Scope and Contents

Contains essays surveying schools of digital media education. Matthew Kirschenbaum contributes an essay on the William Blake digital archive at the University of Virginia. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

Contains essays covering innovations in digital art including artistic and cultural areas. This issue concentrates on the future of graphic and industrial design. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

There is a section of this book that consists of visual and concrete poems that are reproduced as photocopied black and white images. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

Most of the works in this exhibition date from the seventies. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

Baroni provides an in-depth discussion of mail art with sections dealing with submovements, e.g., assemblings, fluxus, xerox art, etc. and sections dealing with major figures, e.g., Ray Johnson, Robin Crozier, etc. He also mentions the Sackner Archive as a resource for mail art. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

Baroni in an essay, "Of Cyberwebs & Snailwebs," states that the death of Ray Johnson was a turning point in the mail art network. Points out that mail art is now collected and appreciated in academic circles at the same time that a contrary form of communication, internet surfing has now begun. However, believes that it will be "collaboration not competition, old and new media helping one another, integrated into a global tactic that should evolve [h]armoniously and lovingly." In addition, Baroni describes the making of his E.O.N. Share Piece, a work held by the Sackner Archive, as well as his experiences on the Internet. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

Baroni in an essay, "Of Cyberwebs & Snailwebs," states that the death of Ray Johnson was a turning point in the mail art network. Points out that mail art is now collected and appreciated in academic circles at the same time that a contrary form of communication, internet surfing has now begun. However, believes that it will be "collaboration not competition, old and new media helping one another, integrated into a global tactic that should evolve [h]armoniously and lovingly." In addition, Baroni describes the making of his E.O.N. Share Piece, a work held by the Sackner Archive, as well as his experiences on the Internet. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This issue is devoted to works by Luther Blissett aka Vittore Baroni. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This exhibition was curated by Helen Wright (the artist's wife) and David Mole. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This issue has loose pages in an insert within the binding, is wrapped by the brassiere and paper tape that has been opened and is placed within the hard cover folder binding. There are a large number of erotic penis cartoons in the periodical. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This issue has loose pages in an insert within the binding. It is wrapped by the brassiere and paper tape that has been opened and is placed within the hard cover folder binding. There are a large number of erotic penis cartoons in the periodical. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

The intoduction was written by Crag Hill. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This catalogue contians essays by collectors and dealers who describe how they started their collections. It also lists galleries participating in the Artist Book Fair. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents Marvin Sackner reviewed the book and wrote a blurb for the dust jacket. Betty Bright is a co-founder and curator of the Minneapolis Center for Book Arts who was responsible for over 50 exhibitions in a nine year-period. She has written a book on artist books that removes the chaos from the many flavors of this genre. Her analysis is confined almost exclusively to British and American writers and artists. She discusses artist books chronologically based upon the classification of the fine press book, deluxe book, bookwork, sculptural books and hybrids She begins the journey with the books by William Morris of the English Arts and Crafts movement in the late nineteenth century. She mentions that Morris was preoccupied with the design of the book because he believed that such books should not only tell a story but cause the reader to enter into a new world, a remark that seems apropos to the artist book today. Along the way, she cites exhibitions and catalogues, some well known and...

Scope and Contents This is a review copy as stated on the enclosed card. It is an uneven but useful presentation of multiples since both very small editions (3 copies) to unlimited editions are given the same footings. The author selects examples of individual artist works from Word and Pictures but ignores the whole universe of assemblings that include a myriad of multiples. Works mentioned by Bury and held by the Sackner Archive include 1) Maurizio Nannucci's "Poem," 1967; 2) Kenhelm Cox's "Suncycle," 1968 (without motor); 3) Mary Martin's "Rotation," 1968; 4) Maurizio Nannucci's "Do It Yourself," 1969 [Bury states edition of 10 but the Sackner Archive holds the same title in a paint can dated 1968 in a numbered edition of 30 copies]; 5) John Cage's "Not Wanting to Say Anything About Marcel" (1970); 6) Ian Hamilton Finlay's "Pacific," 1975; 7) Maurizio Nannucci's "Creare L'Artista Creativo = To Create the Creative Artist," 1977; 8) Ian Hamilton Finlay's "Arcadian Gliders," 1981; 9) Yoko Ono's "A...

Scope and Contents

Stored in Nannucci box. "This voume, subtitled "Nonprofit Collective Organizations in the 1960's and 1970's," gathers one of the first extensive research on artist-run spaces. Developed in collaboration with the initiators and founders of Art Metropole (Vancouver), Artpool (Budapest), Ecart (Geneva), Farnklin Furnace (New York) La Mamelle (San Francisco), Printed Matter (New York), and Zona (Florence), the activities of these interconnected points of an alternative network are thus introduced by figures such as AA Bronson, Lucy Lippard, Tom Marioni, and Maurizio Nannucci. They develop on the implications of new art practices, self-organizaion strategies, and politics of exchange." -- Source of annotation: Marvin or Ruth Sackner.