Scope and Contents In this critical text in Portuguese, Pimenta quotes Carl Andre:Questions and Answers1. Who is an artist? A. An artist is one who says he is an artist B. An artist is one who has a diploma from an [art academy C. An artist is one who makes art D. An artist is one who makes money from art. E. An artist is none of these things, some of [these things, all of these things2. What is art? A. Art is what an artist says is art B. Art is what a critic says is art C. Art is what an artist makes D. Art is what makes money for an artist E. Art is none of these things, some of these [things, all of these things3. What is quality in art? A. Quality in art is a fiction of the artist B. Quality in art is a fiction of the critic C. Quality in art is the cost of making art D. Quality in art is the selling price of art E. Quality in art is none of these things, some [of these things, all of these things,4. What is the relationship between...

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Subtitled "An Etymology of Words That Once Were Names," the author presents 1500 words that have their origins in the names of people and places. -- Source of annotation: Marvin or Ruth Sackner.

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Review of Finlay's exhibitions at Deictorhallen, Hamburg and Victoria Miro Gallery, London on the occasion of Finlay's 70th birthday. -- Source of annotation: Marvin or Ruth Sackner.

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This exhibition features impossible objects with captions that stylistically are reminiscent of Roland Topor's work. -- Source of annotation: Marvin or Ruth Sackner.

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Suarez Londono's works on paper consist of engravings and mixed media. The series illustrated in the book are E.S.A.V., Retratos [Portraits], Universidad Pontificia Bolivariana, Degas, Yolovei, Eno, Paul Klee, Grabados [Engravings] and Wild Horses. Several of these works are artist notebooks. The book is also illustrated with 82 small pictures of historic and contemporary art works of importance to Suarez including a self-portrait of Tom Phillips painted on a page from A Humument, similar in imagery to a page held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

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It is mentioned that Hatherly's work is held by the Sackner Archive (cited as Ruth and Marvin Archive). -- Source of annotation: Marvin or Ruth Sackner.

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The Sackner Archive held the original drawing (donated to PAMM) for the photocopied print depicted from the drawing "P4R" in this catalogue on page 75. In an interview of Ferrari, it is mentioned that he has recently began to produce limited editioned high quality photocopies and heliograph copies of his original drawings. -- Source of annotation: Marvin or Ruth Sackner.

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This might be a book rather than an exhibition catalogue but the author is not readily apparent. The last page of this copy has been cut and mended with Acotch tape without destoying he content of the poems. The title translates to works on writing or letttering. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This might be a book rather than an exhibition catalogue but the author is not readily apparent. The title translates to works on writing or letttering. -- Source of annotation: Marvin or Ruth Sackner.

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Karl Young wrote the introductory biographical essay on Kitasono Katue. Of interest is that some conventional and visual poems by Katue were written in English. This book includes the sole interview of Katue translated into English that appeared in Yu #8, 1975. Examples of poems from the late 1920s to early 1930s that are reproduced in this book are Japanese concrete poems. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

Karl Young wrote the introductory biographical essay on Kitasono Katue. Of interest is that some conventional and visual poems by Katue were written in English. This book includes the sole interview of Katue translated into English that appeared in Yu #8, 1975. Examples of poems from the late 1920s to early 1930s that are reproduced in this book are Japanese concrete poems. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This book is a collection of essays on Liberature and James Joyce's works held on Bloomsday in Krakow in 1999 and 2000. An English summary appears at the end of the book. The editor in her essay makes the point that all Joyce's books go round in circles beginning and ending with the same themes: family, death, resurrection or rebirth. The cover depicts a reproduction of Drozd's room installation of letters that was shown in the Beyond Geometry exhibition, LACMA and Miami Museum of Art 2004. -- Source of annotation: Marvin or Ruth Sackner.

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One hard cover book is a catalog edited by Heinz Ohff which reviews seven years' work by this group, who are well known for extensive use of woodblock printing and lettering. Four hard cover books, all with perforated front covers, are devoted to wor one artist of the group, viz, Vennekamp, Bremer, Waldschmidt, and Schindehutte. The artistic content of these books features visual/verbal, erotic, and surrealistic imagery. The Sackner Archive owns an unsigned edition published for an exhibition. -- Source of annotation: Marvin or Ruth Sackner.

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The soft cover book is for an exhibition (7 years' work) curated by Heinz Ohff. The group is well known for extensive use of woodblock printing and lettering. The hard cover books, all with perforated front covers, are devoted to works by a single artist of the group, viz, J. Vennekamp, U. Bremer, A. Waldschmidt, and A. Schindehutte. The artistic content of these books features visual/verbal, erotic, and surrealistic imagery. The Sackner Archive owns a signed edition published as a catalog. -- Source of annotation: Marvin or Ruth Sackner.

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The photograph depicts Butor and Qotbi. Michel Sicard contributed an essay in which he defiined the types of work that Butor entered into a collaboration with artists. -- Source of annotation: Marvin or Ruth Sackner.

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Lucien Wasselin contributed the preface to this book that consists of the reprinting of Garnier's published works. -- Source of annotation: Marvin or Ruth Sackner.