Scope and Contents

Four strips of printed paper simulating braids are bound into the booklet and allowed to lie loose over the cover. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

The event that was documented by this catalogue was organized by Ric Gadella and Florence Loewy. The catalogue included an annotated listing of the illustrated books by Henri Matisse and offerings by commercial art galleries and bookshops. Clive Phillpot wrote "Booktrek: The Next Frontier," in which he described the influence of the paperback book on artists books. May Castleberry provided an historic essay on children's books by American artists and mentioned Man Ray, Andy Warhol, and Faith Ringgold. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

David Gray's letter to Marvin Sackner offers the Coracle Press printed archive from 1974 to the present for sale to the Sackners. This material was subsequently acquired by the Getty Center for the History of Arts and the Humanities. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This catalogue lists multiples. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

The title stands for Ian Hamilton Finlay. The page with I is collaged with a black rectangular paper. The page with H has marks where two collages could be placed. The page with F is collaged with a black paper with a hole on top that is the shape of a guillotine blade. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

Each of the 125 items in this catalogue is extensively annotated. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents Clive Phillpot asked 23 collectors of artist books in addition to himself to select mass produced, inexpensive artist books from 1950 onward to the present for this exhibition. He also asked each to write an essay explaining his choices. Each of the collectors is listed under contributors. Books by Dieter Roth, Tom Phillips and Ulises Carrion were the most popular cited by the collectors. Sackner's essay follows. When I received the request from Clive Phillpot to provide a list of artists' books - inexpensive books authored by artists that utilize mass-production printing technology - with examples from 1950 to date, I thought that the task would be simple. I would search my database under the classification Artist Book and be finished in a few hours. Here I am one week later writing the essay on the artists' books that I selected from our collection. This is because our database has a single entry for Artist Books that includes one of a kind to press runs of thousands. I had no...

Scope and Contents Clive Phillpot asked 23 collectors of artist books in addition to himself to select mass produced, inexpensive artists' books from 1950 onward to the present for this exhibition. He also asked each to write an essay explaining his choices. Each of the collectors is listed under contributors. Books by Dieter Roth, Tom Phillips and Ulises Carrion were the most popular cited by the collectors. Sackner's essay follows. When I received the request from Clive Phillpot to provide a list of artists' books - inexpensive books authored by artists that utilize mass-production printing technology - with examples from 1950 to date, I thought that the task would be simple. I would search my database under the classification Artist Book and be finished in a few hours. Here I am one week later writing the essay on the artists' books that I selected from our collection. This is because our database has a single entry for artists' books that includes one of a kind to press runs of thousands. I had...

Scope and Contents

Pages consist of tan paper of heavy stock and yellow pages of light stock. Several pages are rubberstamped in black, blue, green and red inks with brief lines of poetry, fiction or left blank. One page is rubberstamped with images of condoms and another with a rejection stamp of the Tate Gallery, London. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

Simon Cutts, publisher and poet, writes in an introduction, "It is by now difficult to substantiate any single definition of a book as made by an artist, and indeed this very issue may have been surpassed...These new books attempt to synthasise text, image, material, method of production and context into a unified single work. When this succeeds, the book functions as a primary form." -- Source of annotation: Marvin or Ruth Sackner.