Visual art

Surplus Koan Totem: Book Two / Koch, Lewis., 1993

Item

Identifier: CC-08042-8202

Dates: 1993

Found in: The Ruth and Marvin Sackner Archive of Concrete and Visual Poetry / Ruth and Marvin Sackner Archive of Concrete and Visual Poetry: Booklets (unprocessed)

Surprise: happy birthday / Sackner, Sara., 1977

Item

Identifier: CC-29933-31324

Scope and Contents

This photographic album was made by Sara on March 14, 1977, for Ruth Sackner's birthday and includes pictures of her family in touching and humorous situations. -- Source of annotation: Marvin or Ruth Sackner.

Dates: 1977

Found in: The Ruth and Marvin Sackner Archive of Concrete and Visual Poetry / Ruth and Marvin Sackner Archive of Concrete and Visual Poetry: Various Formats(unprocessed)

Surrealismo Surrealistas, 1983

Item — Box 319: [Barcode: 31858072490786]

Identifier: CC-21467-21878

Dates: 1983

Found in: The Ruth and Marvin Sackner Archive of Concrete and Visual Poetry / Ruth and Marvin Sackner Archive of Concrete and Visual Poetry (processed) / ARTIST BOOKS AND POETRY/BOOK OBJECTS

[Surrealistic Saint Sebastian] / Houedard, Dom Sylvester., 1954

Item

Identifier: CC-55976-999444

Dates: 1954

Found in: The Ruth and Marvin Sackner Archive of Concrete and Visual Poetry / Ruth and Marvin Sackner Archive of Concrete and Visual Poetry: Various Formats(unprocessed)

Susan Hiller / Hiller, Susan., 1996

Item

Identifier: CC-32184-33735

Scope and Contents In the preface, Nicholas Serota and Lewis Biggs write that Susan Hiller "uses ephemeral, everyday objects, telling their stories and extracting new meanings from them, producing art which is both visually stimulating and emotionally compelling." This major exhibition of Hiller's works brings together several of her major works that require viewer participation, shifting from the whole of the art piece to its particular elements and back again to the whole. One of Hiller's major works was installed in MOMA in the exhibition, "The Museum as Muse," which the Sackners viewed in New York. In it, the artist used ordinary materials to evoke moments of cultural, historical and personal disturbance inspired by Sigmund Freud's last home. Her found elements were boxed, labelled and categorized and placed in a large vitrine. Hiller indicated that the boxes "present the viewer with a word (each is titled), a thing of object, and an image or text of chart, a representation. And the three aspects...

Dates: 1996

Found in: The Ruth and Marvin Sackner Archive of Concrete and Visual Poetry / Ruth and Marvin Sackner Archive of Concrete and Visual Poetry: Exhibit Catalogs(unprocessed)

Swarms of Fugue, 1997

Item — Box 341: [Barcode: 31858072491263]

Identifier: CC-29378-30743

Scope and Contents

The line drawings, one each to the page of poems has surrealistic imagery. -- Source of annotation: Marvin or Ruth Sackner.

Dates: 1997

Found in: The Ruth and Marvin Sackner Archive of Concrete and Visual Poetry / Ruth and Marvin Sackner Archive of Concrete and Visual Poetry (processed) / BOOKS

Swedish Box, 1996

Item — Box 201: [Barcode: 31858072459716]

Identifier: CC-28563-29848

Scope and Contents

The book is a diaristic account of Tavenner's trip to Sweden. -- Source of annotation: Marvin or Ruth Sackner.

Dates: 1996

Found in: The Ruth and Marvin Sackner Archive of Concrete and Visual Poetry / Ruth and Marvin Sackner Archive of Concrete and Visual Poetry (processed) / ARTIST BOOKS AND POETRY/BOOK OBJECTS

Sweet Dreams; contemporary art and complicity, 2005

Item

Identifier: CC-48338-69363

Scope and Contents From the inside flap of the book: Johanna Drucker's "sweet dream" is for a new and more positive approach to contemporary art. Drucker argues that contemporary art is fully engaged with material culture"”yet still struggling to escape the oppositional legacy of the early-twentieth-century avant-garde. She calls for a revamping of the critical vocabulary used to discuss art into one more befitting current creative practices.Drucker shows that artists today are aware of working within the ideologies of mainstream culture and have replaced avant-garde resistance with acknowledged complicity. Finding their materials at malls and superstores or exploring celebrity culture, contemporary artists have created a vibrantly playful attitude towards mass culture"”all while critics continue to cling to an outmoded vocabulary of opposition and radical negativity that defined modernism's avant-garde. At the cutting edge of new media research, Drucker surveys a wide range of exciting contemporary...

Dates: 2005