Produced on the occasion of the exhibition Documenting Cadere, 1972–1978, MuZEE, Oostende, 2 March–2 May, 2013, curated by Lynda Morris.

André Cadere belonged to a generation of European artists who contested the art object and institutional framework of the art world in which they operated. Best known for carrying his Barres de Bois Rond—Round Bars of Wood—wherever he went. His appearances at the most important private views of contemporary art across Europe became legendary. With his round bar of wood in hand he would intervene in a provocative way on other artists’ exhibitions in galleries and museums.

You can see Lynda Morris talking about Cadere here.

*Please note this publication is secondhand and has some traces of previous ownership.

Produced on the occasion of the exhibitions; André Cadere at Institute of Contemporary Art, P.S. 1 Museum, 15 October–10 December, 1989 and L’Hommage André Cadere at Musée d’Art Moderne de la Ville de Paris, 6 July–4 October, 1992.

André Cadere belonged to a generation of European artists who contested the art object and institutional framework of the art world in which they operated. Best known for carrying his Barres de Bois Rond—Round Bars of Wood—wherever he went. His appearances at the most important private views of contemporary art across Europe became legendary. With his round bar of wood in hand he would intervene in a provocative way on other artists’ exhibitions in galleries and museums.

*Please note this publication is secondhand and has some traces of previous ownership.

George Platt Lynes is recognized today as a master of 20th century photography, influencing artists such as Robert Mapplethorpe and Herb Ritts. Though Lynes was commercially successful in New York fashion and portrait photography, his art practice is largely characterized today by his remarkable photographs of nude men, from the 1930s until his death in 1955. Using inventive lighting, posing, and cropping techniques within his carefully staged studio settings, he was able to visually translate both the physical and psychological nuances of his subjects.

*Please note this publication is secondhand and has some traces of previous ownership.

George Platt Lynes is recognized today as a master of 20th century photography, influencing artists such as Robert Mapplethorpe and Herb Ritts. Though Lynes was commercially successful in New York fashion and portrait photography, his art practice is largely characterized today by his remarkable photographs of nude men, from the 1930s until his death in 1955. Using inventive lighting, posing, and cropping techniques within his carefully staged studio settings, he was able to visually translate both the physical and psychological nuances of his subjects.

*Please note this publication is secondhand and has some traces of previous ownership.

George Platt Lynes is recognized today as a master of 20th century photography, influencing artists such as Robert Mapplethorpe and Herb Ritts. Though Lynes was commercially successful in New York fashion and portrait photography, his art practice is largely characterized today by his remarkable photographs of nude men, from the 1930s until his death in 1955. Using inventive lighting, posing, and cropping techniques within his carefully staged studio settings, he was able to visually translate both the physical and psychological nuances of his subjects.

*Please note this publication is secondhand and has some traces of previous ownership.

A compendium to the widely traveled installation of the same title, this book guides us through the “set” of a 19th century museum room where all aspects of what we see are covered with traces of the artist’s likeness. (Self) portraits which take the form of vanity mirrors, watermark porcelain tea cups, chocolates, cameos, designs for her tombstone commemorative stamps showing the hospital where the artist was born, even period chairs upholstered with a cloth pattern of the artist’s dental X-rays. The texts delve us into the worlds of Hegel on The Greek Profile, Virginia Woolf’s The Lady in the Looking Glass, Ovid’s myths of Echo and Narcissus, Bruce Chatwin’s Utz, and Wilde’s Picture of Dorian Gray. The overall effect of this elegant, subtle and ironic work is ultimately quite eerie.

*Please note this publication is secondhand and has some traces of previous ownership.