Scope and Contents Susan Bernofsky writes in her introductory essay "Secrets, Not Code: On Robert Susan Bernofsky writes in "Secrets, Not Code: On Robert Walser's Microscripts" that Walser's "writing that initially looked like secret code...turned out to be a radically miniturized Kurrent script, the form of handwriting favored in German-speaking countries until the mid-twentieth century, when it was replaced by a Latinate form similar to that used in English." The recently published "Red Book" by Carl Jung contains many examples of this calligraphic script. Walter Benjamin contribted an essay about Walser's life and work that was first published in 1929.Amazon.com reviews: W. G. Sebald called Robert Walser "a clairvoyant of the small," and nowhere is the phrase more apt than in his "microscripts." Robert Walser wrote many of his manuscripts in a highly enigmatic, shrunken-down form. These narrow strips of paper (many of them written during his hospitalization in the Waldau sanatorium) covered with...

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The white and yellow striped cover was designed by Daniel Buren. It includes an original bound-in, paper multiple by James Lee Byars on pink tissue paper printed in an extremely small font. -- Source of annotation: Marvin or Ruth Sackner.

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The holder, a fabric object that is shaped as a valentine, reproduces a written booklet of Baker's lecture notes taken during the UNESCO textile workshop in Hanoi, Vietnam. The lecture notes are reproduced in the booklet as calligraphed, micrographic, shaped poems. -- Source of annotation: Marvin or Ruth Sackner.

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The hand printed micrographic text is taken from the Darwin's Origin of the Species. The large figure in the center is a crucified Jesus Christ. -- Source of annotation: Marvin or Ruth Sackner.

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The main image is a linear music score with a 17 x 12.5 cm rectangle in its center. A vertical columnar music score is drawn its center. Three lines of micrographic text have been written between two rows of the music score. Melin's music scores are conjectured and not intended to be played although in fact, a few have been performed. -- Source of annotation: Marvin or Ruth Sackner.

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The drawings in this exhibition are a result of a collaboration betweeen the two artists. -- Source of annotation: Marvin or Ruth Sackner.

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This sculpture is depicted on page 9 of exhibition catalogue, "Sculptures," Galerie Antoine Candau, 1987. -- Source of annotation: Marvin or Ruth Sackner.

Bovine atlas (first cervical vertebra), Indian ink

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Includes introductory text by Suzanne Barnard in which she discusses creation of the 14 "Improvisations" that appear in this book. -- Source of annotation: Marvin or Ruth Sackner.

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This drawing is an exposition of Psalm One. Boshoff comments, "I once, in 1976, gave talks on the Psalms in an old age home, and at one time, in the early eighties, I thought it might be a good idea to write notes on all the psalms like the ones on Psalm One." -- Source of annotation: Marvin or Ruth Sackner.

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This is mostly signed reproductions of a suite of prints first done in 1978 that consisted of different images with the same micrographic backgriound numbered one to ten and sublabeled combinations of lower case letters. The holdings are not a complete set of all the images. This suite of prints consists of 1) 3 prints solely of micrographic background, 2) #1 two prints with added text over text, 3) #2 two prints with added text over text, 4) #3 three prints with added text over text, 5) #4 four prints with added text over text, 6) #5 three prints with added text over text, 7) #6 three prints with added text over text, 8) #7 one print with added text over text, 9) #8 two prints with added text over text, 10) #9 two prints with added text over text, and 11) #10 two prints with added text over text, -- Source of annotation: Marvin or Ruth Sackner.

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The letters of the words of this poem are formed by squares containing micrographic texts. The typography makes reading difficult. The first two word read, "Thank You." The last two words are illegible. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents Jill Galliéni was born in 1948 to an American mother and a French father, and has always lived in Paris. Her father was an actor. She was brought up by guardians until the age of seven, when her father took over her care. She began creating her strange fabric dolls at a very early age. She turned to prayer towards the age of thirty as a way of helping her to rebuild her life and free herself from the vicious mental traps that were stopping her from living her life to the full. She initially wanted to "speak" through the medium of words, but, finding it unbearable to see sentences written in her own hand, she invented sentences from prayers "“ always the same, repeated hundreds of times. These formed tightly bundled garlands so that the meaning of the prayer would remain a mystery. The prayers are addressed to Saint Rita, patron saint of lost causes, and refer to situations, people, her own circumstances, and so on. They feature imitations of the written word or superimposed layers...