Scope and Contents

This is the first volume in a series of three on the work of Roth. It is divided into four sections. The first consists of Laslo Glozer's essay " Leaving to Depart - Dieter Roth: the nomad in His Time" links the artist's life and art. Part two shows the progression of Roth's unique pieces from 1950 to 1998. In part three, curator Dirk Dobke focuses on Roth's friendship and collaboration with Phillip Buse and part four contains the catalogue of the Dieter Roth Foundation. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents The introduction of this catalogue was written by Gerard Xuriguera. Wikipedia: Gianni Bertini (1922-2010) From 1947, he produced abstract painting. In 1950 , he moved to Milan and made stain painings that were exhibited in October 1951 at the Galleria Numero in Florence which constituted the first examples of "nuclear art." Returning to Paris, he had his first solo exhibition (Arnaud Gallery) held in May 1952. From 1954 , he participated in the Salon de Mai. In 1957 , he was part of the "imaginary spaces" proposed by group Restany. He traveled extensively throughout Europe with solo exhibitions in Brussels , Copenhagen , Schiedam , Amsterdam. He moved to the United States where he worked with the Gres Gallery in Chicago. In 1961, he was invited to the Konsthall in Lund ( Sweden ) for a major retrospective which is then resumed at the Palais des Beaux-Arts in Brussels. It is close to the New Realism and 1962 exhibited at the Galerie J "real country." He uses photographic...

Scope and Contents

About one half of this book consists of essays by several contributors that deal with various aspects of Kassak's work and life. The second half depicts reproductions of Kassak's work with Hungarian and English titles. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

Pages 220-222 depict "Red Shift" (1967-1984) in which all the objects within a room are painted red except for the white walls and ceilings. This is reminiscent of Joel Hubaut's collages and poster monochromes (several held by the Sackner Archive). -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

The "Box Factory," a work held by the Sackner Archive which was lent to this exhibition, is depicted in the catalog. The exhibition was curated by Magdelena Dabrowski. -- Source of annotation: Marvin or Ruth Sackner.

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Anecdotes about Roth in this catalogue were provided by Ira Wool, Roth's major American collector. -- Source of annotation: Marvin or Ruth Sackner.

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This illustrated report on the Russian emigre poet, Konstantin K. Kuzminsky who serves as a mentor to young Russian American poets, describes the magazines Magazinnik and Koja. -- Source of annotation: Marvin or Ruth Sackner.

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The book edited by Claudia Salaris depicts Echaurren's oeuvre of paintings, ceramics, collage, book design, illustrations and stamp art. It features cartoon-like creatures. -- Source of annotation: Marvin or Ruth Sackner.

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This sumptious illustrated book depicts extensive examples of Dencker's visual poetry and artist books. In the introduction, Karl Young writes that Dencker's "unpublished archives may identify as many late 20th Century visual poets as any in the world. (The collection of Ruth and Marvin Sackner is the only probable contender for equal range.)" Also, designated publication PN1. The print accompanying this book was based upon a collage made in 1996. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This book deals with Hoffmeister's travel to Egypt. -- Source of annotation: Marvin or Ruth Sackner.

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This novel contains two distinct alternating biographies: the first is an allegorical story of W, a bizarre, mythical island civilization, symbolizing the Holocaust. It is printed in italics. The second text is Perec's memories of his childhood in Paris. Perec writes in his introduction that the two stories "are in fact inextricably bound up with each other, as though neither could exist on its own, as though it was only their coming together, the distant light they cast on each other, that could make apparent what is never quite said in one,never quite said in the other, but said only in their fragile overlapping." -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

Waldemar Cordeiro was the first poet/artist in Brazil to use computer art/text in his work. In bit international No.5/6 1969 (held by the Sackner Archive), it is mentioned that he was a participant in a program entitled, "computers and visual research" (1969). -- Source of annotation: Marvin or Ruth Sackner.

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The title of this book of non-fictional essays stems from Burciaga's parents pronunciation of the preamble to the American constitution while studying for citizenship, "We the People..." -- Source of annotation: Marvin or Ruth Sackner.

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This is a piece that was published in What No.2 1985 as an intoduction to works by Swede. curry makes the point that Swede is known as a Haiku poet as well as a writer of children's books. He comments in a letter to the Sackners that it was writtten blind & does not go well with the works of Swede that the editors selected. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This essay describes the work of the Nuyorican (New York/Puerto Rican) poet Pedro Pietri. -- Source of annotation: Marvin or Ruth Sackner.

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Edited by Allen De Loach. Photograph of Eric Mottram by Jennifer Cobbing. This book is one of the 1125 of a total print run of 3500 bound in cloth. Mottram minutely examines Burroughs' life and major works, stating in Chapter 1 that Burroughs is "...a radical satirist whose indignation and disgust reach through the crust of the power games of the world into the aggressive areas of the obscene....expos[ing] the -- Source of annotation: Marvin or Ruth Sackner.