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This is the program for the opera based upon Joseph Conrad's novel "Heart of Darkness. Phillips write the libretto and O'Regan composed the music. -- Source of annotation: Marvin or Ruth Sackner.

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Review of Dante's Canto V produced by Tom Phillips and Peter Greenaway for television. -- Source of annotation: Marvin or Ruth Sackner.

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The memorial, designed by the artist Tom Phillips, is in the Abbey's south cloister. It takes the form of an integral metal plaque inscribed with the words: Remember the men and women of the Armed and Auxiliary Forces who have lost their lives in times and places of conflict since the Second World War. the Sackner Archive contains a metal plaque of a similar style by Phillips with lines of poetry from A Humument. -- Source of annotation: Marvin or Ruth Sackner.

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This painting is reproduced on page 18 of the book "Art and Text" (2009), a book held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

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The image of this card includes "A Humument" imagery. The poem reads "only staring at portions of the park." -- Source of annotation: Marvin or Ruth Sackner.

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The image of this card includes "A Humument" imagery. The poem reads "only staring at portions of the park." -- Source of annotation: Marvin or Ruth Sackner.

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This is the manuscript of a talk on Tom Phillips' "A Humument" delivered by Schwenger before The Modern Language Association in a session that dealt with "Peritext" - all that surrounds a text. -- Source of annotation: Marvin or Ruth Sackner.

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Lucy O'Brien interviews Phillips and Eno from the time that Tom taught Eno at Ipswich Aart School in 1964 through their artistic and musical relationship of the current times. -- Source of annotation: Marvin or Ruth Sackner.

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The exhibition was curated by Daniel Traister who contributed a critical essay. Marvin Sackner wrote the preface, "Humumentism": The Works and Ideas of Tom Phillips. Sackner coined a word, "Humumentism" to signify the art form of Tom Phillips, one that intregrates humanistic activities through individual creative thought that falls outside the current popular conception of artistic presentations. -- Source of annotation: Marvin or Ruth Sackner.

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The exhibition was curated by Daniel Traister who contributed a critical essay. Marvin Sackner wrote the preface, "Humumentism": The Works and Ideas of Tom Phillips. Sackner coined a word, "Humumentism" to signify the art form of Tom Phillips, one that intregrates humanistic activities through individual creative thought that falls outside the current popular conception of artistic presentations. The works to the exhibition were lent by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

The exhibition was curated by Daniel Traister who contributed a critical essay. Marvin Sackner wrote the preface, "Humumentism": The Works and Ideas of Tom Phillips. Sackner coined a word, "Humumentism" to signify the art form of Tom Phillips, one that intregrates humanistic activities through individual creative thought that falls outside the current popular conception of artistic presentations. This is a varient copy with a yellow rather than red border on the cover. The works to the exhibition were lent by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

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The exhibition was curated by Daniel Traister who contributed a critical essay. Marvin Sackner wrote the preface, "Humumentism": The Works and Ideas of Tom Phillips. Sackner coined a word, "Humumentism" to signify the art form of Tom Phillips, one that intregrates humanistic activities through individual creative thought that falls outside the current popular conception of artistic presentations. This is a varient copy with a yellow rather than red border on the cover. The Sackner Archive lent Phillips' works to this exhibition. -- Source of annotation: Marvin or Ruth Sackner.

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The print reads:" One man in the dusk is so much like another." - angel, it was Bill - instantly, "Instantly!" the shortest. - it is large saving yourself the delicacy - open the suction miss Gott! - Have no scruple in using me on you; no one depends on your tools, and begin about it. Bobby you pesth - "Irma! Irma!" under his breath, - let him die doctor in another sofa. - we got an intellectual silenced - then, never God! pain wince." -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents Bernard Moxham has contributed an essay on the historical background of James Joyce's creation of "Ulysses" and several other critical interpretations of this masterful book. Tom PHillips writes an essay on his creating images for Joyce's "Ulysses." He writes "Joyce of course knew and revered Dante as Dante knew and revered Virgil, and Virgil Homer...my life and my work and my enthusiasms made some sort of unified field whose preoccupations, initially isolated, found by gravity a mutual attraction. This of course is what happens in the evoked worlds of Dante's Florence, Cicero's Rome and Joyce's Dublin where are met the people who make sense of life, and through their grand imperfections make life rich."The 18 illustrations by Phillips relate to the 18 chapters of "Ulysses .Each one is bordered and relates to the size adn shpe of th eiPad that phillips s=usses as aformof his work."The pages of new images by Tom Phillips and references on the facing page by excerpts by Joyce,...

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The print depicts deconstructed images all involving women. The texts read from image on left to right and top to bottom, "(1) a course in Sussex; (2) a photograph of a curious muse; (3) constant to the subject - the subject extended - he talked and his range came - pursuing the subject; (4) fair sex in various capitals - the politics show; (5) came across a picture of flesh; and circles - The Art revelation; (6) her, smiling her last. - they were Europe." -- Source of annotation: Marvin or Ruth Sackner.

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This is an enlarged Humument page that begins, "A Humument his pen nights his way to bells..." -- Source of annotation: Marvin or Ruth Sackner.

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This consists of unsigned, unnumbered duplicates. -- Source of annotation: Marvin or Ruth Sackner.

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The accompanying portfolio itself was destroyed by water damage. The images of the prints are well preserved but the edges of some show minor blue discoloration that could be concealed if the prints were to be framed. The drawing is of a single 'head.' -- Source of annotation: Marvin or Ruth Sackner.