{"title":"Kate Simon","description":"\u003cp\u003eKate Simon is an American photographer whose work documented rock music, street life and subcultural scenes in New York from the 1970s onwards. She photographed extensively for the music press and contributed images to publications including \u003cem\u003eRolling Stone\u003c\/em\u003e and \u003cem\u003eCreem\u003c\/em\u003e, producing portraits of figures including Bob Marley, the Clash, Patti Smith and Blondie that became defining images of the period. Simon contributed to \u003cem\u003eBald Ego\u003c\/em\u003e no. 2 (2002), edited by Glenn O’Brien and Max Blagg.\u003c\/p\u003e","products":[{"product_id":"william-s-burroughs-tony-shafrazi-gallery-1988","title":"William S. Burroughs — Tony Shafrazi Gallery, New York, 1988","description":"\u003cp\u003eExhibition invite \/ folded catalogue. Tony Shafrazi Gallery, New York, 1988. 14.5 × 22 cm folded; 73.5 × 22 cm unfolded. Offset printed on textured cream stock, sepia-toned images and text.\u003c\/p\u003e\u003cp\u003eCondition: good vintage condition; light age toning, minor handling marks, soft fold wear and small signs of storage consistent with printed gallery ephemera of the period.\u003c\/p\u003e\u003cp\u003eFolded exhibition brochure for Burroughs’ show at Tony Shafrazi Gallery, New York, December 19, 1987 – January 24, 1988. The cover features Kate Simon’s now-celebrated photograph of Burroughs taken in Lawrence, Kansas on September 14, 1987: fedora, porch, shotgun across his lap. By this point Burroughs had moved beyond his literary reputation into a late visual practice, including the “shotgun paintings” made by firing into paint cans and wooden targets.\u003c\/p\u003e\u003cp\u003eInside, the brochure unfolds to include Burroughs’ essay “Entrance to the Museum of Lost Species” (1987), alongside sepia reproductions of works and the formal exhibition checklist. The text is not a standard gallery essay. It reads closer to a Burroughs field note: part description, part hallucinated catalogue, part verbal extension of the paintings. The works become strange specimens, fragments, creatures, ghosts, surfaces opened by violence and accident.\u003c\/p\u003e\u003cp\u003eA strong Shafrazi-period document: literary figure, image-maker, weapon, painting, catalogue and invite compressed into one folded printed object.\u003c\/p\u003e","brand":"The New Rare","offers":[{"title":"Default Title","offer_id":53963770855762,"sku":"BURROUGHS-SHAFRAZI-CAT-1988","price":105.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Burroughs_William._Show_invite_and_catalogue_Tony_Shafrazi_Gallery._1988_bb64a60d-392b-45b9-858b-d5189b2e608a.jpg?v=1783600751"},{"product_id":"bald-ego-no-2-obrien-blagg-2002","title":"BALD EGO NO. 2, Glenn O’Brien and Max Blagg, eds., 2002","description":"\u003cp\u003eSoftcover magazine, offset printed throughout. Bald Ego Publishing, New York, distributed by D.A.P. 6 × 9 in. ISBN 1-56466-114-8. Original cover price $15.00.\u003c\/p\u003e\u003cp\u003eCover reproduces Sarah Charlesworth’s \u003cem\u003eDevil\u003c\/em\u003e, 2002, from her \u003cem\u003eNeverland\u003c\/em\u003e series.\u003c\/p\u003e\u003cp\u003e\u003cem\u003eBald Ego\u003c\/em\u003e occupied an unstable space between art magazine, literary journal and downtown New York social object. Edited by Glenn O’Brien and Max Blagg, its structure deliberately brought together writers, artists and photographers who would not ordinarily occupy the same publication, often pairing contributors at the same page number rather than separating image and text into conventional departments. Adam McEwen and Sarah Charlesworth share p. 54; Gary Indiana and Keith Sonnier p. 126; Glenn O’Brien and Jerry Schatzberg p. 166; Richard Hell and Renate Aller p. 182.\u003c\/p\u003e\u003cp\u003eCharlesworth’s cover is particularly appropriate to that editorial logic. \u003cem\u003eDevil\u003c\/em\u003e belongs to the 2002 \u003cem\u003eNeverland\u003c\/em\u003e series, in which isolated objects appear against intensely controlled monochrome grounds. Here the image leaves the gallery context and becomes the face of a $15 magazine: reproduced, flattened and put into circulation. The work remains recognisable; its function and placement change.\u003c\/p\u003e\u003cp\u003eInside, distinctions between fiction, poetry, painting and photography remain deliberately loose. Jeff Mermelstein’s photographs of women playing mah jongg appear alongside a text titled \u003cem\u003eMah Jongg\u003c\/em\u003e. O’Brien’s fiction \u003cem\u003eEd and Eddie\u003c\/em\u003e, described as a work in progress, is paired with photographs by Jerry Schatzberg. Elsewhere Cecily Brown, Larry Clark, Jack Pierson, Mary Gaitskill, Lynne Tillman and Gregory Corso pass through the same compact editorial structure without any strong hierarchy between disciplines.\u003c\/p\u003e\u003cp\u003eContributors: Henry Alcalay, Shawn Mortenson, Robert Hawkins, Emma Forrest, Mary Gaitskill, Muriel Vega, Lynne Tillman, Adam McEwen, Sarah Charlesworth, Nick Tosches, Salvador Fresno, Kate Simon, Alan Platt, Orly Cogan, Andre Martheleur, Max Blagg, Kristin Baker, John Godfrey, Jeff Mermelstein, Gary Indiana, Keith Sonnier, Christopher Hund, Alan Uglow, Marcus Leatherdale, Tim Wright, Burk Uzzle, Glenn O’Brien, Jerry Schatzberg, Richard Hell, Renate Aller, Duncan Hannah, Joe Zucker, Janos Gat, Eva Faye, Cecily Brown, Joe Andoe, Larry Clark, Loan Nguyen, Jack Pierson, Gregory Corso and Chris Selver.\u003c\/p\u003e\u003cp\u003eThe back cover carries a full-page Tanqueray No. Ten advertisement. In isolation it is entirely conventional. Its interest emerges through what happened with the following issue. When O’Brien and Blagg needed additional advertising revenue for \u003cem\u003eBald Ego\u003c\/em\u003e No. 3, Andy Spade proposed a “commercial readymade”: Jack Spade would occupy the masthead itself rather than simply purchasing an advertisement within the magazine.\u003c\/p\u003e\u003cp\u003eThe two consecutive issues therefore record a small but unusually clear shift in the relationship between publishing and commerce. In No. 2, advertising funds the object. In No. 3, advertising becomes the object.\u003c\/p\u003e\u003cp\u003eRead alone, No. 2 is a concentrated record of early-2000s New York art, photography and writing. Read beside No. 3, the otherwise ordinary Tanqueray back cover becomes evidence of the publishing system immediately before its commercial mechanism moved from the rear of the magazine to its identity.\u003c\/p\u003e\u003cp\u003eCondition: Good to very good. General rubbing and handling to wrappers, with light surface scuffing, creasing and wear along edges and corners. Minor abrasion and softening to extremities consistent with circulation and age. Spine intact. Interior appears clean and well preserved from the pages inspected.\u003c\/p\u003e","brand":"Bald Ego Publishing","offers":[{"title":"Default Title","offer_id":54544019489106,"sku":"TNR-2026-0641","price":85.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Blagg_Max._O_Brien_Glenn._Bald_Ego_Issue_2._2002.jpg?v=1788553133"}],"url":"https:\/\/thenewrare.com\/collections\/kate-simon.oembed","provider":"The New Rare","version":"1.0","type":"link"}