Scope and Contents

This is one of a suite of 21 prints written by Massoudy of a poem by the Palestinian activist poet, Mahmoud Darwish. These prints accompanied the artistic renditions of the poem done by Rachid Koraichi. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This is one of a suite of 21 prints written by Massoudy of a poem by the Palestinian activist poet, Mahmoud Darwish. These prints accompanied the artistic renditions of the poem done by Rachid Koraichi. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents This is one of a suite of 21 prints done by Koraichi based upon fragments of a poem by the Palestinian activist poet, Mahmoud Darwish. Koraichi wrote the poems and drew signs, symbols and ideograms onto zinc plates that were then printed with black ink except for small sectors of the prints with red ink. Several of the prints were exhibited in "Global Conceptualism: Points of Origin, 1950s - 1980s, a show that the Sackners saw at Miami Art Museum in 2000. A critical essay by Abdul Kebir Khatibi in the book with the same title (also held by the Sackner Archive) describes this project. He states that the poetry undergoes two transformations: a second writing of writing by Koraichi that is joined by the monogram (pictogram) with its Chinese and/or Japanese look. The calligraphy, which is inspired by the Kufti style regains the geometry of imaginary, the articulation of its tracery, the association and dissociation of its designs, the rhythm and power of its lines. Calligraphy...

Scope and Contents This is one of a suite of 21 prints done by Koraichi based upon fragments of a poem by the Palestinian activist poet, Mahmoud Darwish. Koraichi wrote the poems and drew signs, symbols and ideograms onto zinc plates that were then printed with black ink except for small sectors of the prints with red ink. Several of the prints were exhibited in "Global Conceptualism: Points of Origin, 1950s - 1980s, a show that the Sackners saw at Miami Art Museum in 2000. A critical essay by Abdul Kebir Khatibi in the book with the same title (also held by the Sackner Archive) describes this project. He states that the poetry undergoes two transformations: a second writing of writing by Koraichi that is joined by the monogram (pictogram) with its Chinese and/or Japanese look. The calligraphy, which is inspired by the Kufti style regains the geometry of imaginary, the articulation of its tracery, the association and dissociation of its designs, the rhythm and power of its lines. Calligraphy...

Scope and Contents

This is one of a suite of 21 prints written by Massoudy of a poem by the Palestinian activist poet, Mahmoud Darwish. These prints accompanied the artistic renditions of the poem done by Rachid Koraichi. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

The poems in this book by Darwish are about the suffering of the Palestinian people. The calligraphic illustrations done by Koraichi were also displayed as prints in the Global Conceptualism exhibition (catalogue held by the Sackner Archive). The arabic calligraphy of the poems was rendered by Massoudy. The critical text was written by Khatibi. This is the first publication of the Abdul Hameed Shoman Foundation, documenting the works of artists from the Arab world. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This is one of a suite of 21 prints written by Massoudy of a poem by the Palestinian activist poet, Mahmoud Darwish. These prints accompanied the artistic renditions of the poem done by Rachid Koraichi. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

The dominant image is the capital letter "A" that is filled with calligraphic text, calligraphic markings and abstract markings. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

Sandra Jackman writes about her family cruise from Miami. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This drawing is a page from the scrapbook of John Furnival. It contains Lettrist statements, handwriting, abstract drawings and a cartoon-like figure speaking an unkown language in a bubble.The verso has other artifacts from the Furnival scrapbook. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This first proposal for an environmental work by Finlay was originally published in 1979 in an edition of five copies and here is reproduced as a section in Mr. Aislabie's Gardens. It is based upon a description by Jean-Jacques Rosseau (1712-1778). It consists of minimalist poems on plaques held by trees along with plans for a nature environment. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

The name Gertrude Jekyll who was a famous British gardener is inscribed in the drawing which relates to a quotation from Gertude Stein, the American expatriate writer. Since Stein in German means glass, these factors are interelated with the design. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

The card depicts a photograph made by Gloria Wilson of a wall with white painted, handwritten names of fishing boats. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

The title "a snow mouse " reads the same upside down. The other two reversals are "aw noh / you me." -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

The book extolls America with poems in several languages. These languages, Spanish, Arabic, Japanese, Russian, and Armenian, are calligraphed and printed on different colored backgrounds opposite an American seal which picks up the same color in one of its components. All the handwritten texts are also printed together on the fold-out page. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

The poem by Daive in this book is illustrated by Tapies. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This first page is dated with handpainted Roman numeral 26 Mar 1984. Phillips writes, "A year after our first proper meeting, Peter [Greenaway] and I are ready to start; as usual the waiting for finance causes most of the delay...It was only after I consulted my chronology notes I realized and remembered that Dante's journey actually begins on March 26th. Thus the auspices seemed good indeed." -- Source of annotation: Marvin or Ruth Sackner.