Edited by Heike Kerstin Ander, and Dirk Snauwaert. Texts by André Cadere, and Bernard Marcelis; with an introduction by Dirk Snauwaert, and Peter Weibel. Accompanying second volume of Geschichte Einer Arbeit.

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.

Edited by Heike Kerstin Ander, and Dirk Snauwaert. Texts by André Cadere, and Bernard Marcelis; with an introduction by Dirk Snauwaert, and Peter Weibel. Accompanying second volume of Geschichte Einer Arbeit.

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.

Edited by Heike Kerstin Ander, and Dirk Snauwaert.

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.

Produced on the occasion of the exhibition In search of Eulenkippstadt at Robert Prime Gallery, London, March 6 – 19 April, 1996.

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

In response to publishers’ demands that writers possess a body of reviews of their work, Richard Kostelanetz compiles all known reviews and mentions of his work in the press.

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

Sherrie Levine rose to prominence as a member of the Pictures Generation, a group of artists based in New York in the late 1970s and 1980s whose work examined the structures of signification underlying mass-circulated images, and, in many cases, directly appropriated these images in order to imbue them with new, critically inflected meaning. Since then, Levine has created a singular and complex body of work in a variety of media that often explicitly reproduces artworks and motifs from the Western art-historical canon as well as non-Western cultures.