Products

  • Magazine, Women's Art Magazine, No. 61, Women's Art Library, London, November/December 1994. Staple-bound magazine with dark green cover featuring a close-up blurred photograph of a woman's face, mouth open. Text reads: Women's Art Magazine, A Women's Art Library Publication, No61 November/December 1994, £2.50/$10. Cover line: Linda Nochlin: Confessions of a Feminist Thinker. Magazine, Women's Art Magazine, No. 59, Women's Art Library, London, 1994. Special Photography Issue. Staple-bound magazine with gold-toned cover featuring a photograph of a woman in costume reclining — Cindy Sherman. Text reads: Women's Art Magazine, A Women's Art Library Publication, No59 1994, £3.00/£15. Banner top and bottom: Photography Issue Special Photography Issue Special Photography. Cover text: Cindy Raids the Wardrobe.

    WOMEN'S ART MAGAZINE — Nos. 57–61 — Women's Art Library, London, 1994

    WOMEN'S ART MAGAZINE — Nos. 57–61 — Women's Art Library, London, 1994

  • Joyce Agee, Catherine Elwes, Jacqueline Morreau, Pat Whiteread — Women's Images of Men, front cover, 1980 Joyce Agee, Catherine Elwes, Jacqueline Morreau, Pat Whiteread — Women's Images of Men, interior colour plates

    Women's Images of Men — ICA, London, 1980

    Women's Images of Men — ICA, London, 1980

  • Centre Pompidou postcard reproducing a 1968 black-and-white photograph by Harry Shunk and János Kender of Yayoi Kusama on the Brooklyn Bridge with nude performers covered in polka dots holding a banner reading “KUSAMA SELF-OBLITERATION.” Reverse of Centre Pompidou postcard with French caption details for Yayoi Kusama’s *Explosion anatomique, Pont de Brooklyn, New York, 1968*, crediting Harry Shunk and János Kender, the Bibliothèque Kandinsky archive, and Éditions du Centre Pompidou.

    Yayoi Kusama — Explosion anatomique, Pont de Brooklyn, New York, 1968, Centre Pompidou Postcard, 2019

    Yayoi Kusama — Explosion anatomique, Pont de Brooklyn, New York, 1968, Centre Pompidou Postcard, 2019

  • 2017 Yayoi Kusama exhibition invitation card featuring a studio portrait of the artist seated at a table surrounded by vividly colored *My Eternal Soul* paintings. Kusama wears her signature bright red wig and an orange dress with black polka dots, visually blending into the dense field of reds, blues, dots, and biomorphic patterns surrounding her. Reverse side of a 2017 Yayoi Kusama exhibition invitation card from David Zwirner listing details for the concurrent exhibitions *Festival of Life* and *Infinity Nets* in New York. Black text on white card stock includes dates, gallery addresses, reception information, and exhibition titles.

    Yayoi Kusama — Festival of Life + Infinity Nets — Exhibition Announcement Card, David Zwirner, New York, 2017

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    Yayoi Kusama — Festival of Life + Infinity Nets — Exhibition Announcement Card, David Zwirner, New York, 2017

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  • 2019 Centre Pompidou exhibition postcard reproducing Harry Shunk and János Kender's black-and-white photograph of Yayoi Kusama's happening Manifestation non identifiée, New York, 1968, showing two nude figures standing and embracing in a dense installation environment of polka-dotted soft sculptures and pumpkin-like forms, one figure's head and upper body draped in an American flag printed with white stars on a dark ground, the other figure's body painted with large dark polka dots, the background filled wi Reverse of 2019 Centre Pompidou exhibition postcard for Yayoi Kusama, Manifestation non identifiée, New York, 1968, showing at upper left the credit Harry Shunk et János Kender in bold, below which the caption Yayoi Kusama, manifestation non identifiée, New York, 1968. / Paris, Centre Pompidou-MNAM/CCI-Bibliothèque Kandinsky. / Gift of the Roy Lichtenstein Foundation in memory of Harry Shunk and Janos Kender; below a blank address panel; at lower left the Centre Pompidou logo and copyright credits including

    Yayoi Kusama — Manifestation non identifiée, New York, 1968, Centre Pompidou Postcard, 2019

    Yayoi Kusama — Manifestation non identifiée, New York, 1968, Centre Pompidou Postcard, 2019

  • Yoko Ono *Dollar Piece* Printed Matter membership sheet from 2006 featuring a conceptual instruction text, reproduced signature, Studio One letterhead, and an illustration of the Dakota building at the bottom. Front of original Yoko Ono Studio One envelope distributed with the *Dollar Piece* Printed Matter membership multiple, showing return address information and light handling wear.

    Yoko Ono — Dollar Piece — Printed Matter Membership Multiple with Envelope, Studio One, New York, 2006

    Yoko Ono — Dollar Piece — Printed Matter Membership Multiple with Envelope, Studio One, New York, 2006

  • Original 1998 Young Americans 2 Part Two Saatchi Gallery London exhibition catalogue cover showing cream-white ground with centred black spaced-capital sans-serif typography reading 'YOUNG AMERICANS 2 / PART TWO SEPTEMBER 10 TO NOVEMBER 22 1998' followed by artist list: Michael Ashkin, John Currin, Tom Friedman, Martin Kersels, Clay Ketter, Robin Lowe, Josiah McElheney, Sarah Morris, Laura Owens, Elizabeth Peyton, Monique Prieto, Brian Tolle, Sue Williams, Lisa Yuskavage; 'THE SAATCHI GALLERY' at foot, all Reverse of 1998 Young Americans 2 Saatchi Gallery London exhibition catalogue showing plain cream-white stock with light age toning and surface marks, with small black sans-serif text at foot reading 'THE SAATCHI GALLERY 98A BOUNDARY ROAD LONDON NW8 0RH TELEPHONE: 0171-624 8299 / OPENING HOURS: THURSDAY, FRIDAY, SATURDAY & SUNDAY 12–6PM'.

    Young Americans 2: Part Two — Exhibition Catalogue, The Saatchi Gallery, London, 1998

    Young Americans 2: Part Two — Exhibition Catalogue, The Saatchi Gallery, London, 1998

  • Young Americans 2: Part Two, The Saatchi Gallery, London, 1998 Young Americans 2: Part Two, The Saatchi Gallery, London, 1998

    Young Americans 2: Part Two, The Saatchi Gallery, London, 1998

    Young Americans 2: Part Two, The Saatchi Gallery, London, 1998

  • Yves Klein, exhibition catalogue, Galerie Karl Flinker Paris 1973, IKB blue facsimile signature on cream, février–mars 1973 Yves Klein, Galerie Karl Flinker 1973, Anthropométrie, female torso in flesh tone against IKB blue sprayed ground, back cover

    YVES KLEIN — Exhibition Catalogue, Galerie Karl Flinker, Paris, 1973

    YVES KLEIN — Exhibition Catalogue, Galerie Karl Flinker, Paris, 1973

  • Yves Klein, exhibition invitation, Galerie Karl Flinker Paris 1973, Anthropométrie ANT 66, IKB blue body impressions on cream Yves Klein, Galerie Karl Flinker 1973, invitation interior, vernissage 13 février 1973, gallery address and exhibition dates

    YVES KLEIN — Exhibition Invitation, Galerie Karl Flinker, Paris, 1973

    YVES KLEIN — Exhibition Invitation, Galerie Karl Flinker, Paris, 1973

  • Original 2005 Yves Klein auction catalogue, Pierre Bergé & Associés, Drouot Richelieu, Paris. Front cover showing a colour photograph of La Vénus d'Alexandrie, a headless female torso sculpture coated in International Klein Blue (IKB), against a white ground. Title text in red and black: 'Vente Art Moderne / Art Contemporain / Quelques Klein... / de la collection Jean-Paul Ledeur / Le gardien du bleu'. Pierre Bergé & Associés imprint upper centre with associate names. Drouot Richelieu, Paris. Vendredi 25 no Open spread from 2005 Yves Klein / Jean-Paul Ledeur collection auction catalogue, Pierre Bergé & Associés. Left page: full-page black-and-white photograph of Yves Klein seated on the floor in a dark suit, holding a monochrome painting above his head and gazing up at it. Page number 4 lower left, with handwritten inscription 'W. Maywald' lower right. Right page: colour photograph of Jean-Paul Ledeur at work in a studio or laboratory, with blue pigment visible in the background, alongside the essay heading 'Y

    Yves Klein — Quelques Klein… de la collection Jean-Paul Ledeur, Pierre Bergé & Associés, 2005

    Yves Klein — Quelques Klein… de la collection Jean-Paul Ledeur, Pierre Bergé & Associés, 2005

  • Original 1973 Yvonne Rainer and John Erdman performance postcard showing a black-and-white photograph of Yvonne Rainer performing *Trio A*, balancing with one leg raised on a stage. Reverse of original 1973 Portland Center for the Visual Arts announcement card with exhibition text for Yvonne Rainer and John Erdman’s *This is the story of a woman who . . .* and Portland venue details.

    Yvonne Rainer & John Erdman — “This is the story of a woman who…” — Performance Announcement Postcard, Portland Center for the Visual Arts, 1973

    Yvonne Rainer & John Erdman — “This is the story of a woman who…” — Performance Announcement Postcard, Portland Center for the Visual Arts, 1973

  • ZOE LEONARD — Aerials. Hauser & Wirth, London, 2018 ZOE LEONARD — Aerials. Hauser & Wirth, London, 2018

    ZOE LEONARD — Aerials. Hauser & Wirth, London, 2018

    ZOE LEONARD — Aerials. Hauser & Wirth, London, 2018

  • Recto Zoe Leonard, Analogue, Hauser & Wirth Los Angeles, 2018. Invitation recto: white card; twelve colour and monochrome square photographs in a 4×3 grid with black film borders — street-level goods between use and resale: mattresses, garments on racks, stacked chairs, appliances, a mannequin, wrapped merchandise and cardboard boxes, all photographed on pavements or in storefronts. Verso Zoe Leonard, Analogue, Hauser & Wirth Los Angeles, 2018. Invitation verso: white card; 'ZOE LEONARD / ANALOGUE' in bold sans-serif; public opening Saturday 27 October 2018, 6–9 PM; '27 October 2018–20 January 2019'; 901 East 3rd Street Los Angeles; 'WWW.HAUSERWIRTH.COM'; work caption at foot — 'ANALOGUE (DETAIL), 1998–2009, 412 C-PRINTS AND GELATIN SILVER PRINTS, 28 × 28 CM © ZOE LEONARD'.

    ZOE LEONARD — Analogue. Hauser & Wirth Los Angeles, 2018

    ZOE LEONARD — Analogue. Hauser & Wirth Los Angeles, 2018

  • Cover of Zoe Leonard, I Want a President, Gato Negro, Mexico City, 2017, showing the title in large dark brown sans-serif type over a risograph-printed heart on a vivid orange wrapper, with the author name Zoe Leonard below and C¿MI colophon at lower left. Interior spread of Zoe Leonard, I Want a President, Gato Negro, 2017, showing white sans-serif text on black pages reading "someone who cross dresses and has done drugs and been in therapy." on the left and "I want someone who has committed civil disobedience." on the right, with visible hand-sewn binding at centre.

    Zoe Leonard — I Want a President, Gato Negro, Mexico City, 2017

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    Zoe Leonard — I Want a President, Gato Negro, Mexico City, 2017

    Placed
  • Recto Zoe Leonard, My Kindergarten Class Photo, 2013. Studio Museum in Harlem, Harlem Postcards: Fall/Winter 2013–14. Postcard recto: colour photograph of a school class portrait — Public School 125, Manhattan, 1967, Class K2-567; approximately forty children in four rows with two adult teachers at either side; large American flag on the wall behind; children in formal dress; black placard in the foreground reading 'PUBLIC SCHOOL 125 / MANHATTAN / 1967 / CLASS K2-567'. Warm 1960s colour cast. Verso Zoe Leonard, My Kindergarten Class Photo, 2013. Studio Museum in Harlem, Harlem Postcards: Fall/Winter 2013–14. Postcard verso: white stock; 'ZOE LEONARD / Born 1961, Liberty, NY / Lives and works in Brooklyn, NY' in small sans-serif upper left; 'My Kindergarten Class Photo, 2013' in italic below; vertical text — 'SMHart productions • Harlem Postcards • Fall/Winter 2013–14'; three address lines and stamp box; museum address at foot — 'The Studio Museum in Harlem 144 West 125th Street New York, NY 1002

    ZOE LEONARD — My Kindergarten Class Photo, 2013. Studio Museum in Harlem, Harlem Postcards: Fall/Winter 2013–14

    ZOE LEONARD — My Kindergarten Class Photo, 2013. Studio Museum in Harlem, Harlem Postcards: Fall/Winter 2013–14

  • Cover of Zoe Leonard, Secession, Wiener Secession, Vienna, 1997, showing a black-and-white photograph of bare winter trees in a forest with the title SECESSION in large pale yellow sans-serif capitals at upper left and ZOE LEONARD in the same type at lower right. Interior spread of Zoe Leonard, Secession, Wiener Secession, 1997, pages 6–7, left page showing a black-and-white photograph of bare winter trees captioned "Untitled" by Zoe Leonard, 1997, right page showing the introduction to "Zoe Leonard Interviewed by Anna Blume," describing their meeting through ACT UP in New York in the early 1990s.

    Zoe Leonard — Secession, Wiener Secession, Vienna, 1997

    Zoe Leonard — Secession, Wiener Secession, Vienna, 1997