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This is an English translation of an article in the periodical, Berenice that compares Sackner to Jacques Doucet, a Parisian couturier who established a great collection of the avant garde of the early twentieth century. -- Source of annotation: Marvin or Ruth Sackner.

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Phillips analyzes two paintings of Johannes Vermeer as part of his series on music in art through the ages. -- Source of annotation: Marvin or Ruth Sackner.

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Published on the occasion of an exhibition with the same title held at the Royal Academy of Arts in London. Phillips, the curator of this exhibition, contributed an introductory essay. -- Source of annotation: Marvin or Ruth Sackner.

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This is an audio overview of the exhibition. -- Source of annotation: Marvin or Ruth Sackner.

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This issue is dedicated to the exhibition and its catalogue, "Africa: The Art of a Continent" that was curated by Tom Phillips and shown at the Royal Academy of Arts in London with subsequent venues in Berlin and the Guggenheim Museum in NYC. The Sackners attended both the Royal Academy and Guggenheim shows. -- Source of annotation: Marvin or Ruth Sackner.

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Article entitled "Art and Artifice" describes Phillips' new studio in Camberwell designed by Eric Parry Associates. -- Source of annotation: Marvin or Ruth Sackner.

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This exhibition "Africa: The Art of a Continent" at the Guggenheim Museum was curated by Tom Phillips and was a much smaller version of the show initiated at the Royal Academy in London. The Archive holds the RA catalog. The Sackners attended both the London and New York exhibitions. -- Source of annotation: Marvin or Ruth Sackner.

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In his introductory essay, Robert Hall writes, "Tom Phillips' first one-man show with Angela Flowers was an instant hit that has led to an astonishing, abundant variety of erudite and imaginative creation, not only of figurative paintings and treated books, but (among others) tapestries, calligraphy and manuscripts, of which 'Palimpsest' (1987), worked over in 2004) is an intriguing and beautiful example." -- Source of annotation: Marvin or Ruth Sackner.

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This issue includes an essay on book collecting and dealing in Russia. -- Source of annotation: Marvin or Ruth Sackner.

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Article (pp 35-63) titled "Art and Artifice describes Phillips' new studio in Camberwell, London, designed by Eric Parry Associates. -- Source of annotation: Marvin or Ruth Sackner.

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Out of Africa, by Steven Vincent reviews the exhibition curated by Tom Phillips "Africa: Art of a Continent" opening at the Guggenheim Museum. The show which was principally curated for the Royal Academy in London presents the Africa continent's "objects...as works of art equal in aesthetic quality to Western artwork." The Sackner Archive holds the elegant, well illustrated catalog for this exhibition. -- Source of annotation: Marvin or Ruth Sackner.

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The cover is a reproduction of one of Tom Phillips' "Conjectured Pictures from the Mappin Art Gallery." An article entitled "Tom Phillips: Or, Empiricism through an English Painter's Eyes" by R.C.Kenedy reviews his works including "A Humument." -- Source of annotation: Marvin or Ruth Sackner.

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The cover is a reproduction of Tom Phillips' "Dante in His Study." Pat Gilmour reviews Phillips' exhibition at Marlborough Fine Arts. -- Source of annotation: Marvin or Ruth Sackner.

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Kevin Powers reviews the trade edition of "A Humument" by Tom Phillips and reproduces page 190. -- Source of annotation: Marvin or Ruth Sackner.

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Cover is reproduction of page 191 from "A Humument" by Tom Phillips. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents Tom Phillips has created a discourse based on seventeenth and eighteenth century masterpieces in the collection at the Dulwich Picture Gallery. Desmond Shawe-Taylor writes that Phillips is "the ideal creative commentator, an artist of bewildering range and imagination and a writer of elegance and insight. His text is full of surprises; or as he puts it 'chance and risk are at the heart of the artistic enterprise.' He opens up the experience of art, exploring the overlap between creating and responding. the clarity of the writing masks the complexity of the issues. Tom Phillips's questioning leads in a daunting variety of directions, but this is an essential journey of discovery for those who believe in life beyond the label."The alphabetical structure of the book, where each letter of the alphabet is drawn with poetry from "A Humument," involves the topics of Abstraction, Beauty, Conservation, Detail, Education, Frame, Grammar etc. as related to specific paintings in the Dulwich....

Scope and Contents Tom Phillips has created a discourse based on seventeenth and eighteenth century masterpieces in the collection at the Dulwich Picture Gallery. Desmond Shawe-Taylor writes that Phillips is "the ideal creative commentator, an artist of bewildering range and imagination and a writer of elegance and insight. His text is full of surprises; or as he puts it 'chance and risk are at the heart of the artistic enterprise.' He opens up the experience of art, exploring the overlap between creating and responding. the clarity of the writing masks the complexity of the issues. Tom Phillips's questioning leads in a daunting variety of directions, but this is an essential journey of discovery for those who believe in life beyond the label."The alphabetical structure of the book, where each letter of the alphabet is drawn with poetry from "A Humument," involves the topics of Abstraction, Beauty, Conservation, Detail, Education, Frame, Grammar etc. as related to specific paintings in the Dulwich....

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This manuscript summarizes books and essays published by Kostelanetz over the years dealing with the subject of the title. He has dedicated the book to Ruth & Marvin Sackner. -- Source of annotation: Marvin or Ruth Sackner.

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Includes a brief text by Pella Erskine-Tulloch on the binding of the edition of 100 of Tom Phillips' "A Humument" published by the Tedrad Press between 1967-1973 held by the Sackner Archive. Also includes a text by Phillips about the edition. The pop-up title page was designed by Ron King. "Word Clock III" by John Christie that is held by the Sackner Archive is depicted in this book. -- Source of annotation: Marvin or Ruth Sackner.