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For the most part of this exhibition catalogue, Tot's works consist of pictures with their frames by other artists in museums with the same dimensions except in Tot's pictures the images are blank or a solid color. -- Source of annotation: Marvin or Ruth Sackner.

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Text includes discussion of Duchamp's use of language. -- Source of annotation: Marvin or Ruth Sackner.

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The text includes a discussion of Duchamp's use of language. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents This publication served as the catalogue for the exhibition of Anastasi's work at the Slought foundation, Philadelphia, curated by Oswalds Romberg who contributed an introductory essay. It engages work by conceptual artist William Anastasi in relation to literary and artistic predecessors and contemporaries including Jarry, Joyce, Duchamp, and Cage. This publication is edited by Aaron Levy and Jean-Michel Rabate, with contributions by William Anastasi, Joseph Masheck, Thomas McEvilley, and Steve McCaffery, and an introduction by Osvaldo Romberg. In addition, nearly 40 manuscript pages from William Anastasi's manuscripts "me innerman monophone" and "du jarry," engaging Joyce and Duchamp via Jarry, are reproduced in the book, alongside 10 pages of reproductions of Anastasi's work from the 1960s. By showing concretely that many passages in Finnegans Wake contain buried allusions to Jarry's characters and vocabulary and personality, Anastasi is not simply annotating Joyce's...

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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.

Scope and Contents The poems have the appearance and sound quality of Rap Concrete Poetry like those composed by Kenneth Goldsmith.Wikipedia: William "Bill" Keith (January 20, 1929 -- September 1, 2004) was an American artist who began his artistic life as a painter, but moved into photography and visual poetry. His visual poetry ran a full gamut from calligrams inspired by Apollinaire and other early 20th Century French poets to Lettrisme to the Minimalism and Op Art of the 1960s.As his work developed, Keith concentrated increasingly on African and African-American themes and sources. This development toward African roots and branches led away from the Roman alphabet and more toward the store of iconography and symbolism from Egypt to South Africa to the American diaspora. Consequently, Keith developed graphic techniques suggested by textiles, wood carvings, bronze casts, ceramics, and other indigenous arts.An example of Keith's recreation of the substance of his visual style and the very nature of...

Scope and Contents This book deals with the history of sound and sound installations by artists across modern and contemporary art movements. It is noteworthy that Charles Cros, whose works were translated by Laura Aga-Rossi (held by the Sackner Archive), is mentioned with Edison as the co-inventor of the phonograph. Both this instrument and the radio are featured topics in this book. Includes discussion of artistic languages such as zaum and glossolalia (used by Artaud), precursors to sound poetry.Between the Covers Review: Wireless Imagination directly addresses what is perhaps the most conspicuous silence in contemporary theory and art criticism, the silence that surrounds the polyphonous histories of audio and radio art. By gathering both original essays and several newly translated documents into a single volume, editors Douglas Kahn and Gregory Whitehead provide a close audition to some of the most telling and soundful moments in the "deaf century", including the fantastic acoustic scenarios...

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Tom Phillips provided an introductory essay and Philip Treacy a foreward. -- Source of annotation: Marvin or Ruth Sackner.

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This book consists of photographic reproductions of photographic portraits done by Neshat that feature Iranian women with calligraphic poetic texts written in Farsi on their uncovered body parts. The first photographic reproduction in this book is entitled "I Am Its Secret" and is held by the Sackner Archive. It is a portrait of Neshat's covered head, wrapped in a black chador, with only her eyes and nose exposed. Her skin is covered with black and red Farsi text written in a circular pattern.In an introductory essay, Francesco Bonami writes that "all the work of Shirin Nesht develops along the border where bigotry and spirituality touch but don't merge." She politicizes the oriental woman who gazes with a seductive innocence that is at the same time extraordinarily shrewd. As the writer Hamid Dabashi states, "From the verbal to the visual, Shirin Neshat turns the body into the written and photographed page of a banned book." -- Source of annotation: Marvin or Ruth Sackner.

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The prior published essays in this book, edited by Ian Hamilton Finlay's son, present a comprehensive survey of his father's poetry and art, from 1958 to 1995. -- Source of annotation: Marvin or Ruth Sackner.

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William Jay Smith contributed a poetic intorduction to this volume. -- Source of annotation: Marvin or Ruth Sackner.

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Exhibition was divided into five parts, Words from the Environment, Words as Sign and Structure, Words as Juxtaposition and Association, Words as Narrative, and Words as Socio-Political Commentary. -- Source of annotation: Marvin or Ruth Sackner.

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Published for the Second International Conference on Word and Image University of Zurich, August 27-31, 1990 -- Source of annotation: Marvin or Ruth Sackner.

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Mention is made of Marvin Sackner as a new member. -- Source of annotation: Marvin or Ruth Sackner.

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This issue serves as a profusely illustrated catalogue for the exhibition at the Annenberg Rare Book & Mauscript Library, University of Pennsylvania. Michael Ryan, Director, contributes an introductory essay. Professor John Dixon Hunt in additon to serving as curator, has written an introduction, essay and catalogue listing for this issue. The Sackner Archive is mentioned by Dr. Ryan as "unstinting in their generosity, agreeing to lend more than 25 items to the show, while also donating some of their duplicate Finlay items to us. For this their latest kindness to us, we are honored and thankful." The duplicate copy does not include the signed loose sheet by Hunt. -- Source of annotation: Marvin or Ruth Sackner.

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Geraldine Wojno Kiefer's essay is titled "Alfred Stieglitz and The Steerage: an empirio-critical correlation." The Steerage which is a photogravure published in the periodical 291 is held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

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Exhibition was curated by Scott Watson who also wrote the introductory essay for the catalog. The paintings in this exhibition consisted of one or two words formed from treated paper with heated chemicals. -- Source of annotation: Marvin or Ruth Sackner.

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This book is an anthology of contributions from 40 poets in response to a questionnaire. Representative examples of their work are also included. -- Source of annotation: Marvin or Ruth Sackner.