Produced on the occasion of the forthcoming publication The Stuart Sherman Papers, published by Flat i, Amsterdam.

The Stuart Sherman Papers presents a selection of facsimile reproductions from his archive. This collection of entries is not exhaustive but conveys the diversity in Sherman’s writing, which used the ever-expanding vocabulary of the English language as a plastic material to study the abundance of meaning that can be derived through playing with combinations, order, and proximity of words. The texts reproduced here leave his edits, scribbles, and notes to self intact, presenting the page as Sherman last engaged with it.

Designed by Robert Milne.

In the artist’s book My sweet little lamb, Mladen Stilinović deals with the relationship between language and reality and the resulting identity constellations. In doing so, he makes reference to Ludwig Wittgenstein’s “language-games,” where the simple use of linguistic elements is always intertwined with actions to gauge their actual meaning. The artist employs quotations from Wittgenstein’s “Tractatus Logico-Philosophicus” such as: “Everything we see could also be otherwise,” “Objects I can only name,” and “The limits of my language mean the limits of my world.” These sentences also relate to objects and actions that the artist witnessed on the street, such as a delivery van for meat with the image of a piglet printed on the outside and the accompanying slogan “My sweet little lamb.” Stilinović thereby questions the reality of what one sees in combination with its textual denotation in the sense of a “language-game.” This particular work refers to different religions and their eating customs in its specific naming of food.

Image: Presentation of a round bar of wood by André Cadere, Galerie Yvon Lambert, Paris, 23 November–7 December 1975 in André Cadere: Peinture sans fin, Verlag der Buchhandlung Walther König, Köln, 2007, p. 75.

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.