Scope and Contents Amazon.com: The art of embellishing popular reproduction usually entails irreverence, whether it be Duchamp's famous additions to a postcard of the Mona Lisa or the kinds of tweaking seen on subway advertisements. The Mexican artist known as Dr. Lakra embellishes 1950s pinup-magazine reproductions to introduce a content not only irreverent but uncomfortable (and certainly contrary to the intentions of his soft-porn source material)--mortality. The series of works that comprise this velvet-bound volume began with a collection of vintage magazines about nudist camps that Lakra bought at the Sunday market on Brick Lane in London. He set to work despoiling the hygienically upbeat sensuality of these nude models with a morbid parade of skeletons and ghouls, who paw and loom at their prey with crude, lascivious glee, dragging both sex and death down to the level of earthy fact. Lakra's ghouls are not mere doodles; in their visual character, these creatures draw on the Day of the Dead...

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HeMi is Henning Mittendorf. The accompanying broadside prints the word "peace" in several languages. -- Source of annotation: Marvin or Ruth Sackner.

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Printed on Barcham Green paper. The silkscreened cake-board silkscreen has a title, "The Paddocks." Chopin has inscribed on the verso that two of the images in the print were done by Biguier and Bertini. The cardboard print is stored in a Chopin storage box. -- Source of annotation: Marvin or Ruth Sackner.

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In his screen "Cogito Ergo Sum," commissioned by the Sackners, John Furnival used illustrations from the occult works of Robert Fludd, the last of the true Renaisssance men. These include The Solar Logos, The Division of the Waters, The Pythagorean Tetrad, The Diapason Closing Full in Man, The Descent and Re-ascent of the Soul, The Qualities of the Winds, and Chiromancy. -- Source of annotation: Marvin or Ruth Sackner.

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In this book, Stephen Bann who wrote the text, provides a critical analysis of Finlay's Picture (Emblem) Poems, which are reproduced with commentary, one to a page. The poems include among others "Woodland is Pleasing to the Muses, Et in Arcadia Ego, Out of the Strong Came Forth Sweetness, Through a Dark Wood, Battle of Midway Fourth June 1942 (1) and Battle of Midway Fourth June 1942 (2). -- Source of annotation: Marvin or Ruth Sackner.

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In this book, Stephen Bann who wrote the text, provides a critical analysis of Finlay's Picture (Emblem) Poems, which are reproduced with his commentary, one to a page. The poems include among others "Woodland is Pleasing to the Muses, Et in Arcadia Ego, Out of the Strong Came Forth Sweetness, Through a Dark Wood, Battle of Midway Fourth June 1942 (1) and Battle of Midway Fourth June 1942 (2). -- Source of annotation: Marvin or Ruth Sackner.

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This catalogue was published on the occasion of the exhibition oh Heterotopia at the Deusches Architekturmuseum (DAM) from May to August 2008 in collaboration with the Dr. Guislaiin Museum in Ghent. Michel Foucault used the term "heterotopia" to refer to parallel social worlds tht display a different fabric of relationships and a different order - enclaves in the real world, such as prisons and sanatoriums. This book features works that can be considered "Outsider Art" - working outside the mainstsream, their authors are people exposed to extreme mental strains and pushed to the fringes of society. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents HEXEN2.0 specifically investigates the participants of the seminal Macy Conferences (1946-1953), whose primary goal was to set the foundations for a genersl science of the workings of the human mind...HEXEN2.0 draws this material together in the form of alchemical diagrams, photo-text works, drawings and designs for 78 card Tarot deck. [Hexen2.0 is] based on actual events, people, histories and scientific projections of the future."The 78 Tarot cards feature alchemical drawings depicting interconnected histories of the computer and the Internet, cyberbetics and counter culture, science fiction and scientific projections of the future, government and military research programmes, social engineering and ideas of the control society." Treister's art work is comarable to that of Mark Lombardi but with a more expressionistic style. Internet: Suzanne Treister (b.1958 London UK) studied at St Martin's School of Art, London (1978-1981) and Chelsea College of Art and Design, London...

Scope and Contents HEXEN2.0 specifically investigates the participants of the seminal Macy Conferences (1946-1953), whose primary goal was to set the foundations for a genersl science of the workings of the human mind...HEXEN2.0 draws this material together in the form of alchemical diagrams, photo-text works, drawings and designs for 78 card Tarot deck. [Hexen2.0 is] based on actual events, people, histories and scientific projections of the future...Treister's art work is comarable to that of Mark Lombardi but with a more expressionistic style. Internet: Suzanne Treister (b.1958 London UK) studied at St Martin's School of Art, London (1978-1981) and Chelsea College of Art and Design, London (1981-1982), and is now based in London having lived in Australia, New York and Berlin. Initially recognized in the 1980s as a painter, she became a pioneer in the digital/new media/web based field from the beginning of the 1990s, making work about emerging technologies, developing fictional worlds and...

Scope and Contents

HEXEN2.0 specifically investigates the participants of the seminal Macy Conferences (1946-1953), whose primary goal was to set the foundations for a genersl science of the workings of the human mind...HEXEN2.0 draws this material together in the form of alchemical diagrams, photo-text works, drawings and designs for 78 card Tarot deck. [Hexen2.0 is] based on actual events, people, histories and scientific projections of the future... -- Source of annotation: Marvin or Ruth Sackner.

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In the introduction, the author writes that "The constant relation between a hieroglyph and its value as an image explains the deep nature of its tie with art. Every hieroglyph may itself be a work of art, as often occurs in writing on monuments. Reciprocally, every artistic object from ancient Egypt should be read and decoded in its elements as a hieroglyphic whole...Text and image frequently interpenetrate...Some sculptures are truly three-dimensional hieroglyphs, gigantic stone rebuses." The introduction explains hieroglyphic writing. The main section of the book traces the origins and meaning in detail of approximately 600 hieroglyphics used in the classical phase of Egypt's sacred writing. A glossary and a bibliography are also included. -- Source of annotation: Marvin or Ruth Sackner.