Scope and Contents This card, folded with the shape of an arrow, marks the second anniversary of Strathclyde region's tax collectors on Finlay's Garden Temple. The caption printed boldly in red along an inner fold, reads, "Every Goal Negates. Ludwig Feuerbach." Wikipedia: Ludwig Andreas von Feuerbach (July 28, 1804 "“ September 13, 1872) was a German philosopher and anthropologist best known for his book The Essence of Christianity, which provided a critique of Christianity which strongly influenced generations of later thinkers, including both Karl Marx and Frederich Engels. Feuerbach was the fourth son of the eminent jurist Paul Johann Anselm Ritter von Feuerbach, brother of mathematician Karl Wilhelm Feuerbach and uncle of painter Anselm Feuerbach. An associate of Left Hegelian circles, Feuerbach advocated for liberalism, atheism and materialism. Many of his philosophical writings offered a critical analysis of religion. His thought was influential in the development of dialectical materialism,...

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The title translated to English: 'Things were even worse than this in Arcady.' -- Source of annotation: Marvin or Ruth Sackner.

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This is a preparatory study for a poster announcing the first festival at Ingatestone, England that was published by South Street Publications in 1969. -- Source of annotation: Marvin or Ruth Sackner.

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This is an intense political/anti-religious poem decrying extremists in the world that Chopin lists in the poem and characterized them by the statement, "IT IS FORBIDDEN to be the objects of imbeciles: catholicsprotestantsbuddhistmaoiststalinistsocialists...whohaveall agreed to destroy us." -- Source of annotation: Marvin or Ruth Sackner.

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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 collage consist of 9 images on a square grid. Except for the center image solely of a warning label on smoking, the other images consist of a label warning on the dangers of suffocation with plastic bags. Four of the latter have fragments of the face of a painted cartoon animal collaged to the labels, a metaphor for stupidity. The other four have a cellophane bag containing cigarettes that spell NOTI = Not I. The collage is one of a series of 8 Unrelated Pieces for the Sackner Archive. -- 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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Christian Barnard was the South African cardiac surgeon who performed the world's first successful heart transplant. -- 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.