Librarian Judith Hoffberg created Umbrella in 1978 as “a means of intercommunication for art historians, artists, librarians and anyone else who is interested” in “news and information relative to a part of art history that usually never gets discussed in the mainstream.” This meant artist books and mail art, mostly, but the journal’s blue and black pages were open to more.
In the listings section of each issue is the heading Lost and Found, under which went news briefs related to artistic heists and recoveries. Below is a sampling of the reach of art’s underworld.
Find our incomplete collection (30+ issues) of the irregular journal in Periodicals.
The Sienese Shredder
nos 1-4; 2006-2010
The Sienese Shredder #1 has a mango cover with a fox and a clock. Inside, right off the bat, is History and Truth (a commencement address), followed by Gérard de Nerval’s Chantilly (“filled with very old retired servants, walking their limping dogs”), postcard collages by John Ashbery, music by Alan Shockley, the marketing of surrealism, Ron Padgett, Harry Mathews, A Parliament of Refrigerator Magnets, delirious episodes in contemporary art, a poem played out through a lyrical Twister, a Duchampian chess challenge bearing a cupid, Honey’s Metaphoric Energy Transfer, The New Crustacean, and more, ending after over 200 pages with J-K Huysmans, of Against Nature, in Haarlem.
Flip through the next three and find currency collages, mute critics, bughouse poets, Whitman’s glasses, Toilet Rolls, Macintoshages, octopussarian impulses, de Kooning’s last drawing, epitaphs by William Beckford, eyeballs, giant-size mini books, spools by Crumb, and Jesus Christ. These aren’t even the highlights.
Founded and edited by Brice Brown and Trevor Winkfield, The Shredder ran for four issues, 2006-2010. Each issue contained an audio CD. “Contents can include writings by visual artists; art by writers; poets as installation artists; photographers as poets, and the range of contributors moves from the well-known and up-and-coming to the unknown or forgotten,” says the website (which has excerpts and issues for sale).
The complete series is available in our Periodicals archive.
The “Silverware & Utensils” folder is one of four subdivisions under the “Table Settings” category.
A particular highlight of this folder is the Limited Edition Portfolio from the Lauren Stanley Gallery which showcases their collection of American Soup Ladles from 1800-1900. It comes with a separate booklet that includes extensive information on the exhibited ladles, their history and manufacturers. Detailed descriptions are included on the back of each photograph as well.
This portfolio contains 38 images, with a total of 70 pictures in the entire folder.
We recently received a donation of over 30 beautiful, though decrepit, children’s books from the early 20th century. The haul gave the existing Illustration – Children’s Books category a hefty influx of content and prompted us to divide the subject chronologically as follows:
Illustration – Children’s Books – Pre – 1920’s
Illustration – Children’s Books – 1920-1929
Illustration – Children’s Books – 1930-1939
Illustration – Children’s Books – 1940-1979
Illustration – Children’s Books – 1980-1989
Illustration – Children’s Books – 1990-Present
Clefs and lattices of lines, notes and rests, presence and absence, signatures and articulations, the graphic art of musical notation serves as both rigid explanation and expressive abstraction. Below find samples illuminated and otherwise unadorned from our Picture Collection, ranging from the Italian Renaissance to 2006.
Following is a selection of sheet music from the 1879 book The Baby’s Boutique, Illustrated by Walter Crane, an influential, prolific illustrator that you can learn more about in our book stacks:
Not created to sell products, but rather to sway opinion and, of course, initiate and raise awareness, public awareness ads (PSA’s) recall the issues; the fears, deficiencies, and perceived instances of collective ignorance of a given time. Related to Advertising – Corporate Identity in their shared use of propaganda like techniques, these print manifestations of agenda can be very impactful. We divide Advertising – Awareness chronologically: Advertising – Public Awareness – Pre-1980 Advertising – Public Awareness – 1980-1989 Advertising – Public Awareness – 1990-1999 Advertising – Public Awareness – 2000-2010 Advertising – Public Awareness – 2010-2019