Abstract markings
Found in 1080 Collections and/or Records:
Dandelion Collaboration / Cobbing, Bob ; Upton, Lawrence., 2010
This is a reprint of the same work by housepress in 2003 that is held by the Sackner Archive, It was the last collaborative poetry that the two authors made, writing and rewriting using additive and destructive processes as well as photocopying techniques. -- Source of annotation: Marvin or Ruth Sackner.
Danna or Mimmer / Cobbing, Bob ; Upton, Lawrence., 1997
Danvonadow / Upton, Lawrence ; Cobbing, Bob., 1996
daramulan / Upton, Lawrence ; Cobbing, Bob., 1997
dark road poetry / Barclay, Paul., 1991
The theme of this poem is anti-Gulf war. -- Source of annotation: Marvin or Ruth Sackner.
Data MCCCCL / Guardi, Silvio., 1990
Francesco Gallo was the curator of this exhibition. -- Source of annotation: Marvin or Ruth Sackner.
Datum : 2000 / Date and Time / Artpool ; Bleus G ; Galantai G ; Papp T., 1999
The theme, time and date, is realized in faxes that were transmitted directly to the exhibition space. -- Source of annotation: Marvin or Ruth Sackner.
Davida: March 2, 1990 / Hirschman, Jack A.., 1990
Poem written in homage to the eighth anniversary of his son's death. -- Source of annotation: Marvin or Ruth Sackner.
Day Night, 1979
dbqp: goodbookpres #11: holefont. No.228/Mar / Nico Vassilakis., 2008
dbqp: Learning To Focus The Abstract Into The Specific. No.6/Sep / Geof Huth., 1987
Also designated dbqprescard #2. -- Source of annotation: Marvin or Ruth Sackner.
dbqp: [Untitled]. No.63/May / Mimi Holmes., 1989
De Ciutat De Mallorca A Zaragoza / Pinya, Jaume., 1979
Deaf Eyes Logic / Cobbing, Bob ; Upton, Lawrence., 1996
Delivre II / Barron, Susan., 1988
This print was reproduced from a unique collage commissioned by the Sackner Archive; a caption at the bottom of the print makes mention of this. -- Source of annotation: Marvin or Ruth Sackner.
Delivre II Printers Sample, 1988
Print was reproduced from a unique collage commissioned by the Sackner Archive. Barron writes specific instructions to the printers on both margins of the proof. This is the second proof run by the printers. -- Source of annotation: Marvin or Ruth Sackner.
Destruction in Art Symposium Panel 2 [d.i.a.s. (2)] / Cobbing, Bob., 1966
Cobbing called the photocopied print process, "monoduplicator prints." This work and others by Cobbing was exhibited in the Destruction In Art Symposium organized by Gustav Metzger and held in Prince Albert Hall in London in 1966. The event was a precursor to the art movement of Situationism. This work was composed by crumpling unrecognizable images and printing them in black and white on a monoduplicator device as a single copy. These prints were then collaged onto a raised block of masonite then fixed as a grid onto a painted black panel. -- Source of annotation: Marvin or Ruth Sackner.
Destruction in Art Symposium Panel 3 [d.i.a.s. (3)] / Cobbing, Bob., 1966
Cobbing called the photocopied print process, "monoduplicator prints." This work and others by Cobbing was exhibited in the Destruction In Art Symposium organized by Gustav Metzger and held in Prince Albert Hall in London in 1966. The event was a precursor to the art movement of Situationism. This work was composed by crumpling unrecognizable images and printing them in black and white on a monoduplicator device as a single copy. These prints were then collaged onto a raised block of masonite then fixed as a grid onto a painted black panel. -- Source of annotation: Marvin or Ruth Sackner.
Deutscher Gedankenwald / Kuhn, Christine., 1992
DiaLugen, 1992
Although the edition size is nine copies, every drawing in each of the copies is unique. -- Source of annotation: Marvin or Ruth Sackner.