Scope and Contents

Rosenblatt has composed a series of zany obsessively detailed, pen and ink drawings reminiscent of the style employed by Mark Stamaty in "Who Needs Donuts?" -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This appears to be Hubaut's take on Bern Porter's "The Last Acts Of Saint Fuck You." -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This appears to be Hubaut's take on Bern Porter's "The Last Acts Of Saint Fuck You." -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

The loose sheet indicates that this is an editorial copy sent for book review. The title of the book is printed on the dust jacket and is not in the other copy held by the Sackner Archive. The imagery between the two dust jackets differs greatly. The images on most of the pages are composed with different typefaces and sizes clipped from magazine and newspaper articles. On some of the pages, found visual images are integrated into the poems. Finally some pages have solely Pop Art images. "Spare Parts" was an advanced poetic book for its time. Papachrysantou was the printer. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

The title of the book is not printed on the dust jacket as is the other copy held by the Sackner Archive. The imagery between the two dust jackets differs greatly. The images on most of the pages consist of poems composed with different typefaces and that appear to have been clipped from magazine and newspaper articles. In some of these poems, appropriated images have also been integrated into the poems. Finally, some pages have solely Pop Art images. "Spare Parts" was an advanced poetic book for its time. Papachrysantou was the printer. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

According to the Stokes' WEB site: "A visual narrative is built up in sequence through the devise of car windscreen wipers, which when wiping enable the viewer to see the road and the developing events in the book ahead. However not well enough to avoid a collision with a motorcyclist. On collision, everything turns upside down and leads to a new sense of time and space floating loose." -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

The printer/designer describes the history of her press with innovative typography and overlaying images. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

Each page is made up of the word(s) "sweetheart" in the form of different arrangements on the page or in a deconstructed format. A kinetic effect is obtained by flipping the pages. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

Each page is made up of the word(s) "sweetheart" in the form of different arrangements on the page or in a deconstructed format. A kinetic effect is obtained by flipping the pages. This is a repint copy of the book. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

Each page is made up of the word(s) "sweetheart" in the form of different arrangements on the page or in a deconstructed format. A kinetic effect is obtained by flipping the pages. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

Comic rendition of procreation and child rearing. The book is shaped like a two dimensional baby bottle. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This book reflects the "multimedia art project that uses high technology and lowbrow kitsch; it encourages will-intentioned dialogue between different ethnic groups and razas as well as exposes some of the trashiest jokes and ethnic slurs found on mid-America's minds." The performances documented in this book deal with the low esteem that Americans place on the the role of Mexicans in American society. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This book follows the format of "A Postcard Century" by Phillips of cards recording the twentieth century in the English speaking world. The Sackner Archive holds a copy of that publication as well as the maquette. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This book was conceived by Gordon through linkages in definitions of various words according to Merriam-Webster's Third New International Dictionary of the English Language Unabridged. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This book was conceived by Gordon through linkages in definitions of various words according to Merriam-Webster's Third New International Dictionary of the English Language Unabridged. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents This book accompamied the exhibition of the same title, "one of the largest retrospectives to date of this pioneering German artist (b. 1939 Fulda, where he lives and works), whose work straddles Minimalist sculpture, Conceptual Art, abstract painting and Performance Art. Taking its title from a line in one of the artist's own drawings, and emphasising the participation and process at the heart of his practice, the exhibition at WIELS brings together key pieces from the late 1950s and early 1960s, the artist's seminal First Work Set made from 1963 to 1969, as well as hundreds of sculptural elements, drawings and photographs that span the length of Walther's more than half-century long career." "Walther first developed his sewn, padded, pleated and pocketed fabric objects while in art school in the early 1960s. It was then that he conceived of an art inseparable from the actions that can activate it and the participatory activities it provokes. He hardly had a name for what he was...