Scope and Contents

This catalog represents 50 years of Mail Art from1953 to 2003. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This catalogue is dedicated to Robert Rehfeldt. The exhibition consisted of two sections: Letters to Senders and Self-written Letters in which the envelopes, postal stampings and the return addresses were important. -- Source of annotation: Marvin or Ruth Sackner.

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Emilio De Tullio curated this exhibition. -- Source of annotation: Marvin or Ruth Sackner.

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The exhibition was curated by Anna Boschi and Lia Garavini. The works submitted to this exhibition were solicited to deal with prehistory, e.g., cave painting images, cave men, etc. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This catalogue was published for the exhibition on the work of the British poet, Bob Cobbing. The exhibition was curated by Matthew Abess who was the scholar in residence at the Sackner Archive during the summer of 2006 between his sophomore and junior years at the University of Pennsylvania. He also wrote the catalogue essay and organized a symposium at the Kelly Writers House with Maggie O'Sullivan and cris cheek, compatriates of Bob Cobbing, participating in the event along with Charles Bernstein and Marvin Sackner. All the Cobbing material for the exhibition came from the Sackner Archive. The three copies in the Sackner Archive will be considered varient copies as the final few pages were poorly printed. Marvin Sackner advised the attendees to hold on to these copies as special before a more perfect version is reprinted. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This catalogue was published for the exhibition of works of Bob Cobbing selected from the Sackner Archive. The curator, Matthew Abess, SAS '08, was an intern in the Archive during the summer of 2006 when he researched the material for this exhibition. In addition to writing an in-depth catalogue essay, Matthew Abess organized recorded sound poetry readings on multiple head phones in the gallery, and planned a seminar with cris cheek and Maggie O'Sullivan at the Writers House. This is the second printing of the catalogue with the pages evenly printed throughout. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This catalogue was published for the exhibition of works of Bob Cobbing selected from the Sackner Archive. The curator, Matthew Abess, SAS '08, was an intern in the Archive during the summer of 2006 when he researched the material for this exhibition. In addition to writing an in-depth catalogue essay, Matthew Abess organized recorded sound poetry readings on multiple head phones in the gallery, and planned a seminar with cris cheek and Maggie O'Sullivan at the Writers House. Since the printing was faded in various parts of sentences on the last pages, Marvin Sackner pointed out that this should be considered a varient and was reminiscent of Cobbing's photoduplicator books. The catalogue was subsequently reprinted appropriately. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

Leslie Camhi contributes an essay, "marking Time: the Calendar ARt of martin Wilner." Phong Bui's essay is titled "the Theatrical Absurdity of Martin Wilner's Exquisite Calendars." -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

Deborah Rothschild, editor and curator, contributes an introductory essay for the catalogue and an acknowledgement in which she writes that "William Jay Smith knew the Murphys firsthand, and they also singledout his talent, prophesizing a distinguished career in arts and letters." Smith writes an essay titled "Gerald Murphy - cubist Painter, Concrete Poet" in which he describes his typewriter poems and how Gerald Murphy purchased copies of "Typewriter Birds" in excahnge for a Mark Cross attache case. In this essay, Smith also describes the genre of typewriter poetry and how he started to create them and how he felt that he "had instinctively reached back and cut through to something primitive and unspoiled. The fact that my triumph had begun as a humorous gesture made it no less serious. I had touched something, I felt, at the depth of the psyche, at that still center where creation makes its mysterious way." -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents In the words of David A. Ross, director of the Whitney Museum, "This exhibition proposes that as important as Dada was to the growth of American modernism, the ferment of New York played an equally critical role in the continuing evolution of Dada itself." He points out that even though Dada evolved in Zurich and Berlin, few immigrant notions were more quickly or deeply absorbed into American culture, because "American art, like America itself in the beginning of the century, was experiencing an analogous social, intellectual, and moral transformation, and the spirit and purpose of Dada provided a much needed catalyst." The Dada activity in New York centered around the Arensbergs, Duchamp, Picabia and Man Ray. When asked to define Dada, Man Ray echoed the words of Tristan Tzara and said that Dada was a state of mind. Unlike the artists in Europe, the Dadists in New York were driven by a conscious sense of irony, amusement, and genuine sense of humor. Selected chapters of this...

Scope and Contents

Only one of the 17 expressionistic paintings has verbal content. De Jonge was the editor of the Situationist Times, International issues. -- Source of annotation: Marvin or Ruth Sackner.

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The photographic self-portrait series by Michael Badura which is held by the Sackner Archive is reproduced in this catalog. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

The booklet consists of the complete poem Un Coup de Des in French; its translation into Portuguese appears in the book. This is the first edition; the second edition appeared in 1975. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

Includes discussion of Symbolism and "Un Coup de Des." -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

The book was originally the author's PhD thesis. It is an indepth analysis of Un coup de des, its background and history, its philosphy and structure and its relvance on a poetic and literary level. Cohn compares Mallarme's work to that of James Joyce in "its devotion to the written word." -- Source of annotation: Marvin or Ruth Sackner.