Gerard Stigter (6 November 1936–12 August 2021), known by the pseudonym K. Schippers, was a Dutch poet, prose writer and art critic. Credited with having introduced the readymade as a poetic form, his work is dedicated to looking at everyday objects and events in a new way.

In the transition from Symbolism to international modernism that occurred between Ferdinand Hodler and Mondrian, no other Swiss artist succeeded in creating an oeuvre as confident and idiosyncratic as that of Otto Meyer-Amden. Born in 1885 in Bern, Meyer initially trained as a lithographer before attending the School of Arts and Crafts in Zürich. Following a semester at the Academy of Arts in Munich, he joined the Royal Academy of Fine Arts in Stuttgart in 1907, where he studied for a short time under Adolf Hölzel, whose interest in abstract formal principles set him apart from the prevailing naturalism of the time. It was there that he encountered Willi Baumeister and Oskar Schlemmer, with whom he would go on to maintain a close exchange until his death, exerting a strong influence on the pair.

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

Produced on the occasion of Markus Raetz’s exhibition at the Stedelijk Museum, Amsterdam, 6 April–20 May, 1979.

SM Cat. No 654a.

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

Produced on the occasion of the exhibition Eduardo Paolozzi: Work in Progress at the Kölnischer Kunstverein, 19 October–11 September, 1979.

Eduardo Paolozzi (1924-2005) was one of the most innovative and irreverent artists of the 20th century. Considered the ‘godfather of Pop Art’, his collages, sculptures and prints challenged artistic convention, from the 1950s through to the Swinging Sixties and advent of ‘Cool Britannia’ in the 1990s.

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

Speaking about her work, Wex notes that her endeavor was “based on the assumption that body language is the result of sexoriented, patriarchal socialization, affecting all of our ‘feminine’ and ‘masculine’ role behavior.” Her discovery was that “body language and bodily ideals between sexes have become increasingly divergent.”

The resulting body of photographic collages is unique: they combine the history of street photography and the typologies of the Becher School with conceptual art imperatives, especially in their possibilities for modular recombination. Let’s Take Back Our Space might be classified, non-exhaustively, as a feminist broadside, an encyclopedia of gesture, an ethnographic portrait of Hamburg in the 1970s, a genealogical tract on art history, a neglected classic of appropriation art and a kind of autobiography.

Dimitrijević gained an international reputation in the seventies with his Casual passer-by series, in which gigantic photo portraits of anonymous people were displayed on prominent facades and billboards in European and American cities. The artist also mimicked other ways of glorifying important persons by building monuments to passers-by and installing memorial plaques in honour of anonymous citizens.