Scope and Contents

This catalogue was edited by Rene Morales, curator at the PAMM museum, for the exhibition at the museum opening in the first week of December 2013. Johanna Drucker contributed in depth essay titled "Visual Poetics and the Technics of Conception." Rene Morales contributed "Imaged Words, Worded Images: A conversation with Ruth and Marvin Sackner." The contibutors cited consist of only those whose work is depicted in this catalogue. The image on the dust jacket was done by Jeremy Adler, the frontispiece by Tom Phillips and the end papers by Willem Boshoff. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This catalogue was edited by Rene Morales, curator at the PAMM museum, for the exhibition at the museum opening in the first week of December 2013. Johanna Drucker contributed in depth essay titled "Visual Poetics and the Technics of Conception." Rene Morales contributed "Imaged Words, Worded Images: A conversation with Ruth and Marvin Sackner." The contibutors cited consist of only those whose work is depicted in this catalogue. The image on the dust jacket was done by Jeremy Adler, the frontispiece by Tom Phillips and the end papers by Willem Boshoff. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents This catalogue documents the years 1977 to 1999; the years 1965 to 1976 are documented in an exhibition catalogue at MOMA 1978 (also held by the Sackner Archive). The brochure with this catalogue was printed by the Museum of Contemporary Art, Chicago Illinois. Designed by Sol LeWitt and Bethany Johns. With an exhibition history, bibliography and exhibition checklist. This is the massive catalogue issued in conjunction with a substantive 2000 traveling retrospective organized by the San Francisco Museum of Modern Art of over three hundred pieces by Sol LeWitt - the most comprehensive exhibition of work by the late, great minimal master to date. Beautifully designed by the artist with a selection of his own writings, it includes reproductions of many previously unpublished works as well as essays by Gary Garrels, Martin Friedman, Andrea Miller-Keller, Brenda Richardson, Anne Rorimer, John S. Weber and Adam D. Weinberg. On page 42, it is mentioned that one of the most important...

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This exhibition explores how the accordion fold has been used in the West within a variety of different printed matter contexts with a special emphasis on publications produced by artists from the 1960s onwards. -- Source of annotation: Marvin or Ruth Sackner.

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Nancy Princenthal contributed an essay, "The Bookmakers' Odds: A Short, Subjective Survey of Recent Publications by Artists." The catalogue includes a sixteen page insert by Lawrence Weiner of conceptual art. -- Source of annotation: Marvin or Ruth Sackner.

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Exhibition was curated by Guy Schraenen who also wrote a critical essay in this catalogue. -- Source of annotation: Marvin or Ruth Sackner.

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Curated by Wendy Woon. Nancy Tousley contributed an essay tracing the history of artists' books in Canada and the United States. Felipe Ehrenberg's essay describes his work as a book artist in England and Mexico. -- Source of annotation: Marvin or Ruth Sackner.

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The photographic self-portrait series by Michael Badura which is held by the Sackner Archive is reproduced in this catalog. -- Source of annotation: Marvin or Ruth Sackner.

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John Russell contends that "the same few artists dominate all the major contemporary collections...[because] we feel comfortable with what we know, and for better and for worse that sensation is available in full measure in museums of modern art...It is, in fact, the buildings, and not what we see in them, that are full of surprises." -- Source of annotation: Marvin or Ruth Sackner.

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Exhibition was curated by Ranier Crone. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents Editorial Review: "Carl Andre (born 1935) was a poet before he was an artist, and between 1960 and 1965 he produced a substantial body of innovative visual poetry. Arranging language on paper as carefully and as sculpturally as he was later to arrange pieces of metal or bricks on the floor, Andre approached words as adjustable entities, to be moved around within the limits of the space of the sheet of paper. These works, made during the height of the international Concrete poetry movement, appeared alongside his sculptures in exhibitions and were excerpted in scholarly writings about the artist. With this volume, Andre's influential poetic oeuvre is now gathered comprehensively for the first time. The poems, which were often typed on 8 x 11 paper, are reproduced in quasi-facsimile, to convey Andre's sculptural intentions. Also included are essays by art historians Gavin Delahunty and Valerie Mavridorakis, and curator Lynn Kost."This book accompanied an exhibition, Carl Andre:...

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This exhibition deals with poetry off the page onto the walls of the gallery, including sculptures, paintings, films and videos. Curated by Jay Sanders and Charles Bernstein, the works "offer a constellation of intellectually compelling, poetically dense, visually dazzling works that represent some of the most exciting efforts in current practice." Catalogue essays were contributed by Jay Sanders and Charles Bernstein. Johanna Drucker's text is titled, "Plastic Modalities: Emerging Sentience." Tom Phillips' text is from "Notes on A Humument." The Sackners lent eight original pages from "A Humument." John Cage describes his work "Not Wanting To Say Anything About Marcel," a work lent to the exhibition by the Sackners. -- Source of annotation: Marvin or Ruth Sackner.

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

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This exhibition was carried out as a homage to Georges Perec. -- Source of annotation: Marvin or Ruth Sackner.

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The concrete poem on the title page reads, "The void enclosed by the squares of three four and five." The poem is also reproduced on the back cover in a different shape. -- Source of annotation: Marvin or Ruth Sackner.

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This book is the catalogue for the retrospective exhibition for Schippers in the Centraal Museum, Spring 1997. It includes documentary material of his Fluxus works, publications, radio shows and performances. Overlaping texts were printed in red (Flemish) and green (English) such that the opposite colored acetate sheet must be placed over the text in order for the selected language to be solely rendered visible. The envelope contains small paper reproductions of Schippers' works from the book. The presentation of text and images in this book that depend upon superimposition of colored acetate sheets is uncommon - this is the only book in the Archive so produced. -- Source of annotation: Marvin or Ruth Sackner.

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This exhibition dealt with mostly conceptual art and text. The introductory essay was written by the curator, Jessica Jacobs. -- Source of annotation: Marvin or Ruth Sackner.