Scope and Contents

An American dollar is partially drawn in the shape of the island of Cuba. It is printed in green ink by Scott Smith. Avida means greedy or covetous. The two loose sheets are Rubio's statement about her art works. -- Source of annotation: Marvin or Ruth Sackner.

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The print depicts a combination of red and black typewriter ribbons unspooled from two spools. -- Source of annotation: Marvin or Ruth Sackner.

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The main image of the print is a baseball player bent backward as if trying to avoid a a pitched ball. On the baseball bat that he holds, Atkinson has placed the label, "Theory" and on one leg of his uniform pants, "Imagine." In the lower, left corner, the word "Economics" is written. The main image is bordered by an embroidered doily image. -- Source of annotation: Marvin or Ruth Sackner.

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The image is a photocollage by Heartfield depicted the Nazi Swatstika formed by four axes. The caption quotes Catherine Millet, editor of Art Press Paris, who was highly critical of Finlay's work for the city of Paris, "I saw a work, I saw Nazi signs carved on it, basta..." -- Source of annotation: Marvin or Ruth Sackner.

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The text is printed in black stenciled letters like a page but without punctuation. The language creates a visual image of the detrius of war. -- Source of annotation: Marvin or Ruth Sackner.

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The poem, on folded white paper shaped like an arrow, contains the message printed in red, "Beat the Reds with the White Wedge: Correspond!" This slogan has been modified from El Lissitzky's revolutionary poster, "Beat the Whites with the Red Wedge." It refers to an appeal to write in his support regarding his contemporaneous tax dispute. It does not appear to be referenced in the Finlay bibliographies. -- Source of annotation: Marvin or Ruth Sackner.

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This is a reproduction of a poster by Lissitzky from the Sackner Archive lent to the Jewish Museum for the exhibition, "Russian Jewish Artists in a Century of Change 1890-1990." -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents An exact replica of the image of this poster held by the Sackner Archive can be found in "Die Grosse Utopie: Die Russische Avantgarde 1915-1932" Schirn Kunsthalle, Frankfurt, illustration number 124, documented on page 735, stating the poster is held by the Lenin-Bibliothek, Moscow. According to the citation in Ars Libri Catalogue 84, 1991, pp 33-34, the Lenin Library copy measures 53 x 70 cm. The Ars Libri offering measures 51 x 62 cm and Ars Libri believes that their copy might be considered a second state of the original lithograph. The Sackner copy measures 48 x 66 cm in paper size and 47 x 56 cm in image size. Neither of the citations on measurements indicate whether paper or image size are being reported. Finally, Stuart Wrede in the book "The Modern Poster," provides a black and white reproduction of the print (Figure 17, page 25) that he attributes as a facsimile measuring 49.5 x 71 cm in the Museum of Modern Art Library, NYC. However, communication with the library...

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This catalogue consists mostly of profiles in black or white of contemporary poltical figures that are the same as in Jaschke's book "Musterkoffer" a work that is held by the Sackner Archive. It is also designated Freibord-Sonderdruck No.21. -- Source of annotation: Marvin or Ruth Sackner.

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The text on the sculpture that reads "Machine Guns Against Jeans And Sneakers" is set vertically to suggest Chinese language. The theme deals with the peaceful student and worker uprising against the Chinese Communist government in Tennamon square, Beijing which was militarily suppressed. The image of this work is reproduced in C'est mon dada No.14, 2007. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This is a photograph of the sculpture held by the Sackner Archive. The text reads "machine guns against jeans and sneakers." It is carved into the stone which is positioned vertically like Chinese text as a reference to Tennimen Square. -- Source of annotation: Marvin or Ruth Sackner.

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The text is based upon Maurice Blanchot's "The Writing of the Disaster." the Sackner Archive also holds another copy of slightly larger dimensions that has photocopied pages. -- Source of annotation: Marvin or Ruth Sackner.

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The text is based upon Maurice Blanchot's "The Writing of the Disaster." The Sackner Archive also holds two smaller printed versions in offset with color reproductions of this book. -- Source of annotation: Marvin or Ruth Sackner.

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This depicts an armored tank among Silver Birch trees. It contrasts with the first version in that the first had tree leaves immeshed in the netting over the tank. -- Source of annotation: Marvin or Ruth Sackner.

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Betula Pendula refers to Silver Birch. The image of this drawing is the outline of an armored tank camouflaged by netting covered with tree leaves. -- Source of annotation: Marvin or Ruth Sackner.