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This catalogue includes a b&w reproduction of Phillips "Benches"; a poster of this image and the Archive of it is held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

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This was the exhibition in which the Sackners first encountered the artworks of Tom Phillips. Unfortunately, this catalogue is not illustrated with images of his work - only descriptions in German that included 114 works from 1962-1975. All the pages of A Humument (1966-1973) were displayed between two panes of glass amounting to 367 drawings. -- Source of annotation: Marvin or Ruth Sackner.

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This catalogur includes a b&w reproduction of a Humument Cartoon, a print in 75 copies; a copy of this print is held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

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The catalogue essay by John Pull examines Phillips exploration of Mallock's text and of his own London neighborhood in relationship to his translation and illustration of Dante's Inferno. Pull designed the cover by printing seven permutations of Tom Phillips' name, e.g., Slim Philpot, Tim Pillshop, etc. -- Source of annotation: Marvin or Ruth Sackner.

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The Sackner Archive lent six works to this exhibition which was acknowledged in the pamphlet. -- Source of annotation: Marvin or Ruth Sackner.

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The flash memory card provides Tom Phillips' reading of A Humument pages along with depiction of the page he is reading from. The Humument print of this record reads, time transparent, - now the arts connect. -- Source of annotation: Marvin or Ruth Sackner.

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Review of the Center for Book Arts exhibition from which the Sackners purchased "Miami Beach: More Than a Million Poems." The original pages of "The Heart of a Humument," held by the Sackner Archive were also on view. -- Source of annotation: Marvin or Ruth Sackner.

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Roberta Smith reviews Tom Phillips' exhibition at Flowers Gallery NYC on June 3, 2005. She was particularly taken with the new collage works that "are the stongest in the show." She adds that "They are made with tiny chips of paper cut from comic books and laid on with dense almost scalelike surfaces... The surprise is that anything new can be done with collage or comics. The reward aside from visual pleasure, is confirmation that anything is possible." -- Source of annotation: Marvin or Ruth Sackner.

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This is a review of Tom Phillips lecture and exhibition of A Humument at the Van Pelt Library. The Humument pages were lent by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

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Richard Minsky nound this book. -- Source of annotation: Marvin or Ruth Sackner.

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Phillips recounts the creation of Humument and of Trailer in his preface. Trailer was made from the reminders of a second copy of "A Human Document" that Phillips had purchased to paint Humument fragments. Most of the images in Trailer consist of Humument texts and abstract line drawings. -- Source of annotation: Marvin or Ruth Sackner.

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Phillips alludes to Henri Chopin in this Humument fragment as Mousieur H. It was reproduced in a catalogue as one of a series of tributes to Chopin in an exhibition of Chopin's works at Queensland Galllery, Brisbane, Australia, 1992. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents Tom Phillips in his book "Works and Texts" (1992) comments on this work as follows. "Borrowing his [Owen Jones] format, I have made an assemblage of the various pieces of ornamental paper that litter these streets [Camberwell] in 1976 and have tried to treat them with the care that would have been their automatic right were they the sweet-wrappers of Babylon or the fancy paper-bags of Troy. These various unconsidered triffles are presented in their natural sizes and surrounded by a decorative border which is the much enlarged back of a humdrum playing card: although one of the cheapest kinds of plasticated cards, the deliberate intricacy is still delicate and well-drawn on this scale. This print constitutes one of six prints from walking around 1/2 mile around Phillips studio - it is based on the belief that there are no dull walks, only dull walkers. As Phillips'career progressed, he turned to "Ornament" as one of his paralell styles of art. -- Source of annotation: Marvin or Ruth...

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Cover depicts "Artchive" painting by Tom Phillips, which is held by Sackner Archive. Introdutory essay by Clive Phillpot. Exhibition curated by Michael Prebble. -- Source of annotation: Marvin or Ruth Sackner.

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This essay concludes Phillips' fifty-part series on music in art through the ages. The essays are published in "Music and Art" by Prestel in 1997. The article also depicts two Humument pages, the originals of which are held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

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The poem reads, "a nine muse world beyond the portico of legends - beyond the library - rest n a rock - beyond the music of a blossoming horse." The border of the page consists of rows of colored book spines. -- Source of annotation: Marvin or Ruth Sackner.

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The poem reads, "A son like myself - of a Greek engineer - only the word pictures the word - plied words slipped - into his heart like surprise and pleasure. The background depicts colored wave-like forms. -- Source of annotation: Marvin or Ruth Sackner. Housed with "Ulysses [raises]". Identifying label calls the piece "a sun like myself." Added: CEND.

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The poem reads, "244 raises. How do I know that? By a very simple test - I know it by its fruits. And what may its fruits be? They are the glittering beings. - art of departure over the pages and waves - So back to to his ocean - to the helm to the rising and falling, turning and returning, appointed courses, of man." A stylized, line drawing of a man is present in the background. -- Source of annotation: Marvin or Ruth Sackner. Housed with "Ulysses [a son like myself" Added: CEND.