Scope and Contents The use of written language has been one of the most defining developments in visual art of the twentieth century. 'Art and Text' is a unique and timely survey of this most contemporary and relevant artistic tool, tracing the relationship between language and art, from early experiments with pictorial poetry, Futurist typography and Cubist collage, through Conceptual practices to the present day...'Art and Text' documents and contextualises the fascinating relationship between word and image, showcasing the many artists who continue to use text and expand its possibilities. The book contains an forward and three essays. In the first essay, The Schwitters Legacy: Language and Art in the Early Twentieth Century by Will Hill, the author uses the reproduction of the painting "Here We Exemplyfy" by Tom Phillips which is held by the Sackner Archive. Hill writes that Larry Rivers, Jim Dine and Jasper Johns use of stencilled letters "prefigured the finely articulated dialogue between word...

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First published in 1975 by Out of London Press, this book is a "compilation of alternative forms in contemporary literature" and aims to collect the most propitious alternative worsk and to chart new directions in literature using the form of experimental essays. -- Source of annotation: Marvin or Ruth Sackner.

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Elizabeth Armstrong curated the exhibition and wrote the catalogue essays along with Sheila McGuire. Jennifer Bartlett's print Day and Night (1978), a work held by the Sackner Archive, is documented and reproduced. -- Source of annotation: Marvin or Ruth Sackner.

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This book tracks the interdisciplinary and international arts movement that began in the 1960's..."Fluxus is both an attitude towards art -making and culture that is not historically limited, and a specific historic group...This attitude is in part traceable to the network of interrelated ideas about culture, politics, and society explored earlier in the twentieth century by the Futurists, the Dadaists, and the Surrealists. Some of these same ideas were later explored after World War II by artists associated with groups such as Lettrism, International Situationism, Nouveau Realisme, and Fluxus itself." -- Source of annotation: Marvin or Ruth Sackner.

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This collection of Acconci's poems is edited by Craig Dworkin who contributed an introduction titled "Delay in Verse." He writes that reframing text from the New York Times and the New York City weather report respectively, Goldsmith's books 'Day' and 'The Weather' were written with complete lack of knowledge of Acconci's own newspaper and weather forecast poems from thirty-five years earlier, despite the striking and uncanny resemblance of those subsequent precedents. The books by Goldsmith are held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

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This catalogue traces the productions, exhibitions and publications of Ecart. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents Amazon.com: From the weekly shopping list to the Ten Commandments, our lives are shaped by lists. Whether dashed off as a quick reminder, or carefully constructed as an inventory, this humble form of documentation provides insight into its maker's personal habits and decision-making processes. This is especially true for artists, whose day-to-day acts of living and art-making overlap and inform each other. Artists' lists shed uncover a host of unbeknownst motivations, attitudes, and opinions about their work and the work of others. Lists presents almost seventy artifacts, including "to do" lists, membership lists, lists of paintings sold, lists of books to read, lists of appointments made and met, lists of supplies to get, lists of places to see, and lists of people who are "in."At times introspective, humorous, and resolute, but always revealing and engaging, Lists is a unique firsthand account of American cultural history that augments the personal biographies of some of the most...

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The Sackner Archive lent several pieces to this exhibition. -- Source of annotation: Marvin or Ruth Sackner.

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The curator of the exhibition, Kynaston McShine, writes that this exhibition "surveys the ways in which artists, mostly of hte present century, have addressed the museum, commented on its nature, confronted its concepts and functions, drawn from its methods, and examined its relationship to the art it contains...It illuminates the approaches taken by artists and discusses the aspects of the museum's life on which they have chosen to settle." The Sackners attended this exhibition. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents The historic introduction of Jacques Donguy deals with the experiences of concrete poetry since 1953 beginning with Gomringer and the de Campos brothers up to contemporary times. The anthology follows an international bibliography, constructing the first panorama of this art of textual, sound and visual experimentation. The origin of the Sackner Archive is described as follows: The Ruth and Marvin Sackner Archive of Concrete and Visual Poetry of Miami in the United States began in 1975, following their discovery of the work of Tom Phillips. They became interested at first in the Russian Avant Garde, then in 1979, they discovered the Anthology of Concrete Poetry of Emmett Williams. Departing from there, Marvin Sackner has not stopped acquiring books and works of poets included in this anthology. This archive has given a place for exhibitions and may be compared to the Jean Brown Archives, purchased in 1986 by the Getty, and to the Hans Sohm Archives, now in the Stuttgart Museum....

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This book consists of 29 essays of writings by the Avant Garde in America. Kostelanetz mentions "Seatbelt, Seatbelt" by Amirkhanian and notes that it never has been commercially recorded. He includes essays on the work of Michael Joseph Phillips and Harry Polkinhorn. Kostelanetz raves about the esthetics of Peter Rose's film, "Pressures of the Text (1983), a work held by the Sackner Archive. He writes a complementary essay on Kenneth Burke and illustrates it with a concrete poetic "flowerisches." -- Source of annotation: Marvin or Ruth Sackner.

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This book is a collection of essays that Kostelanetz had previously published. An exposition of Dan Graham's schema is published on pages 143-145. -- Source of annotation: Marvin or Ruth Sackner.

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The Sackners contributed three works in this exhibition to the Lowe Art Museum by Paul Berger, Gordon Matta-Clark and Luigi Veronesi. -- Source of annotation: Marvin or Ruth Sackner.

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Amazon.com: Wording the Silent Art collects Barbara Caruso's essays on the contemporary art scene, including controversial issues like the National Gallery's purchase of Barnett Newman's Voice of Fire and the recent transformation of public galleries from institutions of preservation to places of pop entertainment and the effect this has on art. She also writes with elegance and verve on the subject of her own painting, on painting practice, and on how to look at visual art. Her generous and wise advice to a young painter is worth the price of this book alone. Caruso's is a unitary, clear, communicating voice, and she brings to the reader a marvellous and accessible vision of the essential nature of art in our lives. -- Source of annotation: Marvin or Ruth Sackner.

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This exhibition was curated by Isabella Puliafito. It demonstrated the language in art, for the most part conceptual works, of the 1970's. -- Source of annotation: Marvin or Ruth Sackner.