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The artist stencilled words concerning the decaying urban environment on buildings, trucks, overpasses etc. often assisted by young grafitti artists. -- Source of annotation: Marvin or Ruth Sackner.

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This print depicts an image of an aged but still sharp-edged guillotine blade inscribed with a Latin line from Virgil's Aeneid. -- Source of annotation: Marvin or Ruth Sackner.

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Racial names, one printed to the page in different font dimensions, from "European" to "Human," with every racial variant including slur names comprise this booklet. -- Source of annotation: Marvin or Ruth Sackner.

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This issue features works of native indigenous writers and artists from Canada, the United States, Hawaii, and New Zealand. -- Source of annotation: Marvin or Ruth Sackner.

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The cover photograph is by Alan Horvath. Includes several poems and polemics against the Vietnam war as handwritten manuscripts. -- Source of annotation: Marvin or Ruth Sackner.

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Each page of this periodical depicts a reproduction of a collage from source material of periodicals and newspapers. -- Source of annotation: Marvin or Ruth Sackner.

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Each page of this periodical depicts a reproduction of a collage from source material of periodicals and newspapers. -- Source of annotation: Marvin or Ruth Sackner.

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Shirin Neshat's powerful and meaningful film was presented at the Chicago Art Institute. It was an installation of two synchronized black and white video sequences projected on large screens on opposite facing walls. In "Rapture," Neshat articulates the ways in which space and spatial boundaries are politicized in Islam. The men populate a stone fortress on one side of the room all wearing black pants and white shirts, and on the other wall the women move in a barren dessert wearing black full-length veils. The message by Neshat is that "both men and women are contained and controlled by a fortress mentality - women behind the veil, men behind the wall." The film was accompanied by music by Sussan Deyhim, blending Middle Eastern and North African folk traditions with contemporary sources using lyrics, abstract primal utterances, natural ambient sounds, electronic noise and percussion. -- Source of annotation: Marvin or Ruth Sackner.

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This poem deals with recycling paper to preserve the environment. -- Source of annotation: Marvin or Ruth Sackner.

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The catalogue for this exhibition is held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

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The message deals with enlisting help for Finlay's despute with the local tax collectors. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents This exhibition and catalogue consisted of five groups of Weems' work: the Sea Island Series; The Africa Series; From Here I Saw What Happened and I Cried; Who What When Where; Ritual & Revolution. The works express the artist's observations on identity, race, gender, class, slavery, and the African diaspora. The artist often combines text with photographic images. As Thomas Piche, curator, writes in his essay, "The use of text is also a way to alter the objectifying, dispassionate gaze of the camera, to restore the subjective voice, to reinsert a human dimension. Text is a way to direct meaning, to bring in the artist, not the artist as a mediator of universal truths, but the artist as auteur, directing the reading of a text with an authority that is derived from engagement with a point of view. Weems exploits the various results of combining image and text in her work in order to expand upon the layers and levels of meaning that her photoworks are able to embody." -- Source...

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This book lists women's names in alphabetical order according to day and time on a daily basis over a year to symbolize the average annual estimate of reported forcible rapes. -- Source of annotation: Marvin or Ruth Sackner.

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This exhibition from the Griffith University art collection was organized into categories such as Indigenous Australians, Women and the Law, Gay and Lesbian Rights, Legislating for the Environment and Copyright and Intellectual Property. Four works by Richard Tipping are exhibited in the last category including "Meat Mart" that is also held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

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The card by Ruth Wolf-Rehfeldt, "Esprit" is a typed concrete poem. -- Source of annotation: Marvin or Ruth Sackner.

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A part of the book deals with Dowden's encounter with Dom Sylvester Houedard in Prinknash Chapel. The poems in the book appear to be composed after Burroughs' cut-up method. -- Source of annotation: Marvin or Ruth Sackner.