Scope and Contents

Thi leaflet announces a book on Lavada Durst, Dr. Hepcat, who was probably the first African American deejay in the USA. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This book consists of a collection of previously published essays on artist books, installations, and book objects. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

Second edition listing of first books by 2000 American and British writers. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This critical text on bp Nichol's 'Captain Poetry'was dropped from 'The Captain Poetry Poems Complete' by bp Nichol at the insistance of jw curry. It is issued now as Moments Cafe number seven and is stored in bp Nichol box. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This is the first edition. It includes reproductions of "Pages from Cut-Up Scrapbooks" in which Burroughs' pasted remnants from "Moroccan streets, weird news items, St. Louis memorabilia, ruminations on sex and death, old photographs, notes from narcs, and other essential exotica - an incredible montage of telescoped existence on the main line, source material and matrix of his books." There are also sections of Burroughs' The White Subway, The Old Movies, The Cobble Stone Gardens, and The Retreat Diaries, -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

One DVD deals with an interview of Ed Sanders recollections of his contacts with da levy, the other a levyfest held at Cleveland State University of poetry readings and reminiscences of da levy by his friends. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

One DVD deals with an interview of Ed Sanders recollections of his contacts with da levy, the other a levyfest held at Cleveland State University of poetry readings and reminiscences of da levy by his friends. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

Artists mentioned win this book with multiple works in the Sackner Archive include Susan Barron, Cavallini, Buster Cleveland, Jiri Kolar, El Lissitzky, and Elena Presser among others. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

Michael Ryan as Director of Research Collections, Van Pelt Library University of Pennsylvania, was responsible for the Tom Phillips exhibition there in May 1993 with works lent by the Sackner Archive. In this book, he writes about collectors who donated livres d'Artistes amd finely bound books to the Stanford University Library, his former post. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This exhibition was shown in seven venues. It was "a comprehensive survey of Fahlstrom's graphic work, including twenty-seven prints as well as four multiple editions in three-dimentional object and book format." The Sackner Archive holds "My Dear White Skeleton" in 1 cent Life, "Eddie (Sylvia's brother) in the Desert," "Opera" 1976, and the print portfolio of 1974. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This is the text that accompanies Typewriter Poems: 1984. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

Includes description of Tom Phillips' "Humument Globes". -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

The members of Group Material consisted of Tim Rollins, Julie Ault and Doug Ashford. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This an instruction from artists on proper way to display "The Crisis of Western Civilization," which is held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents Publisher's Weekly review: "Excerpting from poetic, video and photographic work from over 12 years, this largish, elegantly designed book is a virtual encyclopedia of artistic techniques mostly operating within the traditions of Dada and collage (Kurt Schwitters looms heavily), Fluxus and early digital art (much of it created with Ataris), right through Language poetry, but creating a gendered, polylingual, image-enhanced reality all its own. In the epistolary dialogue with Lyn Hejinian that prefaces the book, Tardos explains her approach as being one of uncertainty: "Maybe it's a question of creating a condition of not knowing what one is about to do. Or should I say it takes enormous discipline and control to surrender control." Reflecting her nomadic European roots, Tardos also conveys a more poignant concern that her operations between media, not settling on one genre such as "poetry," may strand her in a "liminal" zone between art forms, though not outside of "art." Yet the...

Scope and Contents

Bleus states, "In netland a lot of artists can find a constructional and satisfying alternative for the morbid situation of the contemporary arts-industry. Mail-art has no real manifestos, restrictions or rules. Yet, the strict indications to organize a project, (no fee, no jury, no returns, and a catalogue to every participant), must be respected. Only the implementation of these basic rules will maintain the everlasting network during the new millennium. Mail-art is an alliance of marginal networkers. They know that netland is not utopia, but it is a good place to live." -- Source of annotation: Marvin or Ruth Sackner.