{"title":"Conceptual Art","description":"\u003cp\u003eBooks, artists' publications, catalogues, and documents from and about Conceptual Art — the movement that placed idea above object and transformed what art could be. This collection spans the pivotal decades of the 1960s and 70s through to contemporary conceptual practice, with material by and on figures including Sol LeWitt, Lawrence Weiner, Joseph Kosuth, Art \u0026amp; Language, On Kawara, and their peers. Many of the most significant works in this field exist primarily as printed matter — making books not just documentation, but the work itself.\u003c\/p\u003e","products":[{"product_id":"matthew-peers-wishing-wells-2023-2025","title":"Matthew Peers — Wishing Wells, 2023–2025","description":"\u003cp\u003e\u003cem\u003ePublished by The New Rare Editions, 2026\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003eA substantial and unusually dense artist book built from Matthew Peers' iPhone image files documenting wishing wells across different locations — indoors and outdoors, across changing weather and light conditions. The first half reproduces these digital files as full-colour pages, with corresponding dates printed on the left-hand page, giving the sequence the feeling of a diaristic archive or image ledger. The second half shifts into four sets of video stills taken from phone clips, producing a subtle flip-book effect as movement is slowed into print.\u003c\/p\u003e\u003cp\u003eAs an object, \u003cem\u003eWishing Wells\u003c\/em\u003e sits somewhere between photo archive, time-based document, and sculptural publication. Its thickness and handheld-marked plastic case give it a slightly industrial, provisional character — close to systems of storage, transit, and personal record-keeping. The first title published by The New Rare Editions, it functions as both a publication and a kind of portable exhibition space.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e Artist book in plastic case\u003cbr\u003e\u003cstrong\u003eSize:\u003c\/strong\u003e 14.8 × 21 × 5.5 cm\u003cbr\u003e\u003cstrong\u003ePages:\u003c\/strong\u003e Approx. 1,000 pages, full colour, digitally printed\u003cbr\u003e\u003cstrong\u003eCase:\u003c\/strong\u003e Plastic container with title printed by handheld printer\u003c\/p\u003e","brand":"The New Rare Editions","offers":[{"title":"Default Title","offer_id":53040616767826,"sku":null,"price":50.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Matthew_Peers_wishing_wells_03.jpg?v=1776662523"},{"product_id":"david-hammons-harmolodic-thinker-xerox-press-release-exhibition-handout-hauser-amp-wirth-los-angeles-18-may-11-august-2019","title":"David Hammons — Harmolodic Thinker, Hauser \u0026 Wirth Los Angeles, 2019","description":"\u003cp class=\"_p_ua7qq_109\"\u003e\u003cstrong\u003e\u003cspan\u003eDAVID HAMMONS\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eHarmolodic Thinker\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e Hauser \u0026amp; Wirth, Los Angeles 18 May – 11 August 2019\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"_p_ua7qq_109\"\u003e\u003cspan\u003eOriginal xeroxed press release distributed at David Hammons' first solo exhibition in Los Angeles in 45 years. The sheet operates less as explanatory material than as a conceptual extension of the show itself — dedicated to Ornette Coleman, whose harmolodic theory rejected hierarchy and fixed structure, and designed to mirror those principles through abstraction, refusal, and displacement.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"_p_ua7qq_109\"\u003e\u003cspan\u003eRather than conventional didactic content, Hammons reduces the text to two legible phrases — \u003c\/span\u003e\u003cem\u003e\u003cspan\u003e\"This exhibition is dedicated to Ornette Coleman\"\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e and \u003c\/span\u003e\u003cem\u003e\u003cspan\u003e\"Harmolodic Thinker\"\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e — set against a dense field of hand-drawn, map-like lines. Distributed freely at the gallery, the document collapses the boundary between artwork and ephemera. Surviving examples function as both exhibition trace and autonomous conceptual artefact.\u003c\/span\u003e\u003c\/p\u003e","brand":"THE NEW RARE","offers":[{"title":"Default Title","offer_id":53041709646162,"sku":null,"price":80.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/David_Hammons_2016_01.jpg?v=1774613071"},{"product_id":"carl-andre-whitechapel-sculpture-1954-1978-exhibition-archive-1978","title":"Carl Andre — Sculpture 1954–1978, Whitechapel Art Gallery, London, 1978","description":"\u003cp\u003e\u003cstrong\u003eCARL ANDRE\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eSculpture 1954–1978\u003c\/em\u003e\u003cbr\u003eWhitechapel Art Gallery, London\u003cbr\u003e17 March – 23 April 1978\u003c\/p\u003e\u003cp\u003eArchive of three original documents from Carl Andre's major retrospective at the Whitechapel Art Gallery in 1978 — one of the most significant presentations of his work in Britain, arriving just three years after the “Bricks” controversy at the Tate had made him the most debated artist in the country.\u003c\/p\u003e\u003cp\u003eThe set comprises a letterhead text printed on official Whitechapel stationery, a multi-page works list and programme, and a ticket to the public discussion held on the opening night, 17 March 1978 at 7pm. The ticket, marked with a handwritten X, is a trace of attendance — someone was there.\u003c\/p\u003e\u003cp\u003eThe letterhead document reproduces Andre's own words in full, selected and arranged without editorial commentary. The statements move from the agricultural to the philosophical: \u003cem\u003e“I think art is agricultural, that is involved with maintaining life and feeding life.”\u003c\/em\u003e \u003cem\u003e“My idea of a piece of sculpture is a road.”\u003c\/em\u003e \u003cem\u003e“I like work that is just there until it needs you and you need it.”\u003c\/em\u003e Printed on Whitechapel letterhead, the text functions simultaneously as press material and as a kind of concrete poetry — Andre's language performing the same economy as his floor pieces.\u003c\/p\u003e\u003cp\u003eThe works list documents 31 sculptures spanning 1954 to 1978, with full dimensions, materials, lenders, and extended notes — including the EQUIVALENTS series lent by the Tate, the ELEMENT SERIES, the DIPOLES made for this exhibition, and CRUX, a new cedar work produced for the Whitechapel entrance hall. The catalogue essay by Nicholas Serota, then director of the Whitechapel, was published separately on 1 April 1978.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e Three documents — letterhead text (single sheet), works list\/programme (multi-page, stapled), public discussion ticket (card, red)\u003cbr\u003e\u003cstrong\u003ePublisher:\u003c\/strong\u003e Whitechapel Art Gallery, London\u003cbr\u003e\u003cstrong\u003eYear:\u003c\/strong\u003e 1978\u003cbr\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Good; handling consistent with original distribution and use\u003c\/p\u003e","brand":"Whitechapel Art Gallery","offers":[{"title":"Default Title","offer_id":53042018812242,"sku":null,"price":150.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Carl_Andre_Whitechapel_1978_6.jpg?v=1774616466"},{"product_id":"jenny-holzer-private-property-created-crime-1984","title":"Jenny Holzer — Private Property Created Crime — 1984","description":"\u003cp\u003e\u003cstrong\u003eJenny Holzer \/ \u003cem\u003ePrivate Property Created Crime\u003c\/em\u003e \/ 1984\u003c\/strong\u003e\u003cbr\u003ePublished by Kunsthalle Basel \/ Le Nouveau Musée, Basel \/ Villeurbanne\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e softcover artist book \/ exhibition catalogue\u003cbr\u003e\u003cstrong\u003eSize:\u003c\/strong\u003e approx. 21.5 × 21.5 cm\u003cbr\u003e\u003cstrong\u003ePages:\u003c\/strong\u003e 63 pages\u003cbr\u003e\u003cstrong\u003eLanguage:\u003c\/strong\u003e English\u003cbr\u003e\u003cstrong\u003eIllustrations:\u003c\/strong\u003e colour and black-and-white throughout\u003cbr\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e light rubbing and wear to covers; very good indeed\u003cbr\u003e\u003cstrong\u003eShipping:\u003c\/strong\u003e carefully packed; available within the UK and internationally\u003c\/p\u003e\n\u003cp\u003eA photo-illustrated catalogue-cum-artist's book surveying several early bodies of street work and installations by Jenny Holzer. Published in 1984 to accompany exhibitions at Kunsthalle Basel and Le Nouveau Musée, the book documents the period in which Holzer's language circulated through posters, plaques, stickers, T-shirts, and electronic signs — establishing text as a public medium rather than a private literary form.\u003c\/p\u003e\n\u003cp\u003eThe photographs are arranged in discrete sequences: \u003cem\u003eTruisms\u003c\/em\u003e (1977–1983), \u003cem\u003eEssays\u003c\/em\u003e (1979–1983), \u003cem\u003eLiving\u003c\/em\u003e (1981–1983), and \u003cem\u003eSurvival\u003c\/em\u003e (1983–1984). A brief introduction by Jean-Christophe Ammann appears at the front, with a biography and bibliography at the rear.\u003c\/p\u003e\n\u003cp\u003eWhat distinguishes this publication is its directness. Rather than functioning only as documentation, the book redistributes Holzer's work in portable form. Street posters, Times Square signage, inscriptions, and public declarations are reorganised here as a sequence of appearances. The result sits somewhere between exhibition record, artist's book, and distribution device.\u003c\/p\u003e\n\u003cp\u003eA strong early Holzer title, and an especially clear document of the years in which her texts moved through the street, the billboard, and the page. This copy presents well, with light external wear consistent with age.\u003c\/p\u003e","brand":"The New Rare","offers":[{"title":"Default Title","offer_id":53053620191570,"sku":"HOLZER-BASEL-CAT-1984","price":60.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/JennyHolzer.PrivatePropertyCreatedCrime.Basel_Villeurbanne.198401.jpg?v=1774839269"},{"product_id":"christian-jankowski-the-holy-artwork-2002","title":"Christian Jankowski \/ The Holy Artwork \/ 2002","description":"\u003cp\u003e\u003cstrong\u003ePublished by Revolver, Frankfurt am Main, with Künstlerhaus Bethanien, Berlin\u003c\/strong\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003eFormat: Softcover artist book\u003c\/li\u003e\n\u003cli\u003eSize: approx. 17 × 12 cm\u003c\/li\u003e\n\u003cli\u003ePages: 59 pages\u003c\/li\u003e\n\u003cli\u003eLanguage: English\u003c\/li\u003e\n\u003cli\u003eIllustrations: Colour throughout\u003c\/li\u003e\n\u003cli\u003eCondition: Very good — visible rubbing, light wear, and surface marks to covers; a few creases to the wrappers; internally clean and bright\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003eA compact artist book centred on Christian Jankowski's \u003cem\u003eThe Holy Artwork\u003c\/em\u003e, published in 2002 by Revolver with Künstlerhaus Bethanien. The publication relates to Jankowski's 2001 video work filmed at Harvest Fellowship Church in San Antonio, Texas, in collaboration with Pastor Peter Spencer. In the video, Jankowski collapses at the pastor's podium, and Spencer interprets the action for the congregation and television audience as a form of \"holy art\" — effectively merging sermon, performance, and broadcast into a single gesture.\u003c\/p\u003e\u003cp\u003eWhat makes the book especially strong is the way it preserves that transfer between institutions. Rather than simply documenting a video, it reorganises the project as a portable sequence of stills, text, sermon fragments, and mediated images — moving between televangelism, performance, video art, and printed matter. This is very much in keeping with Jankowski's broader practice of outsourcing authorship and rerouting art through existing public formats.\u003c\/p\u003e\u003cp\u003eA sharp early-2000s title where the artist's book functions less as support material than as a secondary site for the work itself. This copy presents well despite honest wear to the red wrappers.\u003c\/p\u003e\u003cp\u003e\u003cem\u003eCarefully packed. Shipping available within the UK and internationally.\u003c\/em\u003e\u003c\/p\u003e","brand":"The New Rare","offers":[{"title":"Default Title","offer_id":53053791371602,"sku":null,"price":45.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/ChristianJankowski01.jpg?v=1774846143"},{"product_id":"olivier-mosset-galerie-rive-droite-paris-1969-exhibition-invitation","title":"Olivier Mosset — Galerie Rive Droite, Paris, 1969","description":"\u003cp\u003e\u003cstrong\u003eOlivier Mosset — Galerie Rive Droite, Paris, 1969\u003c\/strong\u003e\u003cbr\u003eOriginal exhibition invitation\u003c\/p\u003e\u003cp\u003eArtist: \u003cstrong\u003eOlivier Mosset\u003c\/strong\u003e\u003cbr\u003eVenue: \u003cstrong\u003eGalerie Rive Droite\u003c\/strong\u003e\u003cbr\u003eAddress: \u003cstrong\u003e3 rue de Duras, Paris 8e\u003c\/strong\u003e\u003cbr\u003eDates: \u003cstrong\u003e5–25 December 1969\u003c\/strong\u003e\u003cbr\u003eVernissage: \u003cstrong\u003e5 December, 18h30\u003c\/strong\u003e\u003cbr\u003eFormat: \u003cstrong\u003ePrinted invitation card\u003c\/strong\u003e\u003cbr\u003eDimensions: \u003cstrong\u003eapprox. 10.5 × 13.5 cm\u003c\/strong\u003e\u003cbr\u003eMaterials: \u003cstrong\u003eOffset print on red card stock\u003c\/strong\u003e\u003cbr\u003eCondition: \u003cstrong\u003eGood to very good. Light surface wear and handling marks consistent with age.\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003eAn original invitation issued for Mosset's December 1969 exhibition at Galerie Rive Droite — one of his earliest solo presentations in Paris, and a key institutional moment in the post-BMPT period. The gallery is documented in Mosset's bibliography as the site of his first Paris exhibitions.\u003c\/p\u003e\u003cp\u003eThe card is almost without image. A red field. Black type. Venue, address, dates, opening time. Information replaces illustration. The object does not describe the exhibition so much as state its administrative fact — a position entirely consistent with Mosset's practice at the end of the 1960s, when painting was being reduced to repetition, neutrality, and the refusal of expressive difference. Between 1966 and 1974, he produced his serial circle paintings, a body of work inseparable from the debates around BMPT and the broader dismantling of authorship and pictorial identity.\u003c\/p\u003e\u003cp\u003eThis invitation belongs to that moment. The severe typography and unmodulated red ground read less as design than as declaration. No image, no seduction, no explanation. A card that behaves with the same restraint as the work it announces.\u003c\/p\u003e\u003cp\u003eScarce early Mosset ephemera from a documented exhibition. Comparable early Galerie Rive Droite material from this period is seldom encountered.\u003c\/p\u003e","brand":"THE NEW RARE","offers":[{"title":"Default Title","offer_id":53073639866706,"sku":null,"price":160.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/OlivierMosset_0001.jpg?v=1774992246"},{"product_id":"annie-gramain-galerie-baudoin-lebon-paris-1979-exhibition-invitation","title":"Annie Gramain — Galerie Baudoin Lebon, Paris, 1979","description":"\u003cp\u003e\u003cstrong\u003eAnnie Gramain — Galerie Baudoin Lebon, Paris, 1979\u003c\/strong\u003e\u003cbr\u003eOriginal exhibition invitation\u003c\/p\u003e\u003cp\u003eArtist: \u003cstrong\u003eAnnie Gramain\u003c\/strong\u003e\u003cbr\u003eVenue: \u003cstrong\u003eGalerie Baudoin Lebon\u003c\/strong\u003e\u003cbr\u003eAddress: \u003cstrong\u003e36 rue des Archives, 75004 Paris\u003c\/strong\u003e\u003cbr\u003eDates: \u003cstrong\u003e7 March – 14 April 1979\u003c\/strong\u003e\u003cbr\u003eVernissage: \u003cstrong\u003eWednesday 7 March 1979\u003c\/strong\u003e\u003cbr\u003eFormat: \u003cstrong\u003ePrinted invitation card, double-sided\u003c\/strong\u003e\u003cbr\u003eDimensions: \u003cstrong\u003e14 × 9 cm\u003c\/strong\u003e\u003cbr\u003eMaterials: \u003cstrong\u003eOffset print on card stock\u003c\/strong\u003e\u003cbr\u003eCondition: \u003cstrong\u003eGood to very good. Minor handling marks consistent with age.\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003eOriginal invitation card for an Annie Gramain exhibition at Galerie Baudoin Lebon, Paris, 1979. The gallery, founded in 1976 at 36 rue des Archives in the Marais, developed a programme noted for its range across media. This card is a small but precise document of an emerging contemporary art context in late-1970s Paris.\u003c\/p\u003e\u003cp\u003eThe card does very little, which is part of its interest. On the front, \"annie gramain\" is repeated in descending diagonal lines until the name stops functioning as signature and begins to operate as form. Language becomes layout. Identity is handled as a typographic unit. On the reverse, the exhibition information runs in a single justified line at the lower edge — as if the administrative fact of the show had been reduced to a footer.\u003c\/p\u003e\u003cp\u003eName as image. Invitation as structure. Authorship as graphic repetition. More document than promotion. More proposition than souvenir.\u003c\/p\u003e","brand":"THE NEW RARE","offers":[{"title":"Default Title","offer_id":53073745215826,"sku":null,"price":50.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/AnnieGramain_0001.jpg?v=1774994517"},{"product_id":"jochen-gerz-le-depot-kulchur-piece-4-galerie-baudoin-lebon-paris-1979","title":"Jochen Gerz — Le Dépôt · Kulchur Pièce, 4 — Galerie Baudoin Lebon, Paris, 1979","description":"\u003cp\u003e\u003cstrong\u003eJochen Gerz — \u003cem\u003eLe Dépôt · Kulchur Pièce, 4\u003c\/em\u003e — Galerie Baudoin Lebon, Paris, 1979\u003c\/strong\u003e\u003cbr\u003eOriginal exhibition invitation\u003c\/p\u003e\u003cp\u003eArtist: \u003cstrong\u003eJochen Gerz\u003c\/strong\u003e\u003cbr\u003eWork: \u003cstrong\u003e\u003cem\u003eLe Dépôt · Kulchur Pièce, 4\u003c\/em\u003e, 1979\u003c\/strong\u003e\u003cbr\u003eVenue: \u003cstrong\u003eGalerie Baudoin Lebon\u003c\/strong\u003e\u003cbr\u003eAddress: \u003cstrong\u003e36 rue des Archives, 75004 Paris\u003c\/strong\u003e\u003cbr\u003eDates: \u003cstrong\u003e7 June – 7 July 1979\u003c\/strong\u003e\u003cbr\u003eVernissage: \u003cstrong\u003eThursday 7 June 1979\u003c\/strong\u003e\u003cbr\u003eFormat: \u003cstrong\u003ePrinted invitation card, double-sided\u003c\/strong\u003e\u003cbr\u003eDimensions: \u003cstrong\u003e14 × 9 cm\u003c\/strong\u003e\u003cbr\u003eMaterials: \u003cstrong\u003eOffset print on card stock\u003c\/strong\u003e\u003cbr\u003eCondition: \u003cstrong\u003eVery good. Light age wear consistent with date.\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003eOriginal invitation card for Jochen Gerz’s exhibition at Galerie Baudoin Lebon, Paris, June–July 1979. The title corresponds to \u003cem\u003eThe Depot \/ Le Dépôt\u003c\/em\u003e, catalogued by the artist as \u003cem\u003eKulchur Pieces 4\u003c\/em\u003e, 1979 — a large-scale installation in which several tree trunks, sawed into 5-cm-thick planks and painted with photographic opaque, were stacked horizontally on wooden spacers as they would be at a sawmill, so that the outer form of each trunk remained recognisable. A wall text accompanied the work, addressing doubts about artistic production and design.\u003c\/p\u003e\u003cp\u003eThe card’s colour is not incidental. The dark burgundy-brown ground matches the photographic opaque applied to the wood — the same material used to suppress the surface of the trunks in the installation. The invitation does not illustrate the work; it shares its pigment. On the recto, white type carries only the artist’s name and the work title. On the verso, the exhibition information runs at the lower edge — opening time, address, telephone, dates — reduced to administrative fact.\u003c\/p\u003e\u003cp\u003eThe word “Kulchur” retains Pound’s damaged spelling, recast by Gerz as something stored, processed, and possibly neutralised. Culture as deposit. Exhibition as filing. Art as a proposition lodged inside its own support system. The invitation extends the work’s logic without explaining it.\u003c\/p\u003e\u003cp\u003eScarce. 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Printed recto; blank verso.\u003c\/p\u003e\u003cp\u003eThe front holds the full proposition: collaged graphic field, printed and handwritten-style text elements, exhibition details. The reverse is left empty. The object stays with its front.\u003c\/p\u003e\u003cp\u003eKnowles is a central figure in Fluxus, and the card sits clearly within that history — an announcement that functions as both document and graphic work.\u003c\/p\u003e\u003cp\u003eCondition: light general handling wear, minor surface marking, and slight edge wear. Clean overall.\u003c\/p\u003e\u003cp\u003e£65 — price includes shipping and handling. Flat-packed dispatch. Tracked.\u003c\/p\u003e","brand":"The New Rare","offers":[{"title":"Default Title","offer_id":53170689311058,"sku":"TNR-AK-1985-CDH","price":65.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/AlisonKnowles1985_0001.jpg?v=1775778679"},{"product_id":"jochen-gerz-griechische-stucke-bundner-kunstmuseum-chur-1978","title":"Jochen Gerz — Griechische Stücke, Bündner Kunstmuseum Chur, 1978","description":"\u003cp\u003eExhibition invitation for \u003cem\u003eGriechische Stücke\u003c\/em\u003e by Jochen Gerz, Bündner Kunstmuseum Chur, 13 March – 16 April 1978. Opening: Saturday 18 March, 17.00 Uhr.\u003c\/p\u003e\u003cp\u003e21 × 14.75 cm. Printed card with photographic recto and text-heavy verso. Mailed example.\u003c\/p\u003e\u003cp\u003eThe recto carries a black-and-white photograph — a figure prone on a parquet floor before a set of double doors, a dark mark running down the paintwork above. The verso holds the full institutional apparatus: artist biography, exhibition details, Museums-Maténée notice, and photo credit. Addressed in handwriting to Jacques Donguy, Ossun, France, with French postage stamp, rubber-stamped postal markings, and a faint Paris post office impression.\u003c\/p\u003e\u003cp\u003eA circulated exhibition document. Image on one side, institutional text on the other. The object remains indexed to its passage: addressed, stamped, received, retained.\u003c\/p\u003e\u003cp\u003eCondition: mailed and handled; light creasing, edge wear, surface marking, and age toning throughout.\u003c\/p\u003e\u003cp\u003e£85 — price includes shipping and handling. Flat-packed dispatch. Tracked.\u003c\/p\u003e","brand":"The New Rare","offers":[{"title":"Default Title","offer_id":53170737709394,"sku":"TNR-JG-1978-GS","price":85.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Jochen_Gerz_1978_0001.jpg?v=1775779979"},{"product_id":"giovanni-anselmo-musee-dart-contemporain-lyon-1989","title":"Giovanni Anselmo — Musée d'Art Contemporain, Lyon, 1989","description":"\u003cp\u003eExhibition announcement for Giovanni Anselmo at the Musée d'Art Contemporain, Lyon, 12 October – 19 November 1989.\u003c\/p\u003e\u003cp\u003e30 × 21.2 cm. Satin cardstock. Single sheet, printed recto and verso.\u003c\/p\u003e\u003cp\u003eThe recto carries a colour installation view — two works in a white-walled space: a leaning triangular stone form and a granite block with a small bunch of leaves tucked into its surface, both cast in strong diagonal light. The verso holds the full institutional apparatus: exhibition details, an extended interview with the artist conducted by Walter Guadagnini, reference images, and a footnote on Joseph Kosuth. Produced at the scale of a small poster rather than a standard invitation card.\u003c\/p\u003e\u003cp\u003eA printed exhibition record in which image, curatorial framing, and institutional information are carried on the same support. Less a card than a flat document of display and interpretation, issued at the moment of the exhibition. Anselmo’s position within Arte Povera gives the sheet added historical density without requiring it to exceed its administrative function.\u003c\/p\u003e\u003cp\u003eCondition: light general handling wear, soft surface marks, and minor edge wear consistent with age and material.\u003c\/p\u003e\u003cp\u003e£45 — price includes shipping and handling. Flat-packed dispatch. Tracked.\u003c\/p\u003e","brand":"The New Rare","offers":[{"title":"Default Title","offer_id":53170757402962,"sku":"TNR-GA-1989-MAC","price":45.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Giovanni_Anselmo_1989__0001.jpg?v=1775780266"},{"product_id":"charles-simonds-the-three-trees-1985","title":"Charles Simonds — The Three Trees, 1985","description":"\u003cp\u003eArchitekturmuseum in Basel, Basel\u003cbr\u003eOriginal mailed exhibition card \/ invitation\u003cbr\u003e15 × 10.5 cm\u003cbr\u003eOffset print on light card stock, black and white\u003cbr\u003eRecto with paired photographic images; verso with exhibition details, Basel postal stamp, and typed address label to Connaissance des Arts, Paris\u003cbr\u003eCondition: very good, with light age toning, minor wear, soft corner friction, and visible signs of postal handling\u003c\/p\u003e\u003cp\u003eIssued for Charles Simonds's \u003cem\u003eThe Three Trees\u003c\/em\u003e at the Architekturmuseum in Basel in 1985, this card now reads less as invitation than as displaced support material: an exhibition notice that completed its first function and remained behind as object. The addressed reverse matters. Sent to Connaissance des Arts in Paris, it carries with it a small but precise social geography — museum, postal system, editorial office, archive. A work about passage as much as announcement.\u003c\/p\u003e\u003cp\u003eThe front is equally exact. A modernist building and a stand of trees are placed side by side with almost schematic clarity, as though the exhibition were being reduced to two transferable images: structure and growth, façade and obstruction, institution and outside. In that sense the card behaves like a compact exhibition model. Not the exhibition itself, but one of its delegated surfaces.\u003c\/p\u003e\u003cp\u003eThat relay structure feels close to Simonds, but also to a Collin-Thiébaut-like logic: the artwork not as singular event but as something distributed through reproduction, framing, citation, and reappearance elsewhere. What remains here is not simply promotion, but a small operational fragment of the show's public life.\u003c\/p\u003e\u003cp\u003eA mailed exhibition card with the right kind of double status: image-object and administrative residue.\u003c\/p\u003e","brand":"The New Rare","offers":[{"title":"Default Title","offer_id":53227350884690,"sku":"CS-3TREES-1985-EC","price":100.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Charles_Simonds_0001.jpg?v=1776420618"},{"product_id":"esther-hess-energie-et-vent-1985","title":"Esther Hess — Énergie et Vent, 1985","description":"\u003cp\u003eOriginal exhibition invitation card for Esther Hess’s \u003cem\u003eénergie et vent\u003c\/em\u003e, site-art présent, Paris\u003cbr\u003e21 × 10.5 cm\u003cbr\u003eOffset invitation card, printed recto only\u003cbr\u003eVenue: site-art présent, 10 rue Coquillière, 75001 Paris\u003cbr\u003eDate: 5 February–15 March 1985\u003cbr\u003eCondition: very good vintage condition; light age toning and minor surface wear; blank verso\u003c\/p\u003e\u003cp\u003ePrinted support for an exhibition organized around energy, wind, and invisible movement. Title, venue, date, image. The circular form functions as object, diagram, and sign at once. Not a record after the event so much as one of the forms through which the exhibition entered circulation.\u003c\/p\u003e\u003cp\u003eA small Paris document from the mid-1980s where sculpture is displaced toward field, force, and transmission.\u003c\/p\u003e","brand":"The New Rare","offers":[{"title":"Default Title","offer_id":53229836599634,"sku":"EH-ENERGIE-1985-INV","price":100.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Esther_Hess_001.jpg?v=1776446061"},{"product_id":"joel-hubaut-michel-sohier-epidemik-box-galerie-galea-caen-c-1979","title":"Joël Hubaut \/ Michel Sohier — Epidemik-Box, Galerie Galea, Caen, c. 1979","description":"\u003cp\u003eOriginal exhibition invitation card for a joint presentation by Joël Hubaut and Michel Sohier at Galerie Galea, Caen\u003cbr\u003eVenue: Galerie Galea, 19 rue des Croisiers, 14000 Caen\u003cbr\u003eExhibition: 14 November – 4 December; vernissage Monday 14 November\u003cbr\u003eFormat: recto-printed invitation card in dark brown ink on orange-brown card stock\u003cbr\u003eCondition: very good vintage condition; light general handling wear; small surface abrasion to verso; otherwise clean and well preserved\u003c\/p\u003e\u003cp\u003eA printed support in which the exhibition appears in reduced form: two names, one venue, a set of dates, and the phrase Epidemik-Box. The card operates somewhere between notice, label, and distribution point. Typography is boxed, information is staged without excess, and the object remains close to an administrative surface.\u003c\/p\u003e\u003cp\u003eIts interest lies in this economy. Hubaut and Sohier are not interpreted here so much as placed into circulation. The orange-brown stock and dark brown ink keep the card near the graphic language of filing, storage, and controlled release. What remains is a minor exhibition document in which publicity is almost withdrawn, leaving a more procedural form behind.\u003c\/p\u003e\u003cp\u003eCaen, c. 1979. Printed matter as relay, residue, and placement.\u003c\/p\u003e","brand":"The New Rare","offers":[{"title":"Default Title","offer_id":53229952205138,"sku":"JH-MS-EPIDEMIK-1979-INV","price":100.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Joel_Hubaut_Michel_Sohier_001.jpg?v=1776448987"},{"product_id":"p-s-1-museum-fall-exhibitions-preview-invitation-1989","title":"P.S.1 Museum — Fall Exhibitions Preview Invitation, 1989","description":"\u003cp\u003eCatherine Beaugrand, André Cadere (1934–78), Raymond Hains\u003cbr\u003eThe Institute for Contemporary Art \/ P.S.1 Museum, Long Island City, New York\u003cbr\u003e15 October 1989\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e21 × 10.5 cm\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eOffset print on light card stock; recto printed, verso blank\u003cbr\u003eCondition: very good; light handling wear, minor corner softening, light age toning, blank reverse clean overall\u003c\/p\u003e\n\u003cp\u003eA reception card in which the institution supplies the image.\u003c\/p\u003e\n\u003cp\u003eNot the work.\u003cbr\u003eNot the exhibition.\u003cbr\u003eThe building.\u003c\/p\u003e\n\u003cp\u003eA cropped view of the P.S.1 roofline is used as the stable visual support while names, dates, and programmes are passed across it. The same image appears on other P.S.1 invitations from the period, which places this card less in the register of design than in that of reuse: an administrative image kept in circulation.\u003c\/p\u003e\n\u003cp\u003eBeaugrand, Cadere, Hains. Three positions brought together under one printed roof. The card does not interpret them. It hosts them.\u003c\/p\u003e\n\u003cp\u003eAs shop\/object, it reads as a minor institutional readymade: architecture reduced to sign, invitation reduced to function, exhibition reduced to list. A small transfer object in which authorship is shared between venue, programme, typography, and repetition.\u003c\/p\u003e\n\u003cp\u003eNew York, late 1980s.\u003cbr\u003eA card for entry.\u003cbr\u003eA card in which P.S.1 pictures itself.\u003c\/p\u003e","brand":"The New Rare","offers":[{"title":"Default Title","offer_id":53231061500242,"sku":"PS1-FALL89-INV","price":110.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Alanna_Heiss_001.jpg?v=1776490560"},{"product_id":"henrik-olesen-some-faggy-gestures-galerie-daniel-buchholz-berlin-2008","title":"Henrik Olesen — Some Faggy Gestures, Galerie Daniel Buchholz, Berlin, 2008","description":"\u003cp\u003e\u003cem\u003eGalerie Daniel Buchholz, Berlin, 2008\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003eA printed support issued on the occasion of \u003cem\u003eSome Faggy Gestures\u003c\/em\u003e at Galerie Daniel Buchholz, Berlin, dated 11 December 2008 — the same date as the opening of Olesen's concurrent Buchholz exhibition \u003cem\u003eHow do I make myself a body?\u003c\/em\u003e, placing the card precisely within a live exhibition and publication moment rather than as a generic gallery handout.\u003c\/p\u003e\u003cp\u003eThe front is reduced to a near-total black field. The reverse carries the announcement in a restrained administrative layout. Less invitation than relay mechanism, it sits between gallery card, publication notice, and distribution object.\u003c\/p\u003e\u003cp\u003eIn 2008, Olesen's work was already closely associated with collage, appropriation, queer historiography, and the social construction of identity. \u003cem\u003eSome Faggy Gestures\u003c\/em\u003e belongs to that body of work. The black recto pushes the card toward refusal; the verso returns it to administration. A small and exact object of circulation in which exhibition, publication, and authorship are compressed into format.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e Single printed card\u003cbr\u003e\u003cstrong\u003eSize:\u003c\/strong\u003e Approx. 21 × 14.8 cm\u003cbr\u003e\u003cstrong\u003ePrint:\u003c\/strong\u003e Black on white card; solid black recto, printed text verso\u003cbr\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very good — light handling wear, minor surface softness, clean overall\u003c\/p\u003e\u003cp\u003eShipping and handling included in listed price. Sent flat with protective support.\u003c\/p\u003e","brand":"The New Rare","offers":[{"title":"Default Title","offer_id":53247788286290,"sku":"HO-SFG-2008-INV","price":95.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Henrik_Olesen_001.jpg?v=1776685909"},{"product_id":"robert-rauschenberg-ileana-sonnabend-paris-1963","title":"Robert Rauschenberg — Ileana Sonnabend Gallery, Paris, 1963","description":"\u003cp\u003eIleana Sonnabend Gallery, Paris, 1963\u003cbr\u003eExhibition catalogue\u003cbr\u003eStaple-bound wraps\u003cbr\u003e26.7 × 18.1 cm\u003cbr\u003eOffset print, black and white\u003cbr\u003e[34] pp., 11 plates\u003c\/p\u003e\u003cp\u003eOriginal catalogue issued for Rauschenberg’s first Paris exhibitions at Ileana Sonnabend, structured in two consecutive presentations: \u003cem\u003ePremière Exposition\u003c\/em\u003e (works 1954–1961) and \u003cem\u003eSeconde Exposition\u003c\/em\u003e (works 1962–1963), February–March 1963.\u003c\/p\u003e\u003cp\u003eA thin, working document rather than a retrospective object. The publication holds an early European positioning of Rauschenberg’s Combine logic — \u003cem\u003eMonogram\u003c\/em\u003e, \u003cem\u003eCharlene\u003c\/em\u003e, \u003cem\u003eBroadcast\u003c\/em\u003e — alongside a checklist that reads as inventory, sequence, and assertion.\u003c\/p\u003e\u003cp\u003eContributions by Alain Jouffroy, Lawrence Alloway, Michel Ragon, Françoise Choay, Gillo Dorfles, and John Cage. Inserted checklist included.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Good. Age toning, light foxing, soft creases to fold and staple line, minor staining to cover. Internally clean, full plate sequence intact. Slight scuffing to rear cover.\u003c\/p\u003e\u003cp\u003eOriginal period item.\u003c\/p\u003e","brand":"The New Rare","offers":[{"title":"Default Title","offer_id":53288893219154,"sku":"RAUSH-SONNABEND-1963","price":45.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Rauschenberg_1963_01.jpg?v=1777183102"},{"product_id":"stuart-brisley-ica-london-1981","title":"Stuart Brisley — Institute of Contemporary Arts, London, 1981","description":"\u003cp\u003eInstitute of Contemporary Arts, London, 1981\u003cbr\u003eExhibition catalogue\u003cbr\u003eOriginal card covers\u003cbr\u003e4to\u003c\/p\u003e\u003cp\u003ePublished on the occasion of the exhibition \u003cem\u003eStuart Brisley\u003c\/em\u003e, ICA, 21 April – 31 May 1981.\u003cbr\u003eTexts by Paul Overy, John Roberts, and Stuart Hood.\u003c\/p\u003e\u003cp\u003eA document organised around performance after the fact. The cover opens with a definition: \u003cem\u003ePerformance\u003c\/em\u003e — set as a block of borrowed language, positioned against the artist’s name. The work begins in citation before any image appears.\u003c\/p\u003e\u003cp\u003eInside, the pages assemble a sequence of actions translated into print. Black-and-white plates record situations already completed: enclosed rooms, obstructed views, the body in states of endurance, suspension, or depletion. A face seen through a cut aperture. A figure seated, absorbed into a darkened interior. A body submerged, partially visible, held in material conditions rather than depicted as subject.\u003c\/p\u003e\u003cp\u003eThe Georgiana Collection operates here as a framework rather than a fixed series: an invented institutional structure derived from a domestic address, extending into sound, action, and accumulation. The catalogue does not stabilise this structure but indexes it — listing events, sites, collaborators, and fragments of activity across London, Hamburg, Coventry, Kassel.\u003c\/p\u003e\u003cp\u003eText and image remain discontinuous. Chronologies appear as numbered entries, detached from the images they might describe. Performance is held at a distance, redistributed as documentation, caption, and residue.\u003c\/p\u003e\u003cp\u003eThe ICA imprint sits low on the cover; the reverse carries only the institution’s name. No image intervenes. The publication maintains a closed surface, with the work contained as record.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very good. Light wear to covers, minor handling marks, clean internally.\u003c\/p\u003e\u003cp\u003eAn object that registers action through delay. Performance translated into sequence, index, and printed field.\u003c\/p\u003e\u003cp\u003eOriginal period item.\u003c\/p\u003e","brand":"Institute of Contemporary Arts","offers":[{"title":"Default Title","offer_id":53289048768850,"sku":"BRISLEY-ICA-1981","price":50.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Brisley_-Stuart.-Institute-of-Contemporary-Arts_-21-April---31-May-1981-1.jpg?v=1777188647"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/collections\/JennyHolzer.PrivatePropertyCreatedCrime.Basel_Villeurbanne.198401_4fe2878b-3bc4-4023-b1fe-c65f7ac75b4d.jpg?v=1775859440","url":"https:\/\/thenewrare.com\/collections\/conceptual-art.oembed","provider":"The New Rare","version":"1.0","type":"link"}