Little Sparta: Wild Hawthorn Press, 1990
14 x 12.4cm, 4pp and printed card wrappers. Internally are two poems by Finlay.
TOMBSTONE
Sundial
without
a gnomon
opposite to
MARBLE
Parachute
of
the gods.
Both images are of stones. The tombstone is a reminder of the passing of time even without the gnomon. The beauty of marble has landed from the heavens above.
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A colour photograph (10 x 15cm) of two wooden works by Finlay - Water's Edge/Water Sedge and Stem & Stern. Date unknown.
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Dunsyre: Sue Finlay, n.d.
5.5 x 8.5cm, b/w business card for Sue Finlay offering her services as a reiki therapist (a pseudoscience based on non-touch massage) VG+.
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Basel: Stampa, 1990.
15 x 10.5cm, 2pp announcement card for a solo show with the work "Matisse chez Duplay" from 1989 on the front.. VG+.
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1990n.d. 21 x 15cm, 2pp announcement card for a group show with works from Anselmo, Richard Artswager, John Baldessari, Baumgarten, Cragg, Deacon, Horn, Oldenberg, Munoz, Penone, Shutte, Struth, Toroni, Wall, Lawrence Weiner as well as Boltanski. The front is an uncredited drawing based on the gallery floor plan. A mailed example. VG+....
Nevers: Apac, 1990
15 x 21cm, 2pp typographic design announcement card for a joint show between the two friends and concrete poets. VG+.
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Nevers: Centre d'art contemporain, 1990
15 x 10.5cm, Two bound in printed 6pp single sheets in outer 8pp wrappers. Ostensibly an exhibition catalogue but in fact a joint artist's book with Cutts. The two sections of the inner fold outs have on the left a text "a line of thin pale blue" and the sheet is bound in by a blue thread. This is claimed to be a "translation of a line by Mallame (a poet who can lay claim to have published the first ever concrete poem). On the right section there is a text: "a line of thin pale red" and the sheet is bound in by a blue thread. This is a "translation of a line by Chenier." André Marie Chénier was a poet who lost his life on the guillotine only three days before the overthrown of Robespierre.
The first is a line referring to the horizon, the second to the line of blood from the throats of the murdered - opponents of the Terror sometime wore thin red threads around their body to indicate their mourning for the dead.
A lovely artist's book - the theme (red thread) of which Finlay used in sculptures such as Aphrodite of the Terror from 1987.
Explanatory texts in English and French. . VG+.
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Berlin: Galerie Jule Kewenig, 1990
49.5 x 39cm, 8pp (self cover). Exhibition catalogue in the form of a tabloid newspaper, two large b/w images of sculptural works by Finlay, an illustrated text in English and German on the Battle of Little Sparta and a double centre fold displaying the Crate Furniture for Sans-culottes. Folded into sixes as issued. VG+.
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London: Victoria Miro Gallery, 1990
21 x 15cm, 4pp. Original printed pink glossy wrappers . An exhibition catalogue with no illustrations only a commentary by Stephan Bann internally on the them of Idylls in Finlay's output with particular emphasis on the neo-classical works. VG+.
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Little Sparta: Wild Hawthorn Press, 1987 29.6 x 21cm, 4pp folded sheet with a proposal for a walled pool with "granite, water and white neon". Finlay notes "the proposed sculpture treats the building's entrance hall as an atrium: it brings the 'clouds' (in five languages, including Spanish) down through the distinctive tower and dome, to be reflected in the pool. There is a reproduced colour drawing of the pool in plan and in side by Andrew Townsend. VG+. ...
Little Sparta: Wild Hawthorn Press, N.D. (1990)
19 x 13.3cm, 1pp artist's card with a drawing by Gary Hincks of American battle decals (stars) placed such as there is a visual correspondence with a patch of water-lilies. VG+. ...
NYC: n.p., 1990
5 x 5cm, colour transparency with a colour image of the Boltanski sculpture ""Reserve of Dead Swiss"" from 1990 which was shown at the MCA in Chicago. Handwritten legend on the plastic - a slide provided by a gallery to press or clients. VG+.
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