Scope and Contents

This catalogue mainly lists artists' books of the 1960's and 1970's. -- Source of annotation: Marvin or Ruth Sackner.

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Includes article on Sohm Archive at the Staatsgalerie in Stuttgart written by Martina Wehlte-Hoschele. -- Source of annotation: Marvin or Ruth Sackner.

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The card was posted from Philadelphia on January 26 1973. -- Source of annotation: Marvin or Ruth Sackner.

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Auction catalogue. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

Auction catalog. -- Source of annotation: Marvin or Ruth Sackner.

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The brochure and loose sheet included in this catalogue are announcements for the Dual Muse, an exhibition at Washington University, St Louis. The Sackners lent several works to this exhibition and also participated in the symposium held at the time of its opening. -- Source of annotation: Marvin or Ruth Sackner.

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The cover reproduces an Ad Reinhart drawing entitled, "FoundingFathersFollyDay." -- Source of annotation: Marvin or Ruth Sackner.

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Pie O wrote the Ockers poem in 1983 that describes the character of a stereotyped Australian man of the seventies. Mike Hudson designed wild, colorful pop art, linocut, graphics to match Pie O's vividly expressive poem. The poem was hand set in letterpress by Jadwiga Jarvis. Julie Copeland contributed an introduction and glossary of Australian slang and neologisms to this poem in the accompanying brochure. An Ocker is defined as an "uncultivated, aggressive, boorish, uncouth Australian man who also displays qualities such as good humor, helpfulness, and resourcefulness...this is a serious poem which challenges slick, nationalistic slogans about Aussies, ockers, mates, winners & battlers, in the most effective way possible, by quoting them, reshaping them in the voice of a poet with a love of the lived life of language." -- Source of annotation: Marvin or Ruth Sackner.

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Illustrated or listed in the catalog and held by the Sackner Archive are "Picadilly Square" by Roth, "News Mews, Pews" by Ruscha, "Book" by Samaras, "Girl on a Chair" by Segal, "General Dynamic F.U.N." by Paolozzi and "Andy Warhol's Index Book." -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents This exhibition, curated by Wendy Weitman, consists of prints and multiples from the collection of the Museum of Modern Art. Weitman contributes an essay. "Printmaking in the Pop Era: The Medium amd the Message." The catalogue is divided into the following sections: Proto-Pop; Mass Media; Consumer Culture; Politics; Erotica. It contains a chronology from the years 1960 to 1970 of Pop Printmaking, Pop Art, and Politics/Popular Culture. There are extensive notes on the artists, art works and publishers as well as a selected bibliography. The relevance of Pop Art is examined by Colin Self who writes, " Pop Art was the first art movement for goodness knows how long to accept and reflect the world in which it lives...In other words, there is a conspicuous absence of 20th century iconogrpahy in 20th century art - until Pop Art. Before POP all ART hid behind being 'ARTY.' Art had reached such a state of insincerity and pretentiousness, POP was a real revelation." Illustrated and contained...

Scope and Contents

As noted in his biography, Tilson was "originally associated with the British Pop Art movement in the early 1960's. He was soon led in a different direction by his deeply held convictions and his dissatisfaction with the technology and industrial 'progress' of the consumer society. Art, Tilson has written, is a symbolic discourse of which mankind alone is capable." -- Source of annotation: Marvin or Ruth Sackner.

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The loose sheet contains an essay by Jasia Reichardt describing the history of artists books. The introduction to this catalogue provides a sampling of pages from books published by students at Watford School of Art from 1966-1974. This is followed by a larger section of pages, mostly visual art from students at the school in 1974. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This catalogue was published on the occasion of the exhibition of works by Push Pin Studio artists at the Louvre's Musee des Arts Decoratifs in 1970 as a special issue of Communication Arts Magazine, Palo Alto, California. The graphic design studio was founded by Milton Glaser and Seymour Chwast and was the most innovative graphic design firm of the 1960's producing concert and event posters, book jackets, album covers, Pepsi ads, Bob Dylan posters, magazine covers and advertisements that were Pop cultural icons. The cover of the book has a rainbow design that shows through the corresponding cut-out on the slipcase. Illustration No.170 depicts the ee cummings poem, Grasshopper. -- Source of annotation: Marvin or Ruth Sackner.