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This monograph mainly deals with Phillips' his process of making the screenprint "After Raphael," a copy that is held by the Sackner Archive. Phillips mentions that the lines for the utilization of the 'Golden Section' underlying the composition of this piece were brought out by silkscreening a layer of clear varnish. -- Source of annotation: Marvin or Ruth Sackner.

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This work consists of a thick card folder with a photograph of Maciunas on its cover and a pocket inside which holds a poster measuring 17" wide by 35" tall outlining the artistic and cultural influences of the Fluxus movement. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents Jurgen Egyptian [Internet Review]: As part of the "collected works" of Gerhard Ruhm is now part of the band 2.1 "visual poetry" before, which has been edited by Monika Lichtenfeld. She has, in its editorial afterword suggests that it is an "annotated reading and study issue" involved that is has been in close cooperation with the author about.The volume contains, divided into eighteen groups of works, some 680 works, of which almost half will be unveiled and document the one lasting more than half a century of work process. The most extensive chapter, the "schreibmaschinenideogramme" (p. 7-76), "typocollages" the (p. 87-234) and the "literary awards" (p. 297-540), which include the only the entire period of work related Ruhm . The sequence of work groups oriented that when each technique was dominant. Within each chapter a chronological arrangement was sought. Lichtenfeld pointed out that in the compilation of the material mainly technical issues played a role.In the first of these...

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This book is a collection of essays by Wright's students as an homage to him, Wright's own essays and autobiography and examples of his artwork, typographical work, and concrete poetry. On page 17, a photographic of one of his concrete vowel poems is depicted; the original photograph is held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

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Consists of the following sections: Festival Dada (1918 - 1923). Transformation photographiques (1924 - 1959). Matiere-Collage (1940 - 1971). -- Source of annotation: Marvin or Ruth Sackner.

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Ths Sackner Archive holds a signed photographic print of a poem reproduced on page 24. -- Source of annotation: Marvin or Ruth Sackner.

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Cannot identify H.K. but J.S. i is probably John Scott.. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents This book is one of 1000 copies in English, another 1000 copies were printed in Spanish. Wikipedia: Werner Mathias Goeritz Brunner (1915-1990) was born in Danzig, Germany (now in Poland) and died in Mexico City). After spending much of the 1940s in North Africa and Spain, Goeritz and his wife, photographer Marianne Gast, immigrated to Mexico in 1949. Some books state that he was Jewish, others Protestant.In Mexico, he did commisions for churces and synagogues. Mathias Goeritz spent his childhood in Berlin. Goeritz received a doctorate in art history from Berlin's Friedrich-Wilhelm-Universitat, now known as the Humboldt University of Berlin in 1940. During the course of his studies, Goeritz also trained as an artist at the Kunstgewerbe- und Handwerkerschule Berlin-Charlottenberg (Berlin-Charlottenberg School of Arts and Crafts), where he studied drawing with German artists Max Kaus and Hans Orlowski. Upon completion of his doctorate, Goeritz worked at Berlin's Nationalgalerie...

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Lucien Wasselin contributed the preface to this book that consists of the reprinting of Garnier's published works. -- Source of annotation: Marvin or Ruth Sackner.

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Martial Lengelle contributed the preface to this book that consisted of a review of different types of concrete and visual poetry. The second half of the book reprints several of Garnier's published works. -- Source of annotation: Marvin or Ruth Sackner.

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This essay was published in "The Times Literary Supplement" No.3,258 August 6 1964 in a slightly modified form from this manuscript. The Sackner Archive holds this issue of TLS. -- Source of annotation: Marvin or Ruth Sackner.

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This a reprint of a text originally published in Folha da Manha in 1957 in Sao Paolo, Brazil. -- Source of annotation: Marvin or Ruth Sackner.

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Some of the images in the artist books depicted in this catalogue have a similar style to the artist book "Snakes, Mongooses" by Montessori held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents The Sackners saw the inaugural exhibition at the Hammer Gallery in 2006. "This beautifully illustrated book highlights the unique history of The Societe Anonyme, Inc., an organization founded in 1920 by the artists Katherine S. Dreier (1877-–1952), Marcel Duchamp (1887-–1968), and Man Ray (1890-–1976). As America's first “experimental museum for modern art, the Societe Anonyme provided a means for artists, rather than historians, to chronicle the rise of modernism. Led by Dreier and Duchamp, the group eventually assembled a collection of more than one thousand artworks, which it presented to the public in a variety of innovative programs, publications, and exhibitions. The incredible collection of the Societe Anonyme now belongs to the Yale University Art Gallery, a gift from the Societe and Dreier. It features the work of more than one hundred artists, many of whom are among the century's most renowned —including Jean Arp, Duchamp, Max Ernst, Wassily Kandinsky, Paul Klee,...

Scope and Contents This book accompamied the exhibition of the same title, "one of the largest retrospectives to date of this pioneering German artist (b. 1939 Fulda, where he lives and works), whose work straddles Minimalist sculpture, Conceptual Art, abstract painting and Performance Art. Taking its title from a line in one of the artist's own drawings, and emphasising the participation and process at the heart of his practice, the exhibition at WIELS brings together key pieces from the late 1950s and early 1960s, the artist's seminal First Work Set made from 1963 to 1969, as well as hundreds of sculptural elements, drawings and photographs that span the length of Walther's more than half-century long career." "Walther first developed his sewn, padded, pleated and pocketed fabric objects while in art school in the early 1960s. It was then that he conceived of an art inseparable from the actions that can activate it and the participatory activities it provokes. He hardly had a name for what he was...