Scope and Contents

This card depicts an example of one of Villegle's large decollages. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This card depicts examples of Villegle's decollages. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents Villegle describes his philosophy and technique of first using posters during the post war years from the walls of Paris. He writes that "instead of attending an art school or going to the Louvre to study the riddles that masterpieces sometimes reveal, instead of meditation in the closed world of the traditional painter's studio, I would go out and come across the unexpected surprise, the plastic adventure awaiting me at a street corner...I was attracted to the mural imagery of advertising and propaganda and tore it down only when it could escape from the aggression of politics and finance, when the entangled and curtailed representations had been abruptly metamorphosed, when the rallying cries and slogans, cut short or not, were superimposed in a typographical landscape. Then, diverted from its peremptory, manipulative and utilitarian purpose, imagery and its comments would lead to other games and puns, to poetic illegibility at the crossroads of words." -- Source of annotation:...

Scope and Contents

Among the torn and reassembled poster works depicted in this book is a piece by Joel Hubaut. It is partially reproduced on the front cover and is also reproduced on pages 40-41 as "Tetines Noires." -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

The announcement card, designed by Eileen Boxer, is meant to be ripped open at the printed arrow revealing the exhibition information and an illustration of a Villegle work. After being ripped, the invitation itself turns into a New Realism work of art. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

The announcement card, designed by Eileen Boxer, is meant be ripped open at the printed arrow revealing the exhibition information and an illustration of a Villegle work. After being ripped, the invitation itself turns into a New Realism work of art. These two copies are unripped. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

Original edition with black and white cover. Published on the occasion of an exhibition by Bryen. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

Second edition with grey and white cover. Published on the occasion of an exhibition by Bryen. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This might be the sketch book for Villegle's installations at Renne and Paris in 1982; see the essay by Kaira Cabanas in Villegle 2007 (book held by the Sackner Archive), page 116. However, none of these two images are depicted in this book. Cabanas commented that this work has a commonality with Jenny Holzer's "Truisms." The back cover depicts a silhouette profile of Villegle with a hat stencilled in black ink, -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

The exhibition consisted of recently made decollages and texts written in chalk on blackboards with distinctive typography. The latter was also utilized in the unique book by Villegle held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

The inscription to Marvin and Ruth Sackner is written in Villegle's classic calligraphic style -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This card was an invitaion for an exhibition of Villegle's work in the gallery. The paper envelope that it was mailed in is stored in drawer cards/ -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

In the chapter titled "Spontaneous Manifestation" Villegle writes,"Paradoxically, laceration is connective: the torn, divided, destroyed parts trigger relationships with a mutilated world of harlequins, tonal medleys, untotalizable or apparently unconnected fragments. A wrenching slash, by uncovering successive layers of paper, helps to create a new, suggestive meaning that unifies the highly divergent phenomena printed thereon." -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This book depicts deconstructed collages in color by Villegle from 1996-1999; composite black and white photographs document performances. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

Kaira Cabansas contributed a major essay titled " Poster Archeology" that traced the career, work and artistic milieu of Villegle and the New Realists. The book includes over 200 color illustrations of the artist's works and poems. Nicholas Bourriaud conducted an interview with Villegle and Francois Bon wrote about "Peeling Back the Layers of Time." -- Source of annotation: Marvin or Ruth Sackner.