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This is a description of a collection offered "en bloc." -- Source of annotation: Marvin or Ruth Sackner.

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The rubberstamp reads as follows: According to Man Ray Lydie became so annoyed by Duchamps stayng up very late to study chess problems that one night after he had finally gone to sleep she got up and glued the chess pieces to the board.The card states that Duchamp married Lydia Levasso on June 7, 1927 and divorced on January 25,1928. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

The rubberstamp reads as follows: According to Man Ray Lydie became so annoyed by Duchamps stayng up very late to study chess problems that one night after he had finally gone to sleep she got up and glued the chess pieces to the board.The card states that Duchamp married Lydia Levasso on June 7, 1927 and divorced on January 25,1928. -- Source of annotation: Marvin or Ruth Sackner.

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Edited by Bradley Lastname. -- Source of annotation: Marvin or Ruth Sackner.

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Exhibition curated by Dietrich Mahlow. The cover is perforated such that the word "collage" is formed. -- Source of annotation: Marvin or Ruth Sackner.

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In addition to artworks, the catalogue includes extensive descriptions of Dada and Surrealism periodicals. -- Source of annotation: Marvin or Ruth Sackner.

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An exhibition of books, mauscripts, graphics and objects from the Howard L. & Muriel Weingrow Fine Arts Collection. Written and compiled by Haim Finklestein. -- 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.

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Auction catalogue. This auction featured several works held by the Sackner Archive including Peintures de Leopold Survage by Apollinaire, La Fin du Monde by Blaise Cendrars and Fernand Leger, 291, Blast, Dada reviews, Le Coeur a Barbe, Languria Lirica, Depero Futurista, Les Mots en Liberta Futuristes by Marinetti, and Pour la Voix by El Lissitzky, -- Source of annotation: Marvin or Ruth Sackner.

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

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This work was done in homage to Marcel Duchamp. -- Source of annotation: Marvin or Ruth Sackner.

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The photograph depicts Hubaut smoking a pipe that eminates red smoke and holding a chess piece in his hand. He is seated next to a Duchampian upside down bicycle wheel. -- Source of annotation: Marvin or Ruth Sackner.

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

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The title of this piece is from Duchamps' version of Leonardo da Vinci's Mona Lisa who has been adorned with a comical moustache and goatee thus deserving its alternate title Joconde aux Moustaches. The title is essentially a phonetic game. As Duchamp himself noted in a 1966 interview, "I really like this kind of game, even in any language, some astonishing things happen." When read quickly in French, the title L.H.O.O.Q. sounds like a sentence translating to "She has a hot ass." -- Source of annotation: Marvin or Ruth Sackner.

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This is an advanced copy of the catalogue. -- 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...