Scope and Contents

Most of the works to this exhibition were loaned from the Sackner Archive but artists such as John Furnival and Margaret Riggs also loaned their works. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents Underground In contemporary society this is a wider concept applied to social stratification. It usually refers to groups less educated and less classified than the civil majority and their mainstream establishments, which function 'beneath' or independently of the latter. Related words include 'parallel or alternative societies/layers', 'second publicity', 'resistance', 'opposition', 'subculture', etc. Henceforth I shall mostly refer to the artistic underground, which I understand, on the one hand, as artistic community which is excluded from art organizations and the art business and hence is often relegated to social insecurity, and, on the other, as the artistically interested layers of intellectuals, students or sympathizers In special cases (such as in an era of political repression) professional artists may also belong to the artistic underground. Another frequent occurrence has been that representatives of the art establishment freely choose to move towards the underground,...

Scope and Contents

The catalogue was written and the exhibition curated by Marvin Sackner. The viewing took place over a five day period at the Annual Meeting of the American Thoracic Society/American Lung Association in Miami Beach. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents The Foreword was written by Renee Reise Hubert & Judd D. Hubert. Amazon.com commented: "This important history of the artist's book, a flourishing form which over the years has often been greeted with confusion by critics, collectors, historians, and artists, aims to spell out its role in contemporary art and to claim for it a vital and heretofore unacknowledged status since the blossoming of the artform in the 70s. Renowned scholar and curator Betty Bright takes an inclusive view of the varied field in order to redress its marginalization, identifying three distinct types: the fine press book, the deluxe book, and the bookwork. She covers crucial supporters of the form, like New York's Center for Book Arts, Franklin Furnace, and the Visual Studies Workshop Press in Rochester, New York, as well as key organizations and figures in Chicago, Atlanta, San Francisco, and Los Angeles. Bright examines how artist's books have responded to specific movements, such as Pop, Fluxus, and...

Scope and Contents

Nazerenko contibutes a lengthy introductory essay on the history of concrete and visual poetry with emphasis on Ukrainian poets entitled "Calligraphic Scratches, Squiggles and Shaped Texts: The Evolution of Ukrainian Visual Literature." A great deal of research for this book was carried out in the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

Todorovic presents a history of signalism, examples, philosophy, scholarly papers about signalism, and manifestos. His text is in English. This book also includes texts in English about the Signalist movement by other writers. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

Janecek provides a critical analysis of Russian Avant Garde literature and translations of some of key pages. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

Bayard dedicated the book, which developed from her doctoral thesis, to Ruth and Marvin Sackner. In the acknowledgments she states, "I would like to express my gratitude ...especially to Marvin Sackner for generously granting me unlimited access to his marvellous collection of concrete and post-modern artefacts. Without such direct, visual, and hands-on contact with concrete and deconstructed items, I would have known them only abstractly."Bayard's book is heavily oriented to criticism and theory of concrete poetry with particular attention to the work of bp Nichol. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

The first 235 pages consist of an illustrated essay by Marvin Sackner dealing with forming the collection. The remaining pages consist of a listing of holdings in the Sackner Archive. Tom Phillips designed the cover. -- Source of annotation: Marvin or Ruth Sackner.