Scope and Contents This object is an announcement card for the publication of "An Anthology." According to 6 Decades Books: LaMonte Young devised this extraordinary pop-up multiple as a prepublication announcement for An Anthology of Chance Operations, the book he co-published with Jackson MacLow in 1963. An Anthology of Chance Operations was designed by George Maciunas and includes work by Young and Mac Low, along with George Brecht, John Cage, Terry Riley, Dick Higgins, Yoko Ono, Henry Flynt, Walter De Maria, Nam June Paik, Dieter Rot, Robert Morris, Al Hansen, and others. The publication is a compendium of the era's dada-inflected avant-garde represented by a collection of works in which traditional boundaries between music, writing, art, and theater were discarded in favor of an aesthetics based ideas, actions, and ephemerality. The book is widely regarded as the high point publication of the Fluxus movement and a founding document of contemporary art. Young created a few dozen copies of the...

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This book is altered in different destructive ways (stapled or glued together, or folded, torn, crumpled, etc. including one page with a hand-applied smudge of some unknown substance). The first edition was published in 1974; this is from a second printing in 1981. Stored on shelf with Hundertmark material. -- 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.

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Claude Cahun's surrealistic book "Aveux Non Avenus" listed in this catalogue was purchased by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

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Describes the collection and the collector, Gil Silverman. -- Source of annotation: Marvin or Ruth Sackner.

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This book consists of blank pages that have been physically manipulated, e.g., crumpled, torn, etc. -- Source of annotation: Marvin or Ruth Sackner.

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The Silverman Fluxus catalogue does not list this print. -- Source of annotation: Marvin or Ruth Sackner.

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The Silverman Fluxus catalogue does not list this print. -- Source of annotation: Marvin or Ruth Sackner.

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The Silverman Fluxus catalogue does not list this print. -- Source of annotation: Marvin or Ruth Sackner.

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This issue is printed on tan paper. The second page carries an announcement of a weekly Fluxfest in NYC. The third page describes Fluxus objects and their prices for sale from the Flux Shop. The fourth page depicts a collage arrangement of snippets of articles cut from scientific periodicals that is analogous to a pataphysical presentation. This reprint of original was published in 1972 by Flash Editions, Milan. -- Source of annotation: Marvin or Ruth Sackner.

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The second page announces a Fluxus performance and the third page consists of an action page by Wolf Vostell. The fourth page lists Fluxus objects and their prices from the Flux Shop. This reprint was published in 1972 by Flash Editions, Milan. -- Source of annotation: Marvin or Ruth Sackner.

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The second and third pages consist of a poster announcement for a Perpetual Fluxfest in NYC. The fourth page carries an announcement for a Fluxus concert. This reprint of the original was published in 1972 by Flash Editions, Milan. -- Source of annotation: Marvin or Ruth Sackner.

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This exhibition was curated by Clive Phillpot and Jon Hendricks. -- Source of annotation: Marvin or Ruth Sackner.

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Revich contributes a simple "elevator" description of Fluxus. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents The number of copies of this book are unknown but because of the magic marker lines, no two are exactly the same.Steve Heller on internet describes tenghe original Selectric Composer, announced in 1966, required text to be typed twice. On the first pass, the machine would automatically measure the length of the line, providing the operator with a color+number (i.e. green-2) combination to be noted in the right margin. When the operator finished all lines of the document, they would put a clean sheet of specially coated paper into the machine and engage the justification lever. This time, prior to typing each line of text, the operator would turn a color dial to the noted color, and another dial to the noted number. Once the dials were set, the operator would begin typing the text. While typing, the Composer would insert incremental amounts of additional space between words such that the line would always be flush on the right margin. Errors could not be corrected, and when they...