A communication: invitation cards by the artist stanley brouwn Revue Faire n°04

Published by Faire, Paris, 2018, 20 pages w. foldout poster (colour & b/w ill.), 20 × 29 cm, English

Price: €7

Revue Faire is a bi-monthly magazine dedicated to graphic design, published from October to June, distributed each two months in the form of anthologies of three or four issues. Created by Empire, Syndicat studio’s publishing house. Each publication documents a specific object, addressed by a renowned author, this edition focuses on the invitation cards by the artist stanley brouwn.

#2018 #revuefaire #stanleybrouwn
preussische maasse und gewichte stanley brouwn

Published by Wiens Verlag, Berlin, 2013, 96 pages, 15.5 × 15.5 cm, German

Price: €40

Artist book by stanley brouwn, produced by the Wiens Verlag, Berlin in 2013.

The book is a reproduction of the book Taschenbuch der Münz-. Maass- und Gewichtsverhältnisse, Leipzig 1851. It dealt with the entire European measurement system in the middle of the 19th century.

#2013 #artistbook #stanleybrouwn
portraits of spaces stanley brouwn

Published by Stedelijk Museum voor Actuele Kunst, Ghent, 2001, unpaginated, 15.5 × 15.5 cm, English / French

Price: €60

Artist book by stanley brouwn, produced by the Stedelijk Museum voor Actuele Kunst, Ghent in 2001.

#2001 #artistbook #stanleybrouwn
invitation card stanley brouwn

Published by Haubrok Foundation, Berlin, 2018, card, 14.8 × 10.5 cm, English

Price: €24

“Behind the standards put in place for the communication related to his exhibitions—the use of lowercase and Helvetica exclusively, the refusal to reproduce images of his work, to produce (or allow production of) written commentary on the subject of the same work, to appear in the context of a vernissage or even to answer an interview—the artist stanley brouwn builds his identity by way of ellipses. The invitation cards for his solo exhibitions provide a symptomatic example: set almost exclusively in Helvetica, the absence of uppercase, flying in the face of the graphic identity of the gallery or the host institution, they seem impossible to date, give or take twenty years” From Revue Faire – To look at things #4, Céline Chazalviel.

#2018 #ephemera #stanleybrouwn
invitation card stanley brouwn

Published by Haubrok Foundation, Berlin, 2014, card, 13 × 10 cm, English

Price: €24

“Behind the standards put in place for the communication related to his exhibitions—the use of lowercase and Helvetica exclusively, the refusal to reproduce images of his work, to produce (or allow production of) written commentary on the subject of the same work, to appear in the context of a vernissage or even to answer an interview—the artist stanley brouwn builds his identity by way of ellipses. The invitation cards for his solo exhibitions provide a symptomatic example: set almost exclusively in Helvetica, the absence of uppercase, flying in the face of the graphic identity of the gallery or the host institution, they seem impossible to date, give or take twenty years” From Revue Faire – To look at things #4, Céline Chazalviel.

#2014 #ephemera #stanleybrouwn
invitation card stanley brouwn

Published by Haubrok Foundation, Berlin, 2012, card, 15 × 10.5 cm, English

Price: €24

“Behind the standards put in place for the communication related to his exhibitions—the use of lowercase and Helvetica exclusively, the refusal to reproduce images of his work, to produce (or allow production of) written commentary on the subject of the same work, to appear in the context of a vernissage or even to answer an interview—the artist stanley brouwn builds his identity by way of ellipses. The invitation cards for his solo exhibitions provide a symptomatic example: set almost exclusively in Helvetica, the absence of uppercase, flying in the face of the graphic identity of the gallery or the host institution, they seem impossible to date, give or take twenty years” From Revue Faire – To look at things #4, Céline Chazalviel.

#2012 #ephemera #stanleybrouwn