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Typewriter art

 Subject
Subject Source: Sackner Database

Found in 131 Collections and/or Records:

[?], 2013

 Item — Box 319: [Barcode: 31858072490786]
Identifier: CC-58097-10001346
Scope and Contents

This work is depicted on page 83 of Azcarate's catalogue "Liminal." -- Source of annotation: Marvin or Ruth Sackner.

Dates: 2013

A Bouquet for Bill [Segal], 1994

 Item — Box 615: [Barcode: 31858073143871]
Identifier: CC-02809-2852
Scope and Contents

First draft of poem written on the occasion of Smith's friend, Bill Segal's 90th birthday. Segal is married to Marielle Buscon, the book artist. -- Source of annotation: Marvin or Ruth Sackner.

Dates: 1994

A Bouquet for Bill [Segal] [copy], 1994

 Item — Box 615: [Barcode: 31858073143871]
Identifier: CC-02810-2853
Scope and Contents

Final version of poem; the first draft is held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

Dates: 1994

A Kite for & and Many %: 1990, 1990

 Item — Box Artist Boxed Materials/Oversized: Chopin, Henri: [Barcode: 31858072491297]
Identifier: CC-35076-36804

A Void, 2013

 Item
Identifier: CC-59802-10002857
Scope and Contents

Stored in Chopin box. Amazon.com: Since the 1960s, conceptual artists Henri Chopin (Pairs-London), Guy de Cointet (Paris-Los Angeles) and Channa Horwitz (Los Angeles) have dedicated themselves to analyzing system deducing the rules and consolidating them into visible structures. This book accompanied the parallel where drawings by these three respected artists generate new meaning as the aesthetic-visual translation of early post-structuralist thought. A Void, taken from George Perec's experimental novel, which famously did not include the letter 'e' as a nod to language epistemological constraints. Riffing on this idea, the artists' works seem clearly embroiled in such systems of meaning-making. Horwitz's on the boundary of symbol and performance, while Chopin explored the line between chaos and order. de Cointet left behind an oeuvre characterized by codes and puzzles for future generations. -- Source of annotation: Marvin or Ruth Sackner.

Dates: 2013

[Aerial View Building] (260569), 1969

 Item — Folder 54: [Barcode: 31858072537883]
Identifier: CC-08875-9050
Scope and Contents

This complex, dense, aerial view of buildings was achieved by typing only slashes and minus signs. -- Source of annotation: Marvin or Ruth Sackner.

Dates: 1969

Black Strokes White Spaces, 1984

 Item
Identifier: CC-56304-56893
Scope and Contents

This is the 'deluxe edition' of the book with a recycled hard cover. -- Source of annotation: Marvin or Ruth Sackner.

Dates: 1984

Breath, 2002

 Item
Identifier: CC-40507-42479
Scope and Contents

The work was typed with an IBM electric wheelwriter, typewriter onto Japanese paper. The letters have no litertal meaning. -- Source of annotation: Marvin or Ruth Sackner.

Dates: 2002

Card to Ruth & Marvin [Sackner] (21 SEPT.93), 1993

 Item — Box 316: [Barcode: 31858072490810]
Identifier: CC-59064-10002207
Scope and Contents

Andre has typed seven lines of periods in an off center strip. This card is missing from Andre box-AK. -- Source of annotation: Marvin or Ruth Sackner.

Dates: 1993

Card to Ruth & Marvin [Sackner] (23 OCT.93), 1993

 Item — Box 316: [Barcode: 31858072490810]
Identifier: CC-59066-10002208
Scope and Contents

Andre writes about his exhibition at Paula Cooper's Gallery that he is "very happy that the show will travel to Europe. My audience is so much larger & more responsive there. You must feel about as lonely in America as I do." He also discusses his recent surgery and dreaws of stone crab claws. -- Source of annotation: Marvin or Ruth Sackner.

Dates: 1993