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The work and publications of Claude Givaudan are reviewed. -- Source of annotation: Marvin or Ruth Sackner.

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Introductory essay by Sabine Kimpel-Fehlemann. -- Source of annotation: Marvin or Ruth Sackner.

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There is a brief essay by D. Fendrick about the book as a work of art. "Boite-en-Valise" and "The Large Glass and Related Works" by M. Duchamp that are mentioned and reproduced in this catalogue are held by the Sackner Archive as is Lucas Samaras' "Book." The loose sheet is a price list. -- Source of annotation: Marvin or Ruth Sackner.

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Curated by Judi Freedman with special essay by John C. Welchman, the book gives an over-view of the artists from 1915 through 1940 who "included words, letters and numbers in their works and in so doing altered perceptions of what a painting or an art object could and should be." -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents The exhibition, "Et Tous Ils Changent le Monde" ("And All of Them Change the World"), reveals, outside of major works, an ensemble of art moments that have been perceived as essential in the course of modern and contemporary art, the avant garde artists from the beginning of the century and those of today. Marc Dachy, who proposed the theme of the exhibition, writes in his preface that this biennale was to present Dada and its spirit, connections and relationships to contemporary art. Dachy gives a broad overview with reference to specific artists participating in the exhibition and describes their relationship to art movements such as Situationism, Art Brut, Conceptual and the language-art movements of concrete and visual poetry, Fluxus and Neo-Dada. The book is arranged such that each section deals with an individual artist. The section includes a reproductions of the works, a critical essay, an interview or documentation by the artists on his/her works. -- Source of...

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Francesco Conz contributed an essay "Winterreise" about his visits to Fluxus artists in Europe. Hannah Higgins writes about "Fluxus and the Sensible Thought c. 2001." -- Source of annotation: Marvin or Ruth Sackner.

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This is a reprint of an article published in Cimal No.11-12. -- Source of annotation: Marvin or Ruth Sackner.

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The Sackner Archive lent two books that consisted of poems by Joan Brossa and images by Joan Miro. -- Source of annotation: Marvin or Ruth Sackner.

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The Sackners attended this exhibition. -- Source of annotation: Marvin or Ruth Sackner.

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Text by Antoine Coron. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents In the words of David A. Ross, director of the Whitney Museum, "This exhibition proposes that as important as Dada was to the growth of American modernism, the ferment of New York played an equally critical role in the continuing evolution of Dada itself." He points out that even though Dada evolved in Zurich and Berlin, few immigrant notions were more quickly or deeply absorbed into American culture, because "American art, like America itself in the beginning of the century, was experiencing an analogous social, intellectual, and moral transformation, and the spirit and purpose of Dada provided a much needed catalyst." The Dada activity in New York centered around the Arensbergs, Duchamp, Picabia and Man Ray. When asked to define Dada, Man Ray echoed the words of Tristan Tzara and said that Dada was a state of mind. Unlike the artists in Europe, the Dadists in New York were driven by a conscious sense of irony, amusement, and genuine sense of humor. Selected chapters of this...

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First published in French by Trianon Press in 1959. -- Source of annotation: Marvin or Ruth Sackner.

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The exhibition that accompanied this brochure was curated by Whitney Chadwick, Katy Kline and Helaine Posner. The Sackner Archive lent Cahun's photograph,"L'Humanite Poupee," two copies of the book "Aveux non avenus" by Claude Cahun, Francois Lepelier's "Claude Cahun: Un Monographie," and the catalogue "Claude Cahun Photographe" to the exhibition at its Miami Art Museum venue. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents The exhibition that accompanied this catalogue was curated by Whitney Chadwick, Katy Kline and Helaine Posner. The catalogue was edited by Whitney Chadwick. In her opening essay, "An Infinite Play of Empty Mirrors; Women, Surrealism, and Self-Realization," Chadwick writes that the rediscovery of Claude Cahun in the early 1980s is accompanied with a critical rereading of historical Surrealism. "The neatness with which Cahun's photographs have been annexed to post modern concerns with the decentered subject and with identity as contingent and mutable has obscured the complexity and contradictions of her writings and blinded many to the works' representations of conflicted identities." Katy Kline contributes an essay, "In or Out of the Picture: Claude Cahun and Cindy Sherman." She analyses the differences between the two artists and how they each participated in the Surrealist belief system. Kline notes that Cahun was one of few women close to the original Surrealist group and...