This book consists of photographic reproductions of photographic portraits done by Neshat that feature Iranian women with calligraphic poetic texts written in Farsi on their uncovered body parts. The first photographic reproduction in this book is entitled "I Am Its Secret" and is held by the Sackner Archive. It is a portrait of Neshat's covered head, wrapped in a black chador, with only her eyes and nose exposed. Her skin is covered with black and red Farsi text written in a circular pattern.In an introductory essay, Francesco Bonami writes that "all the work of Shirin Nesht develops along the border where bigotry and spirituality touch but don't merge." She politicizes the oriental woman who gazes with a seductive innocence that is at the same time extraordinarily shrewd. As the writer Hamid Dabashi states, "From the verbal to the visual, Shirin Neshat turns the body into the written and photographed page of a banned book." -- Source of annotation: Marvin or Ruth Sackner.

The prior published essays in this book, edited by Ian Hamilton Finlay's son, present a comprehensive survey of his father's poetry and art, from 1958 to 1995. -- Source of annotation: Marvin or Ruth Sackner.

William Jay Smith contributed a poetic intorduction to this volume. -- Source of annotation: Marvin or Ruth Sackner.

Exhibition was divided into five parts, Words from the Environment, Words as Sign and Structure, Words as Juxtaposition and Association, Words as Narrative, and Words as Socio-Political Commentary. -- Source of annotation: Marvin or Ruth Sackner.

Published for the Second International Conference on Word and Image University of Zurich, August 27-31, 1990 -- Source of annotation: Marvin or Ruth Sackner.

Mention is made of Marvin Sackner as a new member. -- Source of annotation: Marvin or Ruth Sackner.

This issue serves as a profusely illustrated catalogue for the exhibition at the Annenberg Rare Book & Mauscript Library, University of Pennsylvania. Michael Ryan, Director, contributes an introductory essay. Professor John Dixon Hunt in additon to serving as curator, has written an introduction, essay and catalogue listing for this issue. The Sackner Archive is mentioned by Dr. Ryan as "unstinting in their generosity, agreeing to lend more than 25 items to the show, while also donating some of their duplicate Finlay items to us. For this their latest kindness to us, we are honored and thankful." The duplicate copy does not include the signed loose sheet by Hunt. -- Source of annotation: Marvin or Ruth Sackner.

Geraldine Wojno Kiefer's essay is titled "Alfred Stieglitz and The Steerage: an empirio-critical correlation." The Steerage which is a photogravure published in the periodical 291 is held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

Exhibition was curated by Scott Watson who also wrote the introductory essay for the catalog. The paintings in this exhibition consisted of one or two words formed from treated paper with heated chemicals. -- Source of annotation: Marvin or Ruth Sackner.

This book is an anthology of contributions from 40 poets in response to a questionnaire. Representative examples of their work are also included. -- Source of annotation: Marvin or Ruth Sackner.

This exhibition dealt with mostly conceptual art and text. The introductory essay was written by the curator, Jessica Jacobs. -- Source of annotation: Marvin or Ruth Sackner.

Amazon.com: Wording the Silent Art collects Barbara Caruso's essays on the contemporary art scene, including controversial issues like the National Gallery's purchase of Barnett Newman's Voice of Fire and the recent transformation of public galleries from institutions of preservation to places of pop entertainment and the effect this has on art. She also writes with elegance and verve on the subject of her own painting, on painting practice, and on how to look at visual art. Her generous and wise advice to a young painter is worth the price of this book alone. Caruso's is a unitary, clear, communicating voice, and she brings to the reader a marvellous and accessible vision of the essential nature of art in our lives. -- Source of annotation: Marvin or Ruth Sackner.

This exhibition, curated by Richard Martin, inegrates texts and textiles with stunning fashion designs. -- Source of annotation: Marvin or Ruth Sackner.

This catalogue covers "Text and Image in the Art of the Twentieth Century," in four sections, 1900-1940, 1940,-1970, and 1970-1990 and contains numerous reprinted essays as well as those written especially for the exhibition. Topics include Concrete and Visual Poetry, Language relating to Fluxus and Dada, and texts on Marcel Broodthaers, A.R. Penck, Neil Jenney, Nancy Dwyer, Tim Rollins and KOS, Ken Lum, and Barbara Kruger among others. -- Source of annotation: Marvin or Ruth Sackner.

Thomas Ingmire's Calligraphic drawing "Forgive Them" (1986) reproduced in this book is held by Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

Brian Dettmer's book "Modern Progress, Altered Book" illustrates an essay by Liesl Schillinger. It is similar to his book in the Sackner Archive where the artist carves into the book creating a complex, three dimentional unique artist's book. -- Source of annotation: Marvin or Ruth Sackner.

This exhibition was curated by Isabella Puliafito. It demonstrated the language in art, for the most part conceptual works, of the 1970's. -- Source of annotation: Marvin or Ruth Sackner.

This text is an English translation of the essay by Elkin Restrepo in Suarez Londono's book, "Obra sobre Paper." Restrepo writes, "Through the character of his drawing, from the use of the petroglyph and the primitive symbolism (where the sketch, the styling, and the rhythm are the base of every representation), to the almost photographic, exquisite treatment of reality, Suarez creates a scale where only the figure is the foundation and the pinnacle. A type of representation where hierarchies and scales unite, and where forms, strokes, tones and images are intertwined...We remember the old Mallarme saying, "The universe is a book," especially as we find that, behind these diaries, notebooks, and sketch books, Suarez orders ideas of the infinite." -- Source of annotation: Marvin or Ruth Sackner.