigour, pictured over the sea, echoes two of Dante's images for Virgil as well as contrasting with the twilight opening of the canto. The Virgin Butterfly, her mission fulfilled, departs. -- Source of annotation: Marvin or Ruth Sackner.

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Canto III/1 A portfolio of etchings that I worked on in 1979 appeared under the title 'I had not known death had undone so many', T. S. Eliot's beautiful translation of a line from this canto. The heads here are much in the same vein and similarly influenced by African Art (notably some rock drawings I studied in Namaqualand) and the appearance of diatoms under a microscope. They are similarly used in that certain of them are chosen to be hugely enlarged to make stylised masks of characters in the Inferno as with Homer in Canto IV, Aristotle in Cantos XI and XXX etc. -- Source of annotation: Marvin or Ruth Sackner.

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III/2 Yellow, the colour of cowardice, pervades this image which represents the lukewarm and indecisive souls who follow a banner sans device. The heads are repeated, somewhat enlarged since we are now nearer to them, from the previous picture and one head is singled out for further enlargement and emphasis to represent Pope Constantine who 'made the great refusal'. The outline of the flag is adapted from that shown on the cover of Works/Texts to 1974 (where its previous history is described). -- Source of annotation: Marvin or Ruth Sackner.

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III/3 Not satisfied with any of the colour trials I made in the first version of this, which depicted the dreary waters of the Styx, I cut the various proofs into strips and brought different versions into conjunction, hence the appropriate half repetition of the short text which, together with the recapitulations of the same stretch of the sombre stream, suggests the monotony of Charon's task as Ferryman. The words 'bitter boating' seemed also to echo his mocking speech. -- Source of annotation: Marvin or Ruth Sackner.

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IV/2 One of the many heads from Canto III/1 was selected and vastly enlarged to represent Homer. The epic range of his poetry (known to Dante only by repute) is indicated by various improvised scenes of a pastoral, military, nautical or Elysian character, including some obvious references to the Iliad (e. g. the Trojan Horse which is referred to in Canto XXX) and the Odyssey (e. g. the boat of Ulysses which plays such an important part in Canto XXVII). The colour chosen (in the original version) as a screened overprinting of the black and white etching echoes the red found on the pottery of Ancient Greece which so often depicts Homeric scenes. The stylised mask of Homer reappears in Canto XXVI/2 broken into pieces. As in the picture of Virgil in his Study (Canto II/1), and for the same reason, we see only one half of the sun. -- Source of annotation: Marvin or Ruth Sackner.

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IV/4 This image equates the allegorical leopard of Canto I, the first of the three beasts, with CARO (cf. Canto 1/2) and with the vices of the flesh, and serves to announce the beginning of the first section of Hell proper which is devoted to the sins of luxury. The 'high hopes' that Dante entertained once of the life of pleasure are indicated by an echo of the sun-cloaked hill. The leopard is once again referred to only by his coat so reminding the reader that the first section of Hell is reserved for the superficial sins of appetite and self-indulgence. The other major sections of Inferno are also prefaced by images of the appropriate animals; the sins of the lion (Canto XXVII) and the sins of the wolf (Cantos XVIII and XXXIV). -- Source of annotation: Marvin or Ruth Sackner.