Artist Ephemera

Printed and paper-based material produced in and around artistic practice — flyers, announcements, press releases, posters, leaflets, price lists, and other documents not intended to last but which did. Artist ephemera occupies a unique position: too modest to be called a work, too significant to be discarded. This collection gathers material that illuminates how artists communicated, exhibited, and moved through the world.

  • Artist postcard reproducing Barbara Kruger’s Untitled (Love is something you fall into) (1990). A tightly cropped black-and-white profile of a woman with windswept hair fills the card while a vertical red banner runs along the right side with white text reading: “Love is something you fall into Reverse side of a Barbara Kruger exhibition postcard with small black text on white card stock identifying Untitled (Love is something you fall into) (1990), materials and dimensions, Hall Collection credit, and publication information from In the Tower: Barbara Kruger at the National Gallery of Art, Washington. Barcode at upper right with light handling wear and adhesive residue visible.

    Barbara Kruger — Untitled (Love is something you fall into) — Exhibition Postcard, National Gallery of Art, Washington, 2016–2017

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    Barbara Kruger — Untitled (Love is something you fall into) — Exhibition Postcard, National Gallery of Art, Washington, 2016–2017

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  • Jochen Gerz, Griechische Stücke, Bündner Kunstmuseum Chur, 1978. Exhibition invitation recto: black-and-white photograph of a figure lying prone on a parquet floor before a set of white double doors, dark mark running down the paintwork above. Jochen Gerz, Griechische Stücke, Bündner Kunstmuseum Chur, 1978. Exhibition invitation verso: printed artist biography and exhibition details, handwritten address to Jacques Donguy, Ossun, France, French postage stamp and postal markings.

    Jochen Gerz — Griechische Stücke, Bündner Kunstmuseum Chur, 1978

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    Jochen Gerz — Griechische Stücke, Bündner Kunstmuseum Chur, 1978

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  • Recto (front): A. François Petit, Paris, December 1965. Recto: printed script invitation on pale green card stock. Text reads: "A. François Petit a l'honneur de vous inviter à l'Exposition d'œuvres choisies de" followed by the names Hans Bellmer, Victor Brauner, Salvador Dalí, Max Ernst, Wifredo Lam, René Magritte, Pierre Roy, Alberto Savinio, Max Walter Svanberg, Yves Tanguy, and Toyen. At foot: Décembre 1965, 122 bd Haussmann, Paris 8e. Verso (back): A. François Petit, Paris, December 1965. Verso: plain pale green card stock, unprinted, with light age toning and minor surface wear consistent with handling.

    A. François Petit, Paris — Surrealist Group Exhibition Invitation, December 1965

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    A. François Petit, Paris — Surrealist Group Exhibition Invitation, December 1965

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  • Olivier Mosset Red exhibition invitation with black text on a white background Olivier Mosset white background from a 1969 exhibition invitation

    Olivier Mosset — Galerie Rive Droite, Paris, 1969

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    Olivier Mosset — Galerie Rive Droite, Paris, 1969

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  • Official 1998 Cindy Sherman museum postcard reproducing *Untitled #317* (1995), showing a close-up gold mask-like face with dark eyes and red cosmetic details. Reverse of 1998 Museum of Contemporary Art Chicago Cindy Sherman retrospective promotional postcard featuring exhibition information, membership offer text, and museum details.

    Cindy Sherman — Untitled #317 (1995) — Exhibition Postcard, Cindy Sherman: Retrospective, Museum of Contemporary Art, Chicago, 1998

    Cindy Sherman — Untitled #317 (1995) — Exhibition Postcard, Cindy Sherman: Retrospective, Museum of Contemporary Art, Chicago, 1998

  • Official Andres Serrano exhibition postcard reproducing *Piss Christ (Immersions)* (1987), showing a glowing crucifix suspended within an amber-red field of light. Reverse of Andres Serrano exhibition postcard issued for *Portraits d’Amérique*, Galerie Nathalie Obadia Paris–Brussels, with exhibition and copyright details printed on white card stock.

    Andres Serrano — Piss Christ (Immersions), 1987 — Exhibition Postcard, Portraits d’Amérique, Galerie Nathalie Obadia, Paris–Brussels

    Andres Serrano — Piss Christ (Immersions), 1987 — Exhibition Postcard, Portraits d’Amérique, Galerie Nathalie Obadia, Paris–Brussels

  • Original 1970 Étienne Sandorfi exhibition invitation featuring a black-and-white image of a fragmented doll-like head with wires and mechanical elements in a surreal psychological composition. Original 1970 Étienne Sandorfi exhibition invitation for Galerie 3+3 in Paris featuring exhibition dates, opening information, and French descriptive text printed in black on folded cream card stock.

    Étienne Sandorfi — Exhibition Invitation Card, Galerie 3+3, Paris, 1970

    Étienne Sandorfi — Exhibition Invitation Card, Galerie 3+3, Paris, 1970

  • Front of original 1997 Thomas Rentmeister exhibition invitation card for Centre d’art contemporain de Vassivière in France, featuring a glossy pale pink biomorphic polyester sculpture against a neutral background. Reverse of original 1997 Thomas Rentmeister exhibition invitation card with exhibition information, opening details, venue text, and institutional credits printed in black on white stock.

    Thomas Rentmeister — Exhibition Invitation Card, Centre d’art contemporain de Vassivière en Limousin, France, 1997

    Thomas Rentmeister — Exhibition Invitation Card, Centre d’art contemporain de Vassivière en Limousin, France, 1997

  • 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

  • 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

  • Mark Morrisroe (1959–1989) — Exhibition Announcement Card, ClampArt, New York, 2011 Mark Morrisroe (1959–1989) — Exhibition Announcement Card, ClampArt, New York, 2011

    Mark Morrisroe (1959–1989) — Exhibition Announcement Card, ClampArt, New York, 2011

    Mark Morrisroe (1959–1989) — Exhibition Announcement Card, ClampArt, New York, 2011

  • Cover of Sherrie Levine *Directions* exhibition brochure from the Hirshhorn Museum and Sculpture Garden, Washington D.C., 1988. The cover reproduces *Untitled (Lead Checks: 6)* (1987), a turquoise and black checkerboard composition painted on lead beneath the exhibition title and dates. Interior fold-out essay spread from the Sherrie Levine *Directions* brochure with curatorial texts by Phyllis Rosenzweig and Susan Krane, reproductions of Levine works, and multiple columns of exhibition writing printed on cream paper.

    Sherrie Levine — Directions — Exhibition Brochure, Hirshhorn Museum and Sculpture Garden, Washington D.C., 1988

    Sherrie Levine — Directions — Exhibition Brochure, Hirshhorn Museum and Sculpture Garden, Washington D.C., 1988

  • Exhibition invitation for Sherrie Levine’s *Pie Town* featuring a color reproduction from *After Russell Lee: 1–60* (2016). Two figures, Faro and Doris Caudill, stand outdoors beneath a dramatic cloud-filled sky; the man wears a worn hat and work shirt while the woman stands with folded arms in a patterned dress and apron. Reverse side of Sherrie Levine’s *Pie Town* exhibition card from David Zwirner, London, printed with exhibition details in black text on white card stock. Includes title, dates, gallery address, and information identifying the reproduced work *After Russell Lee: 1–60* (2016).

    Sherrie Levine — Pie Town — Exhibition Announcement Card, David Zwirner, London, 2017

    Sherrie Levine — Pie Town — Exhibition Announcement Card, David Zwirner, London, 2017

  • 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.” Centre Pompidou postcard reproducing a 1968 black-and-white photograph of two nude performers covered in Yayoi Kusama polka dots embracing beneath an American flag, with a toy gun visible at right and soft-sculpture forms in the background.

    Yayoi Kusama — Explosion anatomique + Manifestation non identifiée — Pair of Museum Postcards, Éditions Centre Pompidou, Paris, 2019

    Yayoi Kusama — Explosion anatomique + Manifestation non identifiée — Pair of Museum Postcards, Éditions Centre Pompidou, Paris, 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

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

  • 1999 Pierre Klossowski exhibition invitation featuring a color reproduction of *Roberte aux barres parallèles* (1990). Three stylized human figures are arranged around parallel bars on a circular base: a central female figure in pink clothing raises one leg while two surrounding figures engage with the structure. The sculpture is rendered in painted flesh, mauve, and brown tones against a neutral background, with “Pierre Klossowski” printed beneath. Reverse side of a 1999 Pierre Klossowski exhibition invitation card printed in French for *l'énoncé à nouveau dénoncé: Sculptures et tableaux*. Black typography on white card stock lists exhibition dates (3 April–12 June 1999), opening details, and Galerie Beaubourg at Château Notre-Dame des Fleurs in Vence, France. PIERRE KLOSSOWSKI / l'énoncé à nouveau dénoncé / Galerie Beaubourg, Vence, 1999

    Pierre Klossowski — l’énoncé à nouveau dénoncé — Exhibition Announcement Card, Galerie Beaubourg, Vence, 1999

    Pierre Klossowski — l’énoncé à nouveau dénoncé — Exhibition Announcement Card, Galerie Beaubourg, Vence, 1999

  • Martin Honert, exhibition invitation card, Matthew Marks Gallery, New York, 1999. Recto: colour illustration of two children holding a star lantern on a pole against a night sky, within an arched frame; artist name below in bold serif type. Martin Honert, exhibition invitation card, Matthew Marks Gallery, New York, 1999. Verso: exhibition dates 12 November – 24 December 1999, opening Thursday 11 November (Saint Martin's Day) 6–8pm, Matthew Marks Gallery address 523 West 24th Street, New York, printed in black on white card.

    Martin Honert — Exhibition Invitation Card, Matthew Marks Gallery, New York, 1999

    Martin Honert — Exhibition Invitation Card, Matthew Marks Gallery, New York, 1999

  • David Hammons, exhibition invitation postcard, L&M Arts, New York, 2011. Recto: white sans-serif text reading DAVID HAMMONS on solid black ground. David Hammons, exhibition invitation postcard, L&M Arts, New York, 2011. Verso: exhibition dates January 26 – February 26, 2011, and L&M Arts gallery address, 45 East 78 Street, New York, printed in black on white card

    David Hammons — Exhibition Invitation Card, L&M Arts, New York, 2011

    David Hammons — Exhibition Invitation Card, L&M Arts, New York, 2011

  • Georg Baselitz, Auerbach (yellow), 2018. Etching with sugar lift aquatint and relief printing on Somerset White Satin 350gsm paper. Inverted figure in dark gestural marks on ochre ground. Reproduced on interior of Devotion exhibition invitation, Alan Cristea Gallery, 2019. Georg Baselitz, Devotion, exhibition invitation card, Alan Cristea Gallery, London, 2019. Private view 15 May, exhibition 16 May–22 June 2019. Printed text on white card.

    Georg Baselitz — Devotion — Exhibition Invitation, Alan Cristea Gallery, London, 2019

    Georg Baselitz — Devotion — Exhibition Invitation, Alan Cristea Gallery, London, 2019

  • Henrik Olesen — Some Faggy Gestures, Galerie Daniel Buchholz Berlin 2008, recto: near-total black printed field on white card Henrik Olesen — Some Faggy Gestures, Galerie Daniel Buchholz Berlin 2008, verso: printed announcement text, restrained administrative layout, dated 11 December 2008

    Henrik Olesen — Some Faggy Gestures, Galerie Daniel Buchholz, Berlin, 2008

    Henrik Olesen — Some Faggy Gestures, Galerie Daniel Buchholz, Berlin, 2008

  • Rancillac — Pornographie, exhibition invitation card, Galerie Daniel Templon Paris 1969, front: high-contrast black and white photographic image of reclining female figure Rancillac — Pornographie, exhibition invitation card, Galerie Daniel Templon Paris 1969, verso: gallery name, address, exhibition title, dates 22 April–3 May 1969, strictement sur invitation

    Rancillac — Pornographie, Galerie Daniel Templon, Paris, 1969

    Rancillac — Pornographie, Galerie Daniel Templon, Paris, 1969

  • Danh Vō, Homosapiens, exhibition invitation recto, Marian Goodman Gallery, London, 2015. Cream multi-ply card with artist name and exhibition dates in serif type. Danh Vō, Homosapiens, exhibition invitation verso, Marian Goodman Gallery, London, 2015. Printed world migration map titled Homo Sapiens, routes of human dispersal annotated with dates in thousands of years, origin marked in sub-Saharan Africa.

    Danh Vō — Homosapiens, Marian Goodman Gallery, London, 2015

    Danh Vō — Homosapiens, Marian Goodman Gallery, London, 2015

  • olded exhibition announcement, Galerie Heide Hildebrand, Klagenfurt, 1967. Exterior face with names Bernard Aubertin and Hans Bischoffshausen in lowercase type, brown-mauve accent on the letter n in each surname. Folded exhibition announcement, Galerie Heide Hildebrand, Klagenfurt, 1967. Exterior face with names Karl Prantl and J. J. Schoonhoven in lowercase type, brown-mauve accent on the letter n, gallery details in small print at lower edge.

    Aubertin / Bischoffshausen / Prantl / Schoonhoven — Galerie Heide Hildebrand, Klagenfurt, 1967

    Aubertin / Bischoffshausen / Prantl / Schoonhoven — Galerie Heide Hildebrand, Klagenfurt, 1967

  • Alison Knowles, Culture des Haricots, exhibition invitation, Galerie Art Contemporain J. et J. Donguy, Paris, 1985. Recto: collaged card with torn paper fragments, handwritten annotation reading "And then as we were leaving I found this steel right at the gate to his new house," exhibition dates 5–29 juin 1985. Alison Knowles, Culture des Haricots, exhibition invitation, Galerie Art Contemporain J. et J. Donguy, Paris, 1985. Verso: plain cream card, blank.

    Alison Knowles — Culture des Haricots, Galerie Art Contemporain J. et J. Donguy, Paris, 1985

    Alison Knowles — Culture des Haricots, Galerie Art Contemporain J. et J. Donguy, Paris, 1985

  • Recto (front): Charles Ross, Point Source / Star Space, John Weber Gallery & Susan Caldwell Gallery, New York, 1977. Recto: speckled cream card with bold yellow diagonal band crossing the field; small white circle at centre representing a point source; artist name and exhibition title in black uppercase type upper right; gallery names and addresses lower left; opening reception details at foot. Verso (back): Charles Ross, Point Source / Star Space, 1977. Verso: plain cream card with red New York meter postmark dated March 1977 upper right; typed address label to Hermann Kern, Kunstraum München, Nikolaistraße 15, München, Germany.

    Charles Ross, Point Source / Star Space — John Weber Gallery & Susan Caldwell Gallery, New York, 1977

    Charles Ross, Point Source / Star Space — John Weber Gallery & Susan Caldwell Gallery, New York, 1977

  • Recto (front): Man Ray, Kunsthalle Basel, 1980. Recto: black-and-white reproduction of Violon d'Ingres (1924) — female nude seen from behind, wearing a turban, with f-holes drawn onto the lower back. Man Ray monogram visible at lower right. Verso (back): Man Ray, Kunsthalle Basel, 1980. Verso: printed exhibition announcement in German. Kunsthalle Basel, Steinenberg 7; opening Saturday 19 January 1980, 18 Uhr; through 24 February. Catalogue details: 210 pages, 162 b/w illustrations, 15 colour plates; texts by R. Penrose, G. Metken, Man Ray, G. Bussmann, J.-Ch. Ammann, H. Molderings. Film programme: Retour à la raison (1923), Emak Bakia (1926), L'Étoile de mer (1927), Mystère du château de dé (1928). Caption at foot: Man Ray: Violon d'Ingres,

    Man Ray — Kunsthalle Basel, 1980

    Man Ray — Kunsthalle Basel, 1980

  • Recto (front): Maciunas' Learning Machines, Vice Versa Verlag, Berlin, c. 2003. Recto: book cover reproduction showing Maciunas' handwritten charts and flow diagrams on curling paper sheets; title in black and red type, author Astrit Schmidt-Burkhardt above, publisher and collection credit below. Verso (back): Maciunas' Learning Machines, Vice Versa Verlag, Berlin, c. 2003. Verso: plain cream card with publisher details — Vice Versa Verlag, Leuschnerdamm 5, 10999 Berlin, Germany; info@vice-versa-vertrieb.de — and ISBN 3-932809-39-4 at lower left.

    Maciunas' Learning Machines — Vice Versa Verlag / Silverman Fluxus Collection, Berlin, c. 2003

    Maciunas' Learning Machines — Vice Versa Verlag / Silverman Fluxus Collection, Berlin, c. 2003

  • Recto (front): Gregor Schneider, Die Familie Schneider, Konrad Fischer Galerie, Berlin, 2014. Recto: printed card with repeating soft pink floral wallpaper motif on cream ground; title Die Familie Schneider set in dark script at centre. Verso (back): Gregor Schneider, Die Familie Schneider, Konrad Fischer Galerie, Berlin, 2014. Verso: white card with exhibition details in grey sans-serif type. GREGOR SCHNEIDER / Die Familie Schneider / Eröffnung: Freitag, 14. November 2014, 18–21 Uhr / 14. November 2014 – 10. Januar 2015 / 10969 Berlin, Lindenstrasse 35 / KONRAD FISCHER GALERIE in red.

    Gregor Schneider, Die Familie Schneider — Konrad Fischer Galerie, Berlin, 2014

    Gregor Schneider, Die Familie Schneider — Konrad Fischer Galerie, Berlin, 2014

  • Recto (the front): Gianni Piacentino, Stampe, Galleria Plura, Milan, 1980. Recto: applied colour photograph of installation view showing three engineered sculptural works — two wall-mounted linear forms and a wheeled floor vehicle — mounted onto cream card stock. Verso (the back): Gianni Piacentino, Stampe, Galleria Plura, Milan, 1980. Verso: postmarked Milan 1980, red STAMPE stamp, Italian Republic stamps, handwritten address to Galerie de Varenne, 61 rue de Varenne, F-75007 Paris.

    Gianni Piacentino, Stampe — Galleria Plura, Milan, 1980

    Gianni Piacentino, Stampe — Galleria Plura, Milan, 1980

  • (exhibition card — front): Exhibition announcement card for "Dessins Allemands" (German Drawings) at Galerie Bama, Paris 75007, 80 rue du Bac, 19 September – 30 October 1975. Artists listed: Beuys, Buthe, Gosewitz, Hödicke, Horn, Polke, Rühm, Ruthenbeck, Schmit, Van Biel, Voss. (exhibition card/back): Handwritten address card in blue ink reading: G.J. de Rook, P.O. Box 14012, Utrecht, Pays-Bas

    Dessins Allemands Invitation Card, Galerie Bama, Paris, 1975

    Dessins Allemands Invitation Card, Galerie Bama, Paris, 1975

  • Front cover: Jochen Gerz — Le Dépôt · Kulchur Pièce 4, 1979 — original exhibition invitation, deep burgundy card with white letterpress text, Galerie Baudoin Lebon, Paris Reverse: Jochen Gerz — Le Dépôt · Kulchur Pièce 4, 1979 — reverse of exhibition invitation showing vernissage details, Baudoin Lebon, 36 rue des Archives, Paris, 7 juin–7 juillet 1979

    Jochen Gerz — Le Dépôt · Kulchur Pièce, 4 — Galerie Baudoin Lebon, Paris, 1979

    Jochen Gerz — Le Dépôt · Kulchur Pièce, 4 — Galerie Baudoin Lebon, Paris, 1979

  • Annie Gramain Concrete Poetry Text pattern on a blue background

    Annie Gramain — Galerie Baudoin Lebon, Paris, 1979

    Annie Gramain — Galerie Baudoin Lebon, Paris, 1979

  • Sakris Exhibition Invitation Neon sign with green glow on a black background Sakris Exhibition Invitation card with text on a white background

    Sarkis — Ma Chambre de la Rue Krutenau à l'Île San Lazzaro, Venice 1990

    Sarkis — Ma Chambre de la Rue Krutenau à l'Île San Lazzaro, Venice 1990

  • Sarkis Red Exhibition invite card with black text on a white background Sarkis Exhibition invite Map design with 'capo' branding on a white background

    Sarkis, "réserves sans retour" — CAPC Bordeaux invitation card, 1980

    Sarkis, "réserves sans retour" — CAPC Bordeaux invitation card, 1980

  • Original 1983 Hans Bellmer exhibition invitation, Galerie François Petit, Paris — recto reproducing a black-and-white photograph of a doll's face partially obscured by a large hand pressing across the eyes and forehead, a cross-shaped object visible at left margin; from the series of doll photographs for which Bellmer is known. Reverse of 1983 Hans Bellmer 67 photographies inédites exhibition invitation, Galerie François Petit, Paris — verso printed in elegant cursive script typography with artist name Hans Bellmer, exhibition title 67 photographies inédites, dates 20 décembre 1983 au 25 février 1984, gallery name Galerie François Petit, address 196 boulevard Saint-Germain 75007 Paris, telephone 544.64.83.

    Hans Bellmer — 67 photographies inédites — Galerie François Petit — 1983–84

    Hans Bellmer — 67 photographies inédites — Galerie François Petit — 1983–84

  • Basquiat standing next to a wall with graffiti and text Promotional flyer for Downtown 81 F.O.B. event featuring Friends of Basquiat with red and black design.

    Downtown 81: Friends of Basquiat – Exhibition Invitation, Agnès B. Skyline, Paris (2006)

    Downtown 81: Friends of Basquiat – Exhibition Invitation, Agnès B. Skyline, Paris (2006)