{"title":"Invitation Cards","description":"\u003cp\u003eExhibition invitation cards from the archive.\u003c\/p\u003e","products":[{"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":"aubertin-bischoffshausen-prantl-schoonhoven-galerie-heide-hildebrand-klagenfurt-1967","title":"Aubertin \/ Bischoffshausen \/ Prantl \/ Schoonhoven — Galerie Heide Hildebrand, Klagenfurt, 1967","description":"\u003cp\u003eFolded exhibition announcement for a four-artist exhibition at Galerie Heide Hildebrand, Klagenfurt, 4–30 September 1967. Vernissage: Saturday 2 September, 20:00.\u003c\/p\u003e\u003cp\u003eFolded offset-printed sheet on lightweight stock, 21 × 15 cm folded; approximately 21 × 30 cm open. Glossy printed exterior, buff\/matte interior. Artist names printed across the outer faces — Bernard Aubertin, Hans Bischoffshausen, Karl Prantl, J. J. Schoonhoven — with a brown-mauve accent to the letter “n” in each surname. Gallery details reduced to a single line at the lower edge.\u003c\/p\u003e\u003cp\u003eA restrained late-1960s gallery document operating through typography, orientation, and distribution. The grouping places the piece in proximity to the wider ZERO \/ Nul field without overstating the exhibition as such. An invitation, but also a small record of alignment.\u003c\/p\u003e\u003cp\u003eVariant: folded printed version. Other states or accompanying formats may have been issued.\u003c\/p\u003e\u003cp\u003eCondition: light handling wear, soft creasing, minor edge wear, pencil notation to upper right, and light age toning. Clean overall.\u003c\/p\u003e\u003cp\u003e£75 — price includes shipping and handling. Flat-packed dispatch. Tracked.\u003c\/p\u003e","brand":"The New Rare","offers":[{"title":"Default Title","offer_id":53170872549714,"sku":"TNR-GHH-1967-ABPS","price":75.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Galerie_Heide_Hildebrand_1967_0001.jpg?v=1775780776"},{"product_id":"danh-vo-homosapiens-marian-goodman-gallery-london-2015","title":"Danh Vō — Homosapiens, Marian Goodman Gallery, London, 2015","description":"\u003cp\u003eExhibition invitation card for \u003cem\u003eHomosapiens\u003c\/em\u003e at Marian Goodman Gallery, 5–8 Lower John Street, London W1F 9DY, 15 January–21 February 2015. Reception: Thursday 15 January, 6–8 pm.\u003c\/p\u003e\u003cp\u003e15 × 10.75 cm. Heavy multi-ply cardstock with a soft, almost velvety surface. Single card, printed recto and verso.\u003c\/p\u003e\u003cp\u003eThe recto carries exhibition and venue details in restrained serif typography on cream stock. The verso prints a world migration map titled HOMO SAPIENS — routes of human dispersal annotated with dates in thousands of years, origin marked in sub-Saharan Africa. Administrative on one side, geopolitical on the other.\u003c\/p\u003e\u003cp\u003eA compact exhibition document in which invitation, image, and thesis are held in a single card.\u003c\/p\u003e\u003cp\u003eCondition: light general handling wear, otherwise clean overall.\u003c\/p\u003e\u003cp\u003e£35 — price includes shipping and handling. Flat-packed dispatch. Tracked.\u003c\/p\u003e","brand":"The New Rare","offers":[{"title":"Default Title","offer_id":53170893390162,"sku":"TNR-DV-2015-HS","price":35.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Dahn_Vo_2015_0001.jpg?v=1775779561"},{"product_id":"georg-baselitz-devotion-invitation-alan-cristea-gallery-2019","title":"Georg Baselitz — Devotion — Exhibition Invitation, Alan Cristea Gallery, London, 2019","description":"\u003cp\u003eExhibition invitation \/ announcement card\u003cbr\u003e21.0 × 14.8 cm\u003cbr\u003eOffset print on light card stock; exhibition information to verso with reproduced image (\u003cem\u003eAuerbach (yellow)\u003c\/em\u003e, 2018) to recto\u003cbr\u003ePublished by Alan Cristea Gallery, London\u003cbr\u003eCondition: very good; light handling wear and faint edge softening consistent with storage and use\u003c\/p\u003e\u003cp\u003eIssued for Georg Baselitz's \u003cem\u003eDevotion\u003c\/em\u003e exhibition at \u003ca href=\"https:\/\/www.alancristea.com\" target=\"_blank\" rel=\"noopener noreferrer\"\u003eAlan Cristea Gallery\u003c\/a\u003e, London, presented in May–June 2019. The invitation adopts a notably restrained format: generous white space, centered serif typography, and sparse institutional information offset against a reproduction from Baselitz's print practice. Rather than functioning as a graphic statement, it remains close to a threshold object — an announcement structure carrying date, access, and placement.\u003c\/p\u003e\u003cp\u003eBy 2019 Baselitz had moved through several distinct phases of production: the fractured and raw figurative paintings of the 1960s, the inverted figures that became synonymous with his practice from 1969 onward, and increasingly direct engagement with printmaking as a space for experimentation. The title \u003cem\u003eDevotion\u003c\/em\u003e introduces a quieter register, where gesture and image begin to feel less declarative and more reflective.\u003c\/p\u003e\u003cp\u003eWithin a New Rare object logic, the invitation sits somewhere between exhibition residue and administrative support. The exhibition concludes, the object remains. A small printed document retaining the coordinates of a temporary event.\u003c\/p\u003e\u003cp\u003eOriginal period item.\u003c\/p\u003e","brand":"Alan Cristea Gallery","offers":[{"title":"Default Title","offer_id":53547742593362,"sku":"BASELITZ-DEVOTION-INV-2019","price":20.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Baselitz_Georg._Devotion_invitation._2019_front.jpg?v=1779596810"},{"product_id":"david-hammons-invitation-postcard-lm-arts-new-york-2011","title":"David Hammons — Exhibition Invitation Card, L\u0026M Arts, New York, 2011","description":"\u003cp\u003eExhibition invitation postcard\u003cbr\u003e21 × 14.8 cm\u003cbr\u003eOffset print on card stock; black-and-white typography to recto and verso\u003cbr\u003ePublished by L\u0026amp;M Arts, New York\u003cbr\u003eExhibition dates: January 26 – February 26, 2011\u003cbr\u003eCondition: very good; light handling wear and faint surface marks consistent with storage and age\u003c\/p\u003e\u003cp\u003eIssued for a 2011 solo exhibition by David Hammons at L\u0026amp;M Arts, New York. The invitation reduces itself almost completely to a name. White letters against black ground; date and venue on the reverse. No image, no explanatory text, no secondary information. The design follows a familiar Hammons strategy: withholding rather than announcing.\u003c\/p\u003e\u003cp\u003eThe exhibition itself marked Hammons's first presentation of new work since his earlier 2007 project at L\u0026amp;M and centred on large paintings and mixed-media works that partially concealed their own images beneath tarps, blankets, and weathered coverings. Beneath these surfaces viewers encountered fragments of abstraction — painting simultaneously revealed and denied. Critics frequently described the exhibition as operating between seduction and obstruction: beauty present but deliberately interrupted.\u003c\/p\u003e\u003cp\u003eThe works pushed forward concerns already active throughout Hammons's practice. Since the body prints of the late 1960s, snowball sales, found objects, bottle caps, hair pieces, basketball imagery, and street interventions, Hammons repeatedly positioned meaning at the edges of visibility. In these 2011 works, concealment itself became material. A painting remained present physically while refusing complete access.\u003c\/p\u003e\u003cp\u003eAs an object, the invitation behaves similarly. It withholds almost everything except a name. Read through a New Rare register, the card functions less as documentation than as a compressed proposition: the artist's name acting as image, announcement, and object simultaneously.\u003c\/p\u003e\u003cp\u003eOriginal period item.\u003c\/p\u003e","brand":"L\u0026M Arts","offers":[{"title":"Default Title","offer_id":53547844141394,"sku":"HAMMONS-LM-INV-2011","price":150.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Hammons_David._L_M_Arts_invitation_postcard._2011_front.jpg?v=1779596810"},{"product_id":"martin-honert-invitation-matthew-marks-gallery-new-york-1999","title":"Martin Honert — Exhibition Invitation Card, Matthew Marks Gallery, New York, 1999","description":"\u003cp\u003eExhibition invitation card\u003cbr\u003e21 × 14.8 cm\u003cbr\u003eOffset print on card stock; colour illustration to recto, exhibition details to verso\u003cbr\u003ePublished by Matthew Marks Gallery, New York\u003cbr\u003eExhibition dates: 12 November – 24 December 1999\u003cbr\u003eOpening: Thursday 11 November 1999, Saint Martin's Day\u003cbr\u003eCondition: very good; light handling wear, minor surface marks, and faint age-related toning\u003c\/p\u003e\u003cp\u003eProduced for Martin Honert's solo exhibition at Matthew Marks Gallery, New York, in 1999. The front reproduces an image of two children taking part in a traditional German \u003cem\u003eLaternenumzug\u003c\/em\u003e, or lantern procession. The opening date connects directly to Saint Martin's Day, when children traditionally carry lanterns in evening parades.\u003c\/p\u003e\u003cp\u003eHonert's work often draws on childhood memory, folklore, schoolroom imagery, and postwar German visual culture. These references are not simply nostalgic. They are reconstructed as staged images and sculptural forms, where memory appears enlarged, clarified, and slightly estranged.\u003c\/p\u003e\u003cp\u003eAs an invitation, the card acts as a small support for this logic. A children's ritual becomes exhibition image. A date becomes thematic structure. The printed object remains as a reduced record of an event built around memory, folklore, and reconstruction.\u003c\/p\u003e\u003cp\u003eOriginal period item. Shipping and handling included in the listed price.\u003c\/p\u003e","brand":"Matthew Marks Gallery","offers":[{"title":"Default Title","offer_id":53547970658642,"sku":"HONERT-MMG-INV-1999","price":55.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Honert_Martin._Show_invite_Matthew_Marks_Gallery._1999_front.jpg?v=1779596808"},{"product_id":"pierre-klossowski-lenonce-a-nouveau-denonce-galerie-beaubourg-vence-1999","title":"Pierre Klossowski — l’énoncé à nouveau dénoncé — Exhibition Announcement Card, Galerie Beaubourg, Vence, 1999","description":"\u003cp\u003eExhibition announcement card\u003cbr\u003eApprox. 21 × 14.8 cm\u003cbr\u003eOffset print on card stock; colour sculpture reproduction to recto, exhibition information to verso\u003cbr\u003ePublished by Galerie Beaubourg \/ Marianne \u0026amp; Pierre Nahon, Vence, France\u003cbr\u003eExhibition dates: 3 April – 12 June 1999\u003cbr\u003eCondition: very good; light handling wear and minor age-related surface marks\u003c\/p\u003e\u003cp\u003ePrinted for a solo exhibition by Pierre Klossowski titled \u003cem\u003el’énoncé à nouveau dénoncé\u003c\/em\u003e (“the statement denounced again”), held at the Château Notre-Dame des Fleurs in Vence under the direction of Marianne and Pierre Nahon. Issued late in Klossowski’s life, the exhibition gathered paintings and sculptures around a body of work that continuously moved between literature, philosophy, theatre, and image.\u003c\/p\u003e\u003cp\u003eThe front reproduces Klossowski’s \u003cem\u003eRoberte aux barres parallèles\u003c\/em\u003e (1990), a polychrome sculpture executed in painted synthetic resin, metal, and wood. The work animates characters from \u003cem\u003eThe Laws of Hospitality\u003c\/em\u003e, the avant-garde trilogy through which Klossowski developed the figure of Roberte — part fictional protagonist, part philosophical device, part recurring image-system. Across these texts and later visual works, desire becomes staged rather than narrated: roles are performed, exchanged, repeated, and observed.\u003c\/p\u003e\u003cp\u003eThe sculpture itself sits between mannequin, theatre prop, and philosophical proposition. The figures appear suspended in an ambiguous scene somewhere between choreography and ritual. As with much of Klossowski’s work, the image resists a stable reading; narrative and enactment begin to overlap.\u003c\/p\u003e\u003cp\u003eAs a printed object the card performs a similar reduction. Complex literary and philosophical structures are compressed into a portable support: title, image, date, place. The exhibition passes; the scenario remains.\u003c\/p\u003e\u003cp\u003eOriginal period item.\u003c\/p\u003e","brand":"Galerie Beaubourg","offers":[{"title":"Default Title","offer_id":53548089246034,"sku":"KLOSSOWSKI-GB-INV-1999","price":95.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Klossowski_Pierre._Sculpture_and_painting_show_announcement_Galerie_Beubourg._1999_front.jpg?v=1779599409"},{"product_id":"barbara-kruger-untitled-love-is-something-you-fall-into-national-gallery-of-art-washington-2016-2017","title":"Barbara Kruger — Untitled (Love is something you fall into) — Exhibition Postcard, National Gallery of Art, Washington, 2016–2017","description":"\u003cp\u003eExhibition postcard\u003cbr\u003eApprox. 20.3 × 10.2 cm\u003cbr\u003eOffset print on card stock; artwork reproduction to recto, exhibition and work details to verso\u003cbr\u003ePublished for \u003cem\u003eIn the Tower: Barbara Kruger\u003c\/em\u003e, National Gallery of Art, Washington, D.C.\u003cbr\u003eCondition: very good; light handling wear, minor surface marks and age-related wear consistent with use\u003c\/p\u003e\u003cp\u003ePostcard published for \u003cem\u003eIn the Tower: Barbara Kruger\u003c\/em\u003e, presented at the National Gallery of Art, Washington, following the reopening of the museum’s East Building Tower Gallery after a major architectural renovation. Curated by Molly Donovan, the exhibition brought together profile works spanning several decades and examined one of Kruger’s central formal structures: direct language confronting indirect or withdrawn imagery.\u003c\/p\u003e\u003cp\u003eThe postcard reproduces \u003cem\u003eUntitled (Love is something you fall into)\u003c\/em\u003e (1990), one of Kruger’s most recognisable works. A cropped black-and-white image of a woman’s profile is interrupted by a vertical red text bar carrying the phrase: \u003cem\u003eLove is something you fall into\u003c\/em\u003e. The language initially resembles advertising copy or a magazine headline, but the wording immediately destabilises itself. Rather than presenting love as aspiration or fulfilment, the phrase suggests surrender, descent, or loss of control.\u003c\/p\u003e\u003cp\u003eKruger repeatedly appropriated the visual language of consumer culture — publicity, magazines, editorial layouts — not to celebrate persuasion but to expose its mechanisms. Here romance itself becomes a manufactured proposition. Desire is packaged, delivered, and sold back to the viewer. The image remains suspended between glamour and unease, attraction and warning.\u003c\/p\u003e\u003cp\u003eThe timing of the exhibition added another register. Installed in Washington during the final months of the 2016 U.S. election cycle and presidential transition, Kruger’s long-standing concerns around authority, social conditioning, and systems of persuasion acquired renewed urgency.\u003c\/p\u003e\u003cp\u003eAs an object, the postcard functions as a compressed version of Kruger’s larger method: image, command, interruption. A museum support carrying forward the structure of the work itself.\u003c\/p\u003e\u003cp\u003eOriginal period item. Shipping and handling included in listed price.\u003c\/p\u003e","brand":"THE NEW RARE","offers":[{"title":"Default Title","offer_id":53548400312658,"sku":"KRUGER-NGA-PC-2017","price":40.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Kruger_Barbara._Artist_postcard_from_the_exhibition_in_the_Tower_Barbara_Kruger_National_Gallery_of_Art_Washington._2017_front.jpg?v=1779601140"},{"product_id":"yayoi-kusama-festival-of-life-infinity-nets-david-zwirner-new-york-2017","title":"Yayoi Kusama — Festival of Life + Infinity Nets — Exhibition Announcement Card, David Zwirner, New York, 2017","description":"\u003cp\u003eExhibition announcement card\u003cbr\u003eApprox. 21 × 14.8 cm\u003cbr\u003eOffset print on card stock; colour studio portrait to recto, exhibition details to verso\u003cbr\u003ePublished by \u003ca href=\"https:\/\/www.davidzwirner.com\" target=\"_blank\" rel=\"noopener noreferrer\"\u003eDavid Zwirner\u003c\/a\u003e, New York\u003cbr\u003eExhibition dates: 2 November – 16 December 2017\u003cbr\u003eCondition: very good; light handling wear and minor surface marks consistent with age and storage\u003c\/p\u003e\u003cp\u003eIssued for a significant concurrent two-part exhibition by Yayoi Kusama in New York in late 2017. The invitation announced two simultaneous presentations across separate David Zwirner locations: \u003cem\u003eFestival of Life\u003c\/em\u003e in Chelsea and \u003cem\u003eInfinity Nets\u003c\/em\u003e on the Upper East Side.\u003c\/p\u003e\u003cp\u003e\u003cem\u003eFestival of Life\u003c\/em\u003e brought together sixty-six paintings from Kusama’s \u003cem\u003eMy Eternal Soul\u003c\/em\u003e series alongside immersive \u003cem\u003eInfinity Mirror Rooms\u003c\/em\u003e and large-scale sculptural works. Running in parallel, \u003cem\u003eInfinity Nets\u003c\/em\u003e returned to one of the artist’s foundational bodies of work: monochromatic paintings built through repeated hand-painted gestures accumulating into dense optical fields.\u003c\/p\u003e\u003cp\u003eThe image reproduced on the front departs from a conventional artwork reproduction and instead presents Kusama inside the environment of her own production. Seated in the studio, surrounded by \u003cem\u003eMy Eternal Soul\u003c\/em\u003e paintings, the distinction between artist, setting, and work begins to collapse. The red wig, patterned dress, and surrounding surfaces seem to operate within the same visual system. Portrait becomes installation; installation becomes self-image.\u003c\/p\u003e\u003cp\u003eAcross Kusama’s practice, repetition acts simultaneously as method, psychological structure, and image-making device. Dots, nets, accumulations, and mirrored spaces continuously oscillate between personal compulsion and visual infinity. Rather than depicting a world, the work creates one.\u003c\/p\u003e\u003cp\u003eAs an object, the card retains a moment when two major trajectories of Kusama’s practice — recent maximalism and foundational repetition — were presented in parallel. A small printed support carrying the structure of a much larger environment.\u003c\/p\u003e\u003cp\u003eOriginal period item. Shipping and handling included in listed price.\u003c\/p\u003e","brand":"David Zwirner","offers":[{"title":"Default Title","offer_id":53548409618770,"sku":"KUSAMA-DZ-INV-2017","price":35.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Kusama_Yayoi._Festival_of_Life_show_invite._2017_front.jpg?v=1779601142"},{"product_id":"yayoi-kusama-explosion-anatomique-manifestation-non-identifiee-centre-pompidou-2019","title":"Yayoi Kusama — Explosion anatomique + Manifestation non identifiée — Pair of Museum Postcards, Éditions Centre Pompidou, Paris, 2019","description":"\u003cp\u003ePair of museum postcards\u003cbr\u003eApprox. 15 × 10.5 cm each\u003cbr\u003eOffset print on card stock; black-and-white photographic reproductions to recto, archival and publication details to verso\u003cbr\u003ePublished by Éditions Centre Pompidou, Paris, 2019\u003cbr\u003ePhotographs by Harry Shunk and János Kender\u003cbr\u003eCondition: very good; light handling wear and minor surface marks consistent with storage\u003c\/p\u003e\u003cp\u003eIncludes:\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e1. \u003cem\u003eExplosion anatomique, Pont de Brooklyn, New York, 1968\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003eBlack-and-white photograph showing Yayoi Kusama alongside nude performers covered in polka dots beneath a large \u003cem\u003eKUSAMA SELF-OBLITERATION\u003c\/em\u003e banner on the Brooklyn Bridge.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e2. \u003cem\u003eManifestation non identifiée, New York, 1968\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003eBlack-and-white photograph depicting two embracing nude performers covered in polka dots beneath an American flag within one of Kusama’s accumulation environments.\u003c\/p\u003e\u003cp\u003eThis pair reproduces documentary photographs from Kusama’s pivotal New York period of the late 1960s, when her practice moved beyond painting and into public actions, staged demonstrations, and politically charged Happenings. Both images were captured by the important photographic partnership of Harry Shunk and János Kender, whose archive remains one of the primary visual records of postwar avant-garde activity.\u003c\/p\u003e\u003cp\u003eProduced at the height of the Vietnam War and wider countercultural unrest, Kusama’s public actions used nudity, repetition, and spectacle as forms of protest. Her recurring polka dots functioned as more than decoration; they formed part of her idea of \u003cem\u003eSelf-Obliteration\u003c\/em\u003e, a strategy intended to dissolve the boundaries of individual identity through repetition and shared surface. Bodies, objects, and environments become absorbed into a continuous field.\u003c\/p\u003e\u003cp\u003eThe Brooklyn Bridge action transforms a recognisable structure into a temporary stage. The \u003cem\u003eManifestation non identifiée\u003c\/em\u003e image moves toward something more psychologically charged — intimacy, nationalism, eroticism, and confrontation compressed into a single frame.\u003c\/p\u003e\u003cp\u003eAs objects, the postcards operate as secondary documents of ephemeral actions that originally resisted permanence. Performance disappears; the image remains. The image enters an archive; the archive returns as a printed support.\u003c\/p\u003e\u003cp\u003eOriginal period items. Shipping and handling included in the listed price.\u003c\/p\u003e","brand":"THE NEW RARE","offers":[{"title":"Default Title","offer_id":53548580929874,"sku":"KUSAMA-CP-PC-2019","price":40.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Kusama_Yayoi._Editions_Pompidou_Paris_postcard._Explosion_anatomique_Pont_de_Brooklyn_1968_._2019_front_63027cc3-fa61-4e6c-8f65-795ec564945a.jpg?v=1779602205"},{"product_id":"sherrie-levine-pie-town-david-zwirner-london-2017","title":"Sherrie Levine — Pie Town — Exhibition Announcement Card, David Zwirner, London, 2017","description":"\u003cp\u003eExhibition announcement card\u003cbr\u003eApprox. 21 × 14.8 cm\u003cbr\u003eOffset print on card stock; artwork reproduction to recto, exhibition details to verso\u003cbr\u003ePublished by \u003ca href=\"https:\/\/www.davidzwirner.com\" target=\"_blank\" rel=\"noopener noreferrer\"\u003eDavid Zwirner\u003c\/a\u003e, London\u003cbr\u003eExhibition dates: 4 October – 18 November 2017\u003cbr\u003eCondition: very good; light handling wear and minor surface marks consistent with storage\u003c\/p\u003e\u003cp\u003eIssued for a solo exhibition by Sherrie Levine at David Zwirner, London. The card reproduces a detail from \u003cem\u003eAfter Russell Lee: 1–60\u003c\/em\u003e (2016), Levine’s reworking of historic documentary photographs originally made by Russell Lee during his work for the Farm Security Administration in the 1940s.\u003c\/p\u003e\u003cp\u003eThe image depicts Faro and Doris Caudill in Pie Town, New Mexico, photographed in October 1940. In Levine’s version, the original documentary image re-enters circulation as a new object: digitally translated, enlarged, and repositioned within the context of contemporary art. Rather than producing an image from nothing, Levine works through transfer, repetition, and displacement.\u003c\/p\u003e\u003cp\u003eSince the late 1970s Levine has repeatedly questioned the stability of authorship and originality through acts of appropriation. Existing images are not simply reused but placed under pressure. Ownership, historical authority, and artistic identity become unstable categories. The gesture is small and direct: take an image already embedded in culture and ask what changes when it appears again.\u003c\/p\u003e\u003cp\u003eWithin a New Rare register the invitation performs a similar operation. One image passes through multiple systems — documentary record, archive, artwork, exhibition support, printed card. Authorship remains active but temporarily unsettled.\u003c\/p\u003e\u003cp\u003eOriginal period item. Shipping and handling included in the listed price.\u003c\/p\u003e","brand":"David Zwirner","offers":[{"title":"Default Title","offer_id":53549335314770,"sku":"LEVINE-DZ-INV-2017","price":60.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Levine_Sherrie._Pie_Town_exhibition_card._David_Zwirner_London._2017_front.jpg?v=1779601142"},{"product_id":"mark-morrisroe-1959-1989-clampart-new-york-2011","title":"Mark Morrisroe (1959–1989) — Exhibition Announcement Card, ClampArt, New York, 2011","description":"\u003cp\u003eExhibition announcement card\u003cbr\u003eApprox. 15 × 10 cm\u003cbr\u003eOffset print on card stock\u003cbr\u003ePublished by ClampArt, New York\u003cbr\u003eExhibition dates: 24 March – 30 April 2011\u003cbr\u003eCondition: good vintage condition; light handling wear and minor surface marks consistent with storage and age\u003c\/p\u003e\u003cp\u003eIssued for a 2011 solo exhibition dedicated to Mark Morrisroe at ClampArt in New York, produced simultaneously with the major survey \u003cem\u003eMark Morrisroe: From This Moment On\u003c\/em\u003e at Artists Space. Together the two exhibitions contributed to a broader re-examination of Morrisroe’s short but influential career and his position within late twentieth-century photography.\u003c\/p\u003e\u003cp\u003eThe card reproduces \u003cem\u003eSelf Portrait\u003c\/em\u003e (1980 \/ photogravure edition printed 1996), an image that condenses much of Morrisroe’s practice into a single frame: intimacy, performance, vulnerability, and self-invention. Rather than presenting portraiture as stable documentation, Morrisroe treated the photograph as a mutable surface — manipulated through layered negatives, reprinting, and darkroom intervention. His images frequently move between autobiography and fiction.\u003c\/p\u003e\u003cp\u003eAssociated with the Boston School alongside figures such as Nan Goldin and David Armstrong, Morrisroe photographed friends, lovers, and underground communities with an immediacy that resisted polished documentary conventions. The work sits between diaristic record and constructed persona, preserving both closeness and instability.\u003c\/p\u003e\u003cp\u003eWithin a New Rare inventory this card functions as a secondary record of a second life: a contemporary exhibition built around posthumous circulation, where the image continues to move through archive, institution, estate, and print support.\u003c\/p\u003e\u003cp\u003eOriginal period item. Shipping and handling included in the listed price.\u003c\/p\u003e","brand":"ClampArt","offers":[{"title":"Default Title","offer_id":53549988446546,"sku":"MORRISROE-CLAMP-INV-2011","price":135.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Morrisroe_Mark._Clamp_Art_opening_reception_invite._2011_front.jpg?v=1779605198"},{"product_id":"yvonne-rainer-john-erdman-this-is-the-story-of-a-woman-who-portland-center-visual-arts-1973","title":"Yvonne Rainer \u0026 John Erdman — “This is the story of a woman who…” — Performance Announcement Postcard, Portland Center for the Visual Arts, 1973","description":"\u003cp\u003eOriginal performance announcement postcard\u003cbr\u003eOffset print on card stock\u003cbr\u003ePortland Center for the Visual Arts (PCVA), Portland, Oregon\u003cbr\u003eMay 1973\u003cbr\u003eApprox. postcard format\u003cbr\u003eCondition: good vintage condition; light age toning, minor surface wear and handling marks consistent with age\u003c\/p\u003e\u003cp\u003eIssued for Yvonne Rainer and John Erdman’s 1973 presentation \u003cem\u003eThis is the story of a woman who…\u003c\/em\u003e, this card documents a key transitional moment in Rainer’s practice as her work moved from post-minimal choreography toward narrative, language, and film structures. Produced at the Portland Center for the Visual Arts, the announcement belongs to an early ecosystem of artist-run spaces that circulated experimental performance outside traditional theatre and museum systems.\u003c\/p\u003e\u003cp\u003eThe work itself rejected theatrical conventions in favour of fragmented narrative, task-based movement, projected text, and emotionally restrained gestures. Rainer’s choreography had already challenged spectacle through ordinary movement and procedural structures, and by the early 1970s these concerns began folding into cinematic and psychological territory. Rather than resolving narrative, the work treated it as something unstable and discontinuous.\u003c\/p\u003e\u003cp\u003eThe front reproduces a photograph of Rainer performing \u003cem\u003eTrio A\u003c\/em\u003e (1966), perhaps her most influential choreographic work. \u003cem\u003eTrio A\u003c\/em\u003e famously replaced virtuosic display with continuous unaccented movement, refusing climax, hierarchy, or direct engagement with the audience. The body operates less as performer than as carrier of actions.\u003c\/p\u003e\u003cp\u003eWithin a New Rare inventory the card functions as a residual performance object — a printed support for an event designed to disappear. What remains is a small administrative trace from a larger structure of movement, language, and temporary encounter.\u003c\/p\u003e\u003cp\u003eOriginal period item. Shipping and handling included in the listed price.\u003c\/p\u003e","brand":"Portland Center for the Visual Arts","offers":[{"title":"Default Title","offer_id":53550304559442,"sku":"RAINER-PCVA-PC-1973","price":145.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Rainer_Yvonne_Erdman_John._Portland_Centre_for_Visual_Arts_postcard._1973_front.jpg?v=1779606115"},{"product_id":"thomas-rentmeister-centre-art-contemporain-vassiviere-limousin-1997","title":"Thomas Rentmeister — Exhibition Invitation Card, Centre d’art contemporain de Vassivière en Limousin, France, 1997","description":"\u003cp\u003eExhibition invitation card\u003cbr\u003eOffset print on folded card stock\u003cbr\u003eOriginal period item\u003cbr\u003eCondition: light handling and storage wear consistent with age\u003c\/p\u003e\u003cp\u003eIssued for Thomas Rentmeister’s solo exhibition at the Centre d’art contemporain de Vassivière en Limousin, held from 26 April – 29 June 1997. The exhibition occupied the institution’s main nave and study spaces and reproduces \u003cem\u003eUntitled (Sans titre)\u003c\/em\u003e (1997), a polyester sculpture measuring 38 × 124 × 97 cm.\u003c\/p\u003e\u003cp\u003eProduced during Rentmeister’s early sculptural period, the reproduced work belongs to a group of highly polished synthetic forms positioned between industrial finish and organic association. The object precedes later installations employing supermarket and domestic materials, but already introduces a movement between Minimalist surface logic and softer bodily or material references.\u003c\/p\u003e\u003cp\u003eThe invitation remains as a secondary exhibition object: notice, image support, and retained document from an early point within Rentmeister’s practice.\u003c\/p\u003e\u003cp\u003eOriginal period item. Shipping and handling included in the listed price.\u003c\/p\u003e","brand":"Centre d’art contemporain de Vassivière en Limousin","offers":[{"title":"Default Title","offer_id":53550675984722,"sku":"RENTMEISTER-VASSIVIERE-INV-1997","price":45.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Rentmeister_Thomas._Show_invite_Centre_d_art_contemporain_de_Vassivere_en_Limousin._1997_front.jpg?v=1779607177"},{"product_id":"etienne-sandorfi-galerie-3-3-paris-1970","title":"Étienne Sandorfi — Exhibition Invitation Card, Galerie 3+3, Paris, 1970","description":"\u003cp\u003eExhibition invitation card\u003cbr\u003eOffset print on folded card stock\u003cbr\u003ePublished by Galerie 3+3, Paris\u003cbr\u003eExhibition dates: 17 November – 16 December 1970\u003cbr\u003eCondition: light handling wear, fold marks, and age toning consistent with storage and use\u003c\/p\u003e\u003cp\u003eIssued for an exhibition by Étienne Sandorfi at Galerie 3+3, Paris, held from 17 November – 16 December 1970. The folded invitation reproduces a psychologically charged image characteristic of Sandorfi’s early period: a fragmented doll-like head interrupted by wires, mechanical elements, and surgical associations. The interior includes exhibition details alongside a short contemporary text describing the work through detachment, repetition, and a restrained form of violence.\u003c\/p\u003e\u003cp\u003eProduced during an early moment in Sandorfi’s practice, the invitation already suggests themes that would later remain central to his work: psychological tension, constructed bodies, precision, and the unstable boundary between figuration and disturbance. The image sits somewhere between portrait, object, and staged condition.\u003c\/p\u003e\u003cp\u003eThe invitation remains as a retained exhibition document from a particular Paris moment. Exhibition notice, image support, and secondary object.\u003c\/p\u003e\u003cp\u003eOriginal period item. Shipping and handling included in the listed price.\u003c\/p\u003e","brand":"THE NEW RARE","offers":[{"title":"Default Title","offer_id":53550913880402,"sku":"SANDORFI-G33-INV-1970","price":145.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Sandorfi_Etienne._Show_invite_Galerie_3_3._1970_front.jpg?v=1779607835"},{"product_id":"andres-serrano-piss-christ-immersions-portraits-damerique-galerie-nathalie-obadia","title":"Andres Serrano — Piss Christ (Immersions), 1987 — Exhibition Postcard, Portraits d’Amérique, Galerie Nathalie Obadia, Paris–Brussels","description":"\u003cp\u003eArtist postcard\u003cbr\u003eOffset print on card stock\u003cbr\u003ePublished by Galerie Nathalie Obadia, Paris \/ Brussels\u003cbr\u003eExhibition: \u003cem\u003ePortraits d’Amérique\u003c\/em\u003e, Musée Maillol, Paris\u003cbr\u003eExhibition dates: 27 April – 20 October 2024\u003cbr\u003ePostcard published: 2024\u003cbr\u003eCondition: light handling wear and minor surface marks consistent with age and storage\u003c\/p\u003e\u003cp\u003eOfficial exhibition postcard reproducing \u003cem\u003ePiss Christ (Immersions)\u003c\/em\u003e (1987) by Andres Serrano, issued in connection with \u003cem\u003ePortraits d’Amérique\u003c\/em\u003e at the Musée Maillol, Paris, through Galerie Nathalie Obadia, Paris \/ Brussels.\u003c\/p\u003e\u003cp\u003eThe image belongs to Serrano’s \u003cem\u003eImmersions\u003c\/em\u003e series, a body of works in which religious and symbolic objects were submerged within bodily and everyday materials. The reproduced work presents a small crucifix suspended within an illuminated field of amber-red colour. Detached from its original scale and exhibition setting, the image shifts from photographic work to portable support and circulation object.\u003c\/p\u003e\u003cp\u003eOver time \u003cem\u003ePiss Christ\u003c\/em\u003e became one of the most publicly debated artworks of the late twentieth century, moving repeatedly through disputes concerning religion, public funding, censorship, and image circulation. This postcard retains that larger history in condensed form: exhibition material functioning simultaneously as document, reproduction, and residual carrier of a widely circulated image.\u003c\/p\u003e\u003cp\u003eOriginal period item. Shipping and handling included in the listed price.\u003c\/p\u003e","brand":"THE NEW RARE","offers":[{"title":"Default Title","offer_id":53551086109010,"sku":"SERRANO-GNO-PC-2024","price":45.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Serrano_Andres._Artist_Postcard._Galerie_Natalie_Obadia_Paris___Brussels._2025_front.jpg?v=1779738186"},{"product_id":"cindy-sherman-untitled-317-retrospective-museum-of-contemporary-art-chicago-1998","title":"Cindy Sherman — Untitled #317 (1995) — Exhibition Postcard, Cindy Sherman: Retrospective, Museum of Contemporary Art, Chicago, 1998","description":"\u003cp\u003eMuseum promotional postcard \/ exhibition announcement\u003cbr\u003eOffset print on card stock\u003cbr\u003ePublished by the Museum of Contemporary Art, Chicago\u003cbr\u003eExhibition dates: 21 February – 31 May 1998\u003cbr\u003eCondition: light handling wear and minor surface marks consistent with age and storage\u003c\/p\u003e\u003cp\u003eIssued for \u003cem\u003eCindy Sherman: Retrospective\u003c\/em\u003e, presented at the Museum of Contemporary Art, Chicago from 21 February – 31 May 1998 and jointly organised with the Museum of Contemporary Art, Los Angeles. The card reproduces \u003cem\u003eUntitled #317\u003c\/em\u003e (1995), a work from Sherman’s mid-1990s \u003cem\u003eMasks\u003c\/em\u003e series.\u003c\/p\u003e\u003cp\u003eThe reproduced image belongs to a body of work in which Sherman shifted from earlier self-performative roles toward prosthetic surfaces, mannequins, masks, and constructed identities. The tightly framed gold face produces an uncertain register somewhere between portrait, disguise, mannequin, and theatrical object. Identity appears less as revelation than as a manufactured surface.\u003c\/p\u003e\u003cp\u003eThe reverse retains traces of its original function. Alongside exhibition information, museum text, and a membership campaign offer, the object records a particular moment when institutional promotion, mass circulation, and a major retrospective converged. The postcard becomes both advertisement and residual exhibition material.\u003c\/p\u003e\u003cp\u003eOriginal period item. Shipping and handling included in the listed price.\u003c\/p\u003e","brand":"THE NEW RARE","offers":[{"title":"Default Title","offer_id":53551096430930,"sku":"SHERMAN-MCA-PC-1998","price":95.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Sherman_Cindy._Museum_of_Contemporary_Art_exhibition_announcement._1998_front.jpg?v=1779609858"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/collections\/Invitation_Cards.jpg?v=1775858329","url":"https:\/\/thenewrare.com\/collections\/invitation-cards.oembed","provider":"The New Rare","version":"1.0","type":"link"}