A survey of the Belgian artist’s work over more than 35 years, this book constitutes the first comprehensive monograph dedicated to the work of the Belgian artist Jacqueline Mesmaeker. The catalog first presents forty one of her works by means of illustrations and notices. The book also includes a dozen essays addressing her singular artistic approach, as well as a biography and a bibliography.

Edited by Olivier Mignon. Contributions by Muriel Andrin, Michel Assenmaker, Koen Brams, Laurent Busine, Corinne Giandou, Luk Lambrecht, Anaël Lejeune, Lynda Morris, Raphaël Pirenne, Benoit Platéus, Dirk Pültau, Philippe-André Rihoux, Georges Roque, Thierry Smolderen, Pierre Sterckx.

Produced on the occasion of the exhibition Lynda Morris / Dear Lynda… at White Columns, New York and Chelsea Space, London, 2012.

An exhibition that considers the ongoing practice of the British curator and writer Lynda Morris. As with the term ‘artist’s artist’ there should perhaps be an additional category of ‘artist’s curators’ for which Morris would be an exemplary figure. Having worked for most of her career in regional British cities (inc. Nottingham and Norwich), Morris’ ongoing advocacy for the social realities and political necessity of art is evident in her most recent major project “Picasso: Peace and Freedom” an exhibition and accompanying book that she organized for Tate Liverpool, England, a project that considered the legacy of Picasso’s involvement in and support of the Peace movement.

Including the work of Art & Language, Gilbert & George, Andre Cadere, John Baldessari, David Lamelas (whose early works Morris appeared in), Richard Hamilton, Bernd and Hilla Becher, Marcel Broodthaers, Gustav Metzger, Stephen McKenna, Nigel Henderson, John Wonnacott, Jeremy Deller, Lucy McKenzie, Marc Camille Chaimowicz, John Stezaker, and more—White Columns press release

Documenting Cadere, 1972–1978 is curated by Lynda Morris and draws on her personal archive and the archives of the Herbert Collection, Ghent, Massimo Minini, Brescia and Barry Barker, London.

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.

The publication contains new translations of lectures given by Cadere; an interview with the artist conducted by Morris in 1976; plus new essays by Morris, and two other figures who worked closely with Cadere, British curator Barry Barker and Italian gallerist Massimo Minini. You can see Lynda Morris talking about Cadere here.