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The works in this exhibition were clothing labels, from a varied group of manufacturers, sewn together as a wall work . These were accompanied by calligraphic drawings that interpreted the visual labels in text. The drawing accompanied this deluxe edition is entitled "all duty." The Sackner Archive is cited as containing the works of Berty Skuber. -- Source of annotation: Marvin or Ruth Sackner.

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Tom Phillips describes what he learns from the paintings at the RA Exhibition "Cezanne: The Early Years." -- Source of annotation: Marvin or Ruth Sackner.

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This exhibition of silkscreen, cloth multiples published by Francisco Conz was curated by Wayne Baerwaldt. It demonstrated several Fluxus conceptions: sharing ideas between artists, a publisher and the public; capturing the ephemeral in Fluxus productions; exposing the ideas of original works which would otherwise remain hidden in private collections. The silkscreen print editions on cloth offer the viewer the opportunity to investigate the contentious nature of Fluxus oriented art. "The editions of large-scale drawings, texts, musical scores, collages, and appropriated images are retouched, or redrawn directly on the silk-screens by the artists, reinforcing what we already know about intermedia, the myriad combinations of literary prose and/or concrete poetry; music and/or sound; theatre and/or performance." The Sackner Archive holds several cloth works by fluxus artists, Lettrists, and concrete poets published by Conz. -- Source of annotation: Marvin or Ruth Sackner.

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Includes reproduction of self portrait of Burciago on page 142 expressed in calligraphic text, a work held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

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The compact disc includes Hausmann's readings of 1) RLQS, 2) Phonemes, 3) Interview avec les Lettristes, and 4) Sound-Reel. The original score of the latter is held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

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Consists of critical essays with photographic reproductions of several poems. -- Source of annotation: Marvin or Ruth Sackner.

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The works in the Monument a la Television series are similar to the Chernobyl sculpture in the Sackner Archive. This work was supposed to be included in the exhibition but was deemed too fragile to travel. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents In the Diary series, Sterne is quoted, "Maybe I am saying something which is a truism, but I feel that my work all along was like a dairy." The artist "effortlessly weaves paraphases of quotes by poets, novelists, philosphers, and theologians throughout her conversations, enjoying their ability to communicate a polyphony of diverse yet interrelated ideas. She has noted, 'all in all my greatest mentors were always books.' Although establishing direct corollaries between her paintings and books that have influenced her remins impossible, Sterne's Diary series reveals the central role they play in her thought process as well as her work. For several months in 1976, Sterne placed blank, unstretched canvases on the floor of her main living space (which then, as now, functions as kitchen, dining room, and living room), and then drew a grid patterrn on each. Daily, she filled one square grid with either a quote of her own thought and the date. The handwriting in each square alternates...

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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.

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Banana's essay originally printed in American Institute for Graphic Arts Journal. -- Source of annotation: Marvin or Ruth Sackner.

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Introduction by Giorgio Terrone. -- Source of annotation: Marvin or Ruth Sackner.

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Includes essay by M. Jochimsen, "Stories Behind the Story: Remarks on Michael Badura's New Works," a reproduction of Badura's list of works from period 1957-1975, and a reproduction of "Pladoyer" held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

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This catalogue was edited by Jiri Valoch. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents Ubeir Peeters commented: "The wide variety of single characters or letters join together to make up words which carry the meaning of ideas. Whereas, feelings and sentiments are easier to convey through a representation of plants, animals, humans, landscapes or objects. To the world of ideas, the letter is a building block for the concrete expression of ideas through words: no other medium is equal. Can you imagine a philosophy that could have survived without script? Inside our mind, deep inside, each word is related to a particular item, a given concept, a fragment of memory, but nowhere this appears more clearly than in a written text, where ideas are chopped and reassembled in a string of words. Writing is an incarnation or rather, the mirror of ideas. Algardi's cursives indeed have the liquid flowing quality of ideas. However, the writing itself is made illegible. By superimposing text over text Algardi conveys a problem regarding the eventual meanings. Thus his writing covers...

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Nearly complete listing of works and documents. -- Source of annotation: Marvin or Ruth Sackner.

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Lucas Fragasso writes about the works of Bazan in a catalogue forward, "The paradigmatic case of a famous literary image that gives shape to the musical fragment of a sonata has been summoned here apropos the images of painting; images that cannot be read or heard but, however, refer immediately only to the musical sphere." -- Source of annotation: Marvin or Ruth Sackner.