Scope and Contents This is a biography of Robert Rauschenberg based upon personal interviews by the biographer of almost every one important to the artist over his entire life span. It begins with a quotation from Rauschenberg, "Painting relates to both art and life. Neither can be made. (I try to act in the gap between the two)"Mary Lynn Kotz provides a critical discussion of several artistic works reproduced in this book. One of them is "Opal Gospel, "a multiple artist book produced in 1971. The word 'opal' was suggested to Rauschenberg by the iridescent inks used in the work. It is an unbound book containing poems from the Nootka, Chippewa, Nanajo, Iglulik, Pawnee and Apache tribes, printed with Rauschenberg's illustrations from nature in iridescent ink on clear plexiglas. The panels or pages, are interchangeable in their stands. With this hauntingly iridescent work, Rauschenberg celebrated his own American Indian heritage. This biography is the only fully illustrated account of Rauschenberg's...

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Features a brief essay on books as works of art by D. Fendrick. "Foirades/Fizzles" by J. Johns and S. Beckett, which is mentioned, is held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

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This is the second revised edition that includes the proceedings of a symposium in which the Sackners took part. Timothy Eaton curated this comprehensive exhibition of book art and in the preface acknowledges the Sackner Archive as "the premier contributors with the loan of fifty works..." All the authors contributing an essay to this catalog signed the book. -- Source of annotation: Marvin or Ruth Sackner.

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This is the third edition of the catalog. -- Source of annotation: Marvin or Ruth Sackner.

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This catalogue prints an extensive interview of Harvey S. Shipley Miller that provides the background as to how the collection was formed. Carl Andre's typed carbon drawing entitled "words men word..." from the collection of Eileen and Michael Cohen (purchased by Shipley Miller) is depicted on page 84 of this catalogue, and is identical to the Sackner typing who have called their piece July 26... after the title at the bottom of the drawing. -- Source of annotation: Marvin or Ruth Sackner.

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The music score, "Concert for Piano and Orchestra" by John Cage, which is reproduced in this catalogue is held by the Sackner Archive. Cage comments "A score which is beautiful to look at usually sounds better than one which is not." -- Source of annotation: Marvin or Ruth Sackner.

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Elizabeth Armstrong curated the exhibition and wrote the catalogue essays along with Sheila McGuire. Jennifer Bartlett's print Day and Night (1978), a work held by the Sackner Archive, is documented and reproduced. -- Source of annotation: Marvin or Ruth Sackner.

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Tom Phillips' "The Portrait Works" at the Portrait Gallery, London is unfavorably reviewed. -- Source of annotation: Marvin or Ruth Sackner.

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Notes dealing with the relation of words to painting, -- Source of annotation: Marvin or Ruth Sackner.

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John Russell contends that "the same few artists dominate all the major contemporary collections...[because] we feel comfortable with what we know, and for better and for worse that sensation is available in full measure in museums of modern art...It is, in fact, the buildings, and not what we see in them, that are full of surprises." -- Source of annotation: Marvin or Ruth Sackner.

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The text describes Johns' printmaking process using several well known prints as examples. -- Source of annotation: Marvin or Ruth Sackner.