Scope and Contents

This is a description of a collection offered "en bloc." -- 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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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.

Scope and Contents

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.

Scope and Contents

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

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

Scope and Contents

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

Scope and Contents

This is an advanced copy of the catalogue. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

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...