{"title":"List 003","description":"\u003cp\u003eThirty artists’ cards and invitations from The New Rare archive.\u003c\/p\u003e","products":[{"product_id":"katharina-sieverding-portuguese-language-artist-card-c-1973","title":"KATHARINA SIEVERDING — Portuguese-Language Artist Card, Fotolinguagem, MAM Rio \/ MAM São Paulo, c. 1973","description":"\u003cp\u003eLikely issued in connection with \u003cem\u003eFotolinguagem\u003c\/em\u003e, organised by Iole de Freitas and shown at MAM Rio and MAM São Paulo, 1973 — an early international point in Katharina Sieverding’s career.\u003c\/p\u003e\u003cp\u003eNeither a standard invitation nor a later museum survey card, it operates more narrowly: image, biography, exhibition history, circulation. The Portuguese text is the key detail. Sieverding was not Portuguese but German, and the language situates the card within her Brazilian context, when she was included in \u003cem\u003eFotolinguagem\u003c\/em\u003e as a Düsseldorf-based artist associated with the post-Beuys field of photography, self-staging, and identity construction entering another institutional system through translation.\u003c\/p\u003e\u003cp\u003eThe card reduces that movement to its necessary parts: a portrait, a list, a place of residence, a sequence of appearances. Administrative, almost neutral, but exact. It carries the artist as information — a small paper relay between artist and institution, a concise record of entry.\u003c\/p\u003e\u003cp\u003eOriginal period item.\u003c\/p\u003e","brand":"Museu de Arte Moderna do Rio de Janeiro","offers":[{"title":"Default Title","offer_id":53227654218066,"sku":"TNR-2026-0037","price":160.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Katharina_Sieverding_0001.jpg?v=1776426758"},{"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 dates: January 26 – February 26, 2011\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":"TNR-2026-0103","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":"sherrie-levine-pie-town-david-zwirner-london-2017","title":"Sherrie Levine — Pie Town — Exhibition Announcement Card, David Zwirner, London, 2017","description":"\u003cp\u003eExhibition dates: 4 October – 18 November 2017\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":"TNR-2026-0108","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 dates: 24 March – 30 April 2011\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":"TNR-2026-0110","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\u003eMay 1973\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":"TNR-2026-0112","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":"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\u003eExhibition dates: 21 February – 31 May 1998\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":"Museum of Contemporary Art, Chicago","offers":[{"title":"Default Title","offer_id":53551096430930,"sku":"TNR-2026-0116","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"},{"product_id":"ray-chicken-new-beetle-father-figure-matthew-marks-pc-2007","title":"Charles Ray — Chicken, The New Beetle, Father Figure — Exhibition Postcard, Matthew Marks Gallery, New York, 2007","description":"\u003cp\u003eMatthew Marks Gallery, New York\u003cbr\u003eNovember 14, 2007 – January 19, 2008\u003c\/p\u003e\u003cp\u003eExhibition announcement card for Charles Ray at Matthew Marks Gallery, New York. The exhibition presented three sculptures: \u003cem\u003eChicken\u003c\/em\u003e, \u003cem\u003eThe New Beetle\u003c\/em\u003e, and \u003cem\u003eFather Figure\u003c\/em\u003e, and was Ray’s first solo exhibition in New York since 1998.\u003c\/p\u003e\u003cp\u003eRay’s sculpture often moves between toy, body, scale, realism, and industrial fabrication. In this exhibition, a small hatching chicken, a nude child with a toy car, and a monumental toy tractor became a compact grammar of childhood, objecthood, and sculptural enlargement. \u003cem\u003eFather Figure\u003c\/em\u003e alone was made in painted steel and measured 238 × 349 × 182 cm.\u003c\/p\u003e\u003cp\u003eA small gallery support for a major Ray exhibition. Printed matter reduced to title, date, address, and surface. The postcard holds the exhibition as a compressed administrative object.\u003c\/p\u003e\u003cp\u003eShipping and handling included.\u003c\/p\u003e","brand":"Matthew Marks Gallery","offers":[{"title":"Default Title","offer_id":53699405087058,"sku":"TNR-2026-0177","price":70.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Ray_-Charles.-Artist-postcard_-Matthew-Marks-Gallery.-2007--front.jpg?v=1781070906"},{"product_id":"export-1980-venice-biennale-ropac-inv-2019","title":"VALIE EXPORT — The 1980 Venice Biennale Works — Private View Card \u0026 Press Release, Galerie Thaddaeus Ropac, London, 2019","description":"\u003cp\u003e29 November 2019 – 25 January 2020\u003c\/p\u003e\u003cp\u003ePrivate view invitation card and folded press release issued for VALIE EXPORT’s first solo exhibition at Galerie Thaddaeus Ropac London. The exhibition restaged works from her 1980 Austrian Pavilion presentation at the 39th Venice Biennale, originally shown alongside Maria Lassnig.\u003c\/p\u003e\u003cp\u003eThe invitation reproduces \u003cem\u003eEinkreisung \/ Encirclement\u003c\/em\u003e, 1976\/1980 — EXPORT’s body positioned against the urban pavement, enclosed by a painted red line. The press release includes exhibition text, artist biography, installation details, and images connected to the Venice Biennale works, including the \u003cem\u003eBody Configurations\u003c\/em\u003e series and the \u003cem\u003eGeburtenmadonna\u003c\/em\u003e sculpture.\u003c\/p\u003e\u003cp\u003eVALIE EXPORT was one of the central figures of postwar feminist performance, film, photography, and media art. Her work used the body as a site of language, control, exposure, and resistance — positioning her alongside Joseph Beuys and Allan Kaprow as one of the earliest performance artists. The 2019 Ropac exhibition marked a key moment in the institutional reactivation of the 1980 Venice Biennale works after decades.\u003c\/p\u003e\u003cp\u003eShipping and handling included. Packed flat with archival protection.\u003c\/p\u003e","brand":"Galerie Thaddaeus Ropac","offers":[{"title":"Default Title","offer_id":53702053331282,"sku":"TNR-2026-0183","price":120.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Vaile_Export._Postcard_invite_1980_Venice_Biennale_works._2019_front.jpg?v=1781076941"},{"product_id":"alibis-centre-pompidou-inv-1984","title":"Alibis — Exhibition Invitation Card, Centre Georges Pompidou \/ Musée national d’art moderne, Paris, 1984","description":"\u003cp\u003eJuly–September 1984\u003c\/p\u003e\u003cp\u003eOriginal folded invitation card for \u003cem\u003eAlibis\u003c\/em\u003e, the important 1984 group exhibition at the Centre Georges Pompidou featuring Richard Artschwager, Gérard Collin-Thiébaut, Luciano Fabro, Gérard Garouste, Pierre Klossowski, Robert Longo, Carlo-Maria Mariani, Cindy Sherman, Jan Vercruysse, Didier Vermeiren, and William Wegman.\u003c\/p\u003e\u003cp\u003eThe invitation was produced during the same period that Philippe Thomas and Information Fiction Publicité were beginning to test the instability between exhibition, authorship, advertising, and administrative display structures in France. While Thomas is not directly named in the exhibition, the object sits very close to that emerging landscape: institutional graphics, image circulation, and exhibition identity treated as transferable surfaces.\u003c\/p\u003e\u003cp\u003eThe exterior reproduces a film-studio backlot image dominated by an artificial sky façade — a fitting image for an exhibition titled \u003cem\u003eAlibis\u003c\/em\u003e. Inside, the invitation opens into a blue cloud field carrying the artist list and vernissage information. The graphic structure feels unusually cinematic and self-aware for an institutional invitation of the period, hovering somewhere between exhibition support, publicity device, and conceptual image-object.\u003c\/p\u003e\u003cp\u003eSurviving examples are uncommon outside institutional archives and specialist ephemera collections, particularly in complete unfolded condition. Material from this early-1980s Pompidou moment — especially tied to post-conceptual and Pictures Generation-adjacent artists — has become increasingly difficult to locate as printed exhibition matter from the period is absorbed into archives and private collections.\u003c\/p\u003e\u003cp\u003eThe marks remain part of the record: evidence of circulation, storage, handling, and transfer.\u003c\/p\u003e\u003cp\u003eA printed support from an important moment of institutional transition: photography, simulation, staging, sculpture, fiction, and identity beginning to circulate through the museum as interchangeable formats.\u003c\/p\u003e\u003cp\u003eShipping and handling included.\u003c\/p\u003e","brand":"Centre Georges Pompidou","offers":[{"title":"Default Title","offer_id":53718079799634,"sku":"TNR-2026-0186","price":240.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Thomas_Phillippe_Centre_Georges_Pompidou_1984.jpg?v=1781173754"},{"product_id":"wool-prankster-card-1980s","title":"Christopher Wool — Prankster Card, c. late 1980s–early 1990s","description":"\u003cp\u003eGraphic card reproducing Christopher Wool’s \u003cem\u003ePrankster\u003c\/em\u003e stencil work, likely produced in connection with an exhibition, publication, or promotional circulation surrounding his early text-based practice. The fractured black typography aligns with Wool’s late-1980s language works, where words are compressed into image, surface, and obstruction.\u003c\/p\u003e\u003cp\u003eThe piece can also be loosely situated within a lineage extending from Concrete Poetry and experimental typography into post-minimal and conceptual painting. Language here is treated less as readable text than as physical arrangement: letters become structure, rhythm, interruption, and graphic mass. The word remains legible while simultaneously collapsing into abstraction.\u003c\/p\u003e\u003cp\u003eThe blank reverse suggests the object may have functioned as a tipped-in publication plate, loose catalogue insert, or retained promotional support rather than a standard mailed invitation. Detached from its original system, the card now operates somewhere between reproduction, fragment, and autonomous printed object.\u003c\/p\u003e\u003cp\u003eA minor but exact piece of Wool-related ephemera. Language reduced to graphic structure. Paper retained long enough to change status.\u003c\/p\u003e\u003cp\u003eShipping and handling included in the listed price.\u003c\/p\u003e","brand":"The New Rare","offers":[{"title":"Default Title","offer_id":53751019503954,"sku":"TNR-2026-0198","price":50.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Wool_Christopher._Prankster_card_unique_ephemera._Unsigned.jpg?v=1781500582"},{"product_id":"wool-gonzalez-torres-trauma-postcard-2001","title":"CHRISTOPHER WOOL \/ FELIX GONZALEZ-TORRES — Untitled, 1991 — Exhibition Postcard, TRAUMA, Dundee Contemporary Arts, 2001","description":"\u003cp\u003eTRAUMA, National Touring Exhibitions \/ Hayward Gallery \/ Arts Council of England\u003cbr\u003eDundee Contemporary Arts, 7 July – 2 September 2001\u003c\/p\u003e\u003cp\u003eOriginal exhibition postcard from \u003cem\u003eTRAUMA\u003c\/em\u003e, a 2001 UK touring exhibition organised by the Hayward Gallery for the Arts Council of England and presented at Dundee Contemporary Arts. The exhibition included Christopher Wool, Felix Gonzalez-Torres, Willie Doherty, Guillermo Kuitca, Tracey Moffatt, Johan Grimonprez, Anri Sala, Martin Boyce, and others.\u003c\/p\u003e\u003cp\u003eThe card reproduces Wool and Gonzalez-Torres' collaborative stack work: Wool's broken black text — \u003cem\u003eTHE SHOW IS OVER THE AUDIENCE GET UP TO LEAVE THEIR SEATS TIME TO COLLECT THEIR COATS AND GO HOME AND NO MORE\u003c\/em\u003e — folded into Gonzalez-Torres' endlessly replenishable paper format. The phrase becomes both image and system: a printed object about disappearance, repetition, public address, and withdrawal.\u003c\/p\u003e\u003cp\u003eA small but strong document of a rare collaboration between two major post-conceptual artists, circulating here through UK exhibition infrastructure rather than the commercial print market.\u003c\/p\u003e","brand":"Hayward Gallery","offers":[{"title":"Default Title","offer_id":53756937666898,"sku":"TNR-2026-0207","price":120.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Wool_Christopher_Gonzalez-Torres_Felix_Postcard01.jpg?v=1781543555"},{"product_id":"prince-panama-pavilion-venice-postcard-2007","title":"Richard Prince — Panama Pavilion, Venezia, June–July 2007 — Exhibition Postcard","description":"\u003cp\u003ePanama Pavilion, 52nd Venice Biennale, Venezia\u003cbr\u003eJune–July 2007\u003cbr\u003ePublished by Gebr. König Postkarten Verlag, Köln\u003c\/p\u003e\u003cp\u003eIssued alongside Richard Prince’s semi-fictional Panama Pavilion intervention staged during the 2007 Venice Biennale. Rather than representing an official national pavilion, Prince effectively invented one — inserting himself into the language and prestige structure of the Biennale through posters, postcards, books, and promotional material that mimicked the administrative surface of a legitimate state presentation.\u003c\/p\u003e\u003cp\u003eThe gesture operates on several levels. Prince had long claimed, half-seriously, that he was born in the Panama Canal Zone, allowing the fictional pavilion to function as both autobiographical myth and institutional prank. Like much of his work surrounding jokes, cowboys, nurses, and appropriated Americana, the truth-status remains deliberately unstable. The pavilion becomes another authored fiction: part self-invention, part critique of national representation, part branding exercise.\u003c\/p\u003e\u003cp\u003eThe \u003cem\u003eYoung Nurses\u003c\/em\u003e imagery connects the postcard to Prince’s nurse paintings — by 2007 already one of his most recognizable and controversial series. Filtered pulp-paperback fantasies transformed into large-scale paintings oscillating between desire, anonymity, fetish, and reproduction.\u003c\/p\u003e\u003cp\u003eCompared to the larger Panama Pavilion posters, postcards from the project appear significantly less common on the secondary market. They were never the “main” artwork, which paradoxically makes surviving examples more compelling within a contemporary ephemera context.\u003c\/p\u003e\u003cp\u003eA printed support for a pavilion that did not officially exist. Institutional parody reduced to postcard scale.\u003c\/p\u003e\u003cp\u003eShipping and handling included.\u003c\/p\u003e","brand":"Gebr. König Postkarten Verlag","offers":[{"title":"Default Title","offer_id":53757680648530,"sku":"TNR-2026-0210","price":200.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Prince_Richard_Panama_Pavillion_200701.jpg?v=1781547984"},{"product_id":"philippe-thomas-distriart-nv-art-share-ostend-1994","title":"PHILIPPE THOMAS — Distriart N.V. Art Share, Ostend, 1994","description":"\u003cp\u003eIssued by Distriart N.V. as an artist-designed company share operating simultaneously as financial document, printed multiple and collectible object. Thomas's design enlarges a commercial barcode into the certificate's principal image, placing product identification, serial production and ownership within the same administrative surface.\u003c\/p\u003e\u003cp\u003ePhilippe Thomas established readymades belong to everyone® in New York in 1987. Structured as an agency rather than a conventional artistic identity, the project enabled purchasers to occupy the position of attributed author. The certificate extends that proposition into a financial instrument: authorship and ownership are processed through registration, numbering, signatures and transfer.\u003c\/p\u003e\u003cp\u003eThe certificate is numbered 041. Published accounts describe the Distriart designs as planned or stated in editions of 1,000 examples per artist. The numbering system appears consistent with that structure, but no primary production record has been located confirming that all 1,000 examples of the Thomas design were physically printed and circulated. It is therefore described as a numbered example from a stated or intended edition of 1,000.\u003c\/p\u003e\u003cp\u003eThe sheet is not signed by Philippe Thomas. Two signature-like marks appear beneath the corporate designation \"Een Bestuurder\" — \"a director\" — and relate to Distriart's company authorisation. It cannot be determined from the object alone whether these are handwritten signatures or printed facsimiles.\u003c\/p\u003e","brand":"Distriart N.V.","offers":[{"title":"Default Title","offer_id":53813296333138,"sku":"TNR-2026-0279","price":1225.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Thomas_Philippe._Readymades_belong_to_Everybody._1994_front_162582ec-93db-43ec-a7fe-9dacdbdb5018.jpg?v=1782122148"},{"product_id":"felix-gonzalez-torres-three-part-exhibition-andrea-rosen-massimo-de-carlo-hauser-wirth-2016","title":"FELIX GONZALEZ-TORRES — Three-Part Exhibition, Andrea Rosen Gallery \/ Massimo De Carlo \/ Hauser \u0026 Wirth, 2016","description":"\u003cp\u003eUnsigned. Curated by Julie Ault and Roni Horn. Andrea Rosen Gallery, New York; Massimo De Carlo, Milan; Hauser \u0026amp; Wirth, London, 2016.\u003c\/p\u003e\u003cp\u003eOriginal folded announcement produced for the coordinated three-part presentation of Felix Gonzalez-Torres’s work across New York, Milan and London. This was not a conventional retrospective. Each exhibition was conceived as an autonomous chapter within a larger structure, allowing a different body of work to be reconsidered through its installation and relationship to the venue. The exhibitions ran at Andrea Rosen Gallery from 3 May to 18 June, Massimo De Carlo from 20 May to 20 July, and Hauser \u0026amp; Wirth from 27 May to 30 July 2016.\u003c\/p\u003e\u003cp\u003eThe New York presentation concentrated on Gonzalez-Torres’s textual portrait works, in which personal events and public history form mutable lines of painted language. Milan brought together bead curtains and paired mirrors, foregrounding passage, touch, separation and return. London focused on works made in 1991, the year his partner Ross Laycock died, including sealed photographic puzzles, doubled mirrors, hanging lightbulbs and the blue-tinted mirror \u003cem\u003e“Untitled” (Fear)\u003c\/em\u003e.\u003c\/p\u003e\u003cp\u003eJulie Ault had worked with Gonzalez-Torres through Group Material, while Roni Horn maintained a close artistic and personal dialogue with him. Their relationship to the artist was central to the project: rather than preserving one definitive interpretation, they treated each installation as another permitted manifestation of a practice structured around change, participation and curatorial responsibility.\u003c\/p\u003e\u003cp\u003eThe announcement reproduces three works associated with the project: \u003cem\u003e“Untitled” (Last Letter)\u003c\/em\u003e, 1991; the bead curtain \u003cem\u003e“Untitled” (Chemo)\u003c\/em\u003e, 1991; and an installation view of the wall-based \u003cem\u003e“Untitled”\u003c\/em\u003e, 1989. The reverse reduces the project to three typographic fields: artist, curators and participating galleries. Its narrow uppercase lettering, extensive white space and alternating photographic panels give the document the visual restraint of Gonzalez-Torres’s own exhibition language.\u003c\/p\u003e\u003cp\u003eThe construction is unusually exact. Three panels correspond to three cities. Each fold separates one location while retaining the project as a continuous sheet. The announcement does not simply record the exhibitions; it produces a portable version of their distributed structure. Image, name, venue and date travel together as a temporary exhibition assembled through paper.\u003c\/p\u003e\u003cp\u003eThis is the original folded announcement rather than the separate 40-page softcover catalogue issued by Andrea Rosen Gallery for the New York presentation.\u003c\/p\u003e","brand":"Andrea Rosen Gallery","offers":[{"title":"Default Title","offer_id":53825254359378,"sku":"TNR-2026-0288","price":125.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Felix_Gonzalez-Torres_2016_03.jpg?v=1782254849"},{"product_id":"felix-gonzalez-torres-serpentine-gallery-london-2000","title":"FELIX GONZALEZ-TORRES — Serpentine Gallery, London, 2000","description":"\u003cp\u003eExhibition: 1 June–16 July 2000. Sponsored by Bloomberg.\u003c\/p\u003e\u003cp\u003eRecto reproduces an installation photograph of Felix Gonzalez-Torres’s \u003cem\u003e“Untitled”\u003c\/em\u003e (1988), a framed photostat measuring 26 × 33 cm, produced as an edition of one with one artist’s proof. Verso printed in pale blue with exhibition information and full work credit.\u003c\/p\u003e\u003cp\u003eIssued for the Serpentine’s posthumous retrospective of Gonzalez-Torres, described by the gallery as the first major exhibition of his work in Britain. The project extended beyond Kensington Gardens through presentations at Camden Arts Centre, Chelsea and Westminster Hospital, the Victoria and Albert Museum and the Royal College of Art, together with twelve billboards distributed across London.\u003c\/p\u003e\u003cp\u003eThe photographed work belongs to the artist’s early date pieces, begun in 1987. White text positioned low against a black field connects public events, consumer objects and fragments of popular memory: \u003cem\u003eCenter for Disease Control 1981 Streakers 1974 Go-Go Boots 1965 Barbie Doll 1960 Hula hoopla 1958 Disneyland 1955 3-D Movies 1952 Boo-Boo.\u003c\/em\u003e The opening reference marks 1981, when the CDC published its first scientific account of what would become known as HIV\/AIDS. Rather than forming a conventional chronology, the entries construct an associative history in which political crisis, commercial culture, pleasure and private recollection occupy the same surface.\u003c\/p\u003e\u003cp\u003eThe card introduces a further transfer. A nearly unique artwork becomes a reproducible exhibition support. The photograph records not only the photostat but a viewer reading it, his profile and faint reflection held against its black surface. Work, spectator and institutional document are compressed into a portable image.\u003c\/p\u003e\u003cp\u003eThe design is especially effective: the close encounter on the front is followed by an unusually open reverse, with institutional information confined to two small areas of blue typography. Most of the card remains empty. Publicity approaches silence.\u003c\/p\u003e","brand":"Serpentine Gallery","offers":[{"title":"Default Title","offer_id":53825341882706,"sku":"TNR-2026-0290","price":125.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Felix_Gonzalez-Torres_2000_01.jpg?v=1782256762"},{"product_id":"susanne-bartsch-our-church-halloween-avalon-new-york-2006","title":"SUSANNE BARTSCH — Our Church Halloween, Avalon, New York, c.2006","description":"\u003cp\u003eStandard postcard\/flyer scale.\u003c\/p\u003e\u003cp\u003eRecto: full-bleed painted illustration by Mathu Anderson — a chained gothic figure surrounded by flames. Verso: black ground with red, orange, and yellow typography announcing the event. Co-hosted by Monsignor Kenny Kenny; Master of Sermon: Larry Tee \u0026amp; Guest DJs; Mother Superior: Amanda Lepore; Saints including Ladyfag, Kim Aviance, Amber Ray, Dirty Martini, and Julie Atlas Muz. Door: 10PM, $20 with invite. Credits: invite by Peter Koblish; image by Mathu Anderson; set design by Desi Santiago; production by Anette Demeny \u0026amp; Manny Norena.\u003c\/p\u003e\u003cp\u003eSusanne Bartsch’s work sits between fashion, performance, queer nightlife, and social staging. After bringing London designers — Stephen Jones, Body Map, Leigh Bowery, Vivienne Westwood, John Galliano — into her New York boutique world in the 1980s, she became a central organiser of downtown nightlife and benefit culture. The 1989 Love Ball is now recognised as a major AIDS benefit, raising substantial funds and helping bring ballroom energy into a wider fashion and nightlife context.\u003c\/p\u003e\u003cp\u003eRead through The New Rare register, this is not only an invitation but a printed remnant of a temporary social architecture. The former church becomes Avalon. The party becomes “Our Church.” The guest list becomes a congregation. Image, typography, venue, performers, and door price convert one night of New York nightlife into a portable object.\u003c\/p\u003e\u003cp\u003eShips flat in protective sleeve with board; international shipping available.\u003c\/p\u003e","brand":"Susanne Bartsch","offers":[{"title":"Default Title","offer_id":53896540651858,"sku":"TNR-2026-0326","price":150.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Suzanne_Bartsch_nd_01.jpg?v=1782970225"},{"product_id":"charles-ray-boy-whitney-museum-of-american-art-new-york-1997","title":"CHARLES RAY — Boy, Whitney Museum of American Art, New York, 1997","description":"\u003cp\u003eRecto reproduces Ray’s \u003cem\u003eBoy\u003c\/em\u003e, 1992 — painted fiberglass, steel, and fabric; 181.6 × 68.6 × 86.4 cm overall. Verso carries the full museum caption, materials, dimensions, acquisition credit, accession number, and Whitney Museum copyright line.\u003c\/p\u003e\u003cp\u003eRay’s work from the late 1980s and early 1990s often used mannequins, altered scale, and the human figure to create a strange tension between realism and artificiality. \u003cem\u003eBoy\u003c\/em\u003e belongs to this important period: a sculpture that appears direct and ordinary, but becomes unsettling through its stillness, surface, and institutional presentation.\u003c\/p\u003e\u003cp\u003eOriginally produced as a museum postcard, this object was made for circulation rather than permanence. It carries the sculpture into another form: image, caption, acquisition record, and Whitney Museum imprint compressed into a portable printed support. 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Reproduces \u003cem\u003eUntitled (cowboy)\u003c\/em\u003e, 1997–98, Ektacolor photograph, edition of 2, 60 × 40 inches; courtesy Gladstone Gallery, New York.\u003c\/p\u003e\u003cp\u003eIssued in connection with \u003cem\u003eRichard Prince: Spiritual America\u003c\/em\u003e, the Guggenheim’s 2007–08 retrospective. The card reproduces one of Prince’s most recognised bodies of work: originally drawn from the visual language of Marlboro advertising, the Cowboy image moved from commercial print culture into photography, then into the museum, and here back into circulation as a small retail object.\u003c\/p\u003e\u003cp\u003eThis is distinct from the free promotional announcement cards distributed around New York for the exhibition. With barcode, Guggenheim imprint, and full artwork caption, this example belongs to the museum-shop circulation of the show rather than street-level promotion.\u003c\/p\u003e\u003cp\u003eA small institutional object attached to one of Prince’s central images: advertising, appropriation, authorship, and museum distribution compressed into postcard form.\u003c\/p\u003e\u003cp\u003eShips flat with protective backing; UK and international shipping available.\u003c\/p\u003e","brand":"Solomon R. Guggenheim Museum","offers":[{"title":"Default Title","offer_id":53916672983378,"sku":"TNR-2026-0334","price":100.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Richard_Prince_2007_05.jpg?v=1783153903"},{"product_id":"richard-prince-untitled-cowboy-2003-spiritual-america-guggenheim-museum-new-york-2007","title":"RICHARD PRINCE — Untitled (cowboy), 2003 \/ Spiritual America, Solomon R. 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Twenty-five works traced more than two decades of Horn’s drawing practice, including pigment drawings assembled from cut sheets and photographic portraits subjected to a related process of division and reconstruction.\u003c\/p\u003e\u003cp\u003eThe invitation reproduces \u003cem\u003eClownpout (4)\u003c\/em\u003e, 2002. Two photographic heads have been cut apart and interlocked until the face appears simultaneously doubled, blurred and partially erased. The Centre Pompidou described these works as images in which the act of cutting and near-destructive recomposition corresponded directly to the psychological force of the subject.\u003c\/p\u003e\u003cp\u003eFondazione Bevilacqua La Masa, Centre Pompidou and Galleria di Piazza San Marco are arranged as consecutive entries along the lower edge. The reverse is almost entirely unprinted: curator, opening time and address occupy one corner; public dates, daily hours, Tuesday closure, telephone, email and website occupy another. The travelling exhibition is reduced to the institutions and instructions required to move an audience from Paris to Venice.\u003c\/p\u003e\u003cp\u003eCarefully packed; tracked UK and international shipping available.\u003c\/p\u003e","brand":"Fondazione Bevilacqua La Masa","offers":[{"title":"Default Title","offer_id":53995661066578,"sku":"TNR-2026-0388","price":50.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Horn_Roni._Show_invite_Dessins_Drawings_Disegni._2004.jpg?v=1784009781"},{"product_id":"laura-carpenter-philippe-thomas-insights-galerie-claire-burrus-paris-1990-invitation","title":"LAURA CARPENTER \/ PHILIPPE THOMAS — Insights. Galerie Claire Burrus, Paris, 1990 [invitation]","description":"\u003cp\u003eGalerie Claire Burrus, Paris, 10–17 March 1990. Show invitation for the presentation of Laura Carpenter’s book \u003cem\u003eInsights\u003c\/em\u003e.\u003c\/p\u003e\u003cp\u003eCarpenter entered Philippe Thomas’s authorial system through \u003cem\u003eles ready-made appartiennent à tout le monde®\u003c\/em\u003e, publishing texts written by Thomas under her own name. The invitation announces the book, places Carpenter in the position of author and credits the agency only in the fine print. Thomas’s own name is absent.\u003c\/p\u003e\u003cp\u003eIn a single printed surface, the card performs the displacement of authorship that structured the publication and the agency around it: the recto carries title and name without image or institutional context; the verso supplies the gallery, the date, the event and the credit line — ‘avec le concours de l’agence les ready made appartiennent à tout le monde’ — in the smallest available type. The author is present. 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The exhibition presented vintage photographs by Hujar.\u003c\/p\u003e\u003cp\u003eHujar was closely embedded within the artists, writers and performers of downtown New York during the 1970s and early 1980s. His portraits often moved between formal sitting, backstage preparation and performance, recording a circle in which identity could be rehearsed, costumed and briefly held for the camera.\u003c\/p\u003e\u003cp\u003eThe announcement has no secondary administrative face. Both sides are occupied by photographs. One carries the exhibition dates; the other the title and gallery address. Two portraits, two arrangements of the same name, and a copyright credit returning each image to the Peter Hujar Archive.\u003c\/p\u003e\u003cp\u003eSecurely packed; tracked UK and international shipping available.\u003c\/p\u003e","brand":"Albert Merola Gallery","offers":[{"title":"Default Title","offer_id":54017776025938,"sku":"TNR-2026-0407","price":95.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Hujar_Peter._Show_invite_Vintage_._2022.jpg?v=1784269397"},{"product_id":"martin-kippenberger-das-2-sein-inhalt-auf-reisen-zkm-karlsruhe-2003","title":"MARTIN KIPPENBERGER — Das 2. Sein: Inhalt auf Reisen. Museum für Neue Kunst \/ ZKM Karlsruhe, 2003","description":"\u003cp\u003eMuseum für Neue Kunst \/ ZKM Karlsruhe, Lorenzstraße 19, 76135 Karlsruhe, 8 February–27 April 2003. Original double-sided programme card for the lecture series accompanying Martin Kippenberger: \u003cem\u003eDas 2. Sein\u003c\/em\u003e. Illustrated exhibition image to recto; six-part public programme to verso.\u003c\/p\u003e\u003cp\u003eOrganised in the year Kippenberger would have turned fifty, \u003cem\u003eDas 2. Sein\u003c\/em\u003e was the first major survey mounted after his death in 1997. More than 500 works produced between 1976 and 1997 occupied the museum’s ground floor, atriums and exterior spaces, moving between painting, posters, collage, photography, sculpture and reconstructed installations. The title located Kippenberger’s professional performance of the artist — excessive, systematic and repeatedly self-staged — as a kind of ‘second being.’\u003c\/p\u003e\u003cp\u003eThe accompanying series, \u003cem\u003eInhalt auf Reisen\u003c\/em\u003e, extended the retrospective through six lectures on Kippenberger’s unrealised projects, music, Medusa paintings, self-presentation, photography and his position within 1980s painting. The speakers included Veit Loers, Wolfgang Brauneis, Ralph Melcher, Diedrich Diederichsen, Andreas Schalhorn and Johannes Gachnang.\u003c\/p\u003e\u003cp\u003eOn the front, the artist appears divided between portrait, skeleton, mask and painted emblem. On the reverse, the same identity is redistributed as a programme of subjects and speakers. 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Original artist postcard produced for Harlem Postcards: Fall\/Winter 2013–14, presented 14 November 2013–7 March 2014. Photographic image to recto; artist name, birth details, title, date, publisher, season and museum address to verso. Unposted. Edition size not stated.\u003c\/p\u003e\u003cp\u003eSince 2002, the Studio Museum's Harlem Postcards project has invited artists to reconsider how a neighbourhood is pictured and distributed. The images were produced as artist postcards and made freely available to museum visitors rather than sold as conventional editions.\u003c\/p\u003e\u003cp\u003eWhen invited to contribute, Leonard considered photographing her childhood home and the West 125th Street library before returning to this kindergarten portrait from 1968. 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Produced for free distribution, the postcard was designed to leave the museum; this copy remains unaddressed and retained.\u003c\/p\u003e\u003cp\u003eSecurely packed; tracked UK and international shipping available.\u003c\/p\u003e","brand":"Studio Museum in Harlem","offers":[{"title":"Default Title","offer_id":54033785913682,"sku":"TNR-2026-0412","price":125.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Leonard_Zoe._Artist_postcard._2013.jpg?v=1784350979"},{"product_id":"aftershock-legacy-readymade-dickinson-roundell-invitation-2003","title":"RICHARD PRINCE, ELAINE STURTEVANT, CINDY SHERMAN et al.: Aftershock — The Legacy of the Readymade — Exhibition Invitation and Private-View Insert, Dickinson Roundell Inc., New York, 2003","description":"\u003cp\u003eIssued for \u003cem\u003eAftershock: The Legacy of the Readymade in Post-War and Contemporary American Art\u003c\/em\u003e, held 5 May–20 June 2003 at Dickinson Roundell Inc., 19 East 66th Street, New York, and curated by Henry Allsopp. Artists included Elaine Sturtevant, Bruce Nauman, Claes Oldenburg, Cindy Sherman, Richard Prince, Louise Lawler, Sherrie Levine, Robert Gober, Félix González-Torres, Jeff Koons, Joseph Kosuth, Jasper Johns and others.\u003c\/p\u003e\u003cp\u003eThe design places the exhibition title in fluorescent green over an image of the bicycle-wheel readymade, with the participating artists' names arranged in a circular spiral. 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The exhibition brought together virtually everything Cattelan had produced since 1989, suspending the works collectively from the museum’s rotunda and turning the retrospective into an excessive three-dimensional catalogue of his career.\u003c\/p\u003e\u003cp\u003eThe postcard reproduces \u003cem\u003eLa Rivoluzione siamo noi (We Are the Revolution)\u003c\/em\u003e, 2000, in which a diminished figure of Cattelan hangs by its collar from a metal rack while wearing a felt suit associated with Joseph Beuys. The artist appears simultaneously as author, object and quotation.\u003c\/p\u003e\u003cp\u003eOn the reverse, the museum converts that image into publicity: title, closing date, press endorsement, exhibition app, visitor information and an empty postal field. Issued through a GoCard advertising format rather than as a conventional museum invitation, the card was made to leave the institution and circulate elsewhere.\u003c\/p\u003e\u003cp\u003eThe exhibition promised All. The postcard released one image.\u003c\/p\u003e\u003cp\u003eSecurely packed; tracked UK and international shipping available.\u003c\/p\u003e","brand":"Solomon R. Guggenheim Museum","offers":[{"title":"Default Title","offer_id":54141489447250,"sku":"TNR-2026-0487","price":65.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Cattelan_Maurizio._Show_postcard_Guggenheim_All_._2011.jpg?v=1785448697"},{"product_id":"klein-yves-exhibition-invitation-galerie-karl-flinker-paris-1973","title":"YVES KLEIN — Exhibition Invitation, Galerie Karl Flinker, Paris, 1973","description":"\u003cp\u003eOriginal folded invitation issued for the Yves Klein exhibition at Galerie Karl Flinker, 25 rue de Tournon, Paris, opening Tuesday 13 February 1973 and running to 24 March 1973.\u003c\/p\u003e\u003cp\u003eThe exterior unfolds into a blue-and-white reproduction of \u003cem\u003eAnthropométrie (ANT 66)\u003c\/em\u003e, 1960. Klein developed the Anthropometries by directing models whose paint-covered bodies transferred their impressions onto paper. The body replaced the conventional brush, leaving an image positioned between painting, performance and physical trace.\u003c\/p\u003e\u003cp\u003eInside, the image gives way to the administrative structure of the exhibition: gallery, address, telephone number, artist, opening hours and dates. A large work is reduced to a folded support designed to move through the post.\u003c\/p\u003e\u003cp\u003eProduced eleven years after Klein’s death, the invitation belongs to the period in which his short and radical career was first being organised through posthumous exhibitions and publications. Unlike the accompanying catalogue, this card was made for immediate circulation. It announced a single opening, passed from gallery to recipient and was expected to disappear once the exhibition ended.\u003c\/p\u003e\u003cp\u003eThe object survives in its original role: image outside, information within. A temporary distribution mechanism retained beyond its intended use.\u003c\/p\u003e\u003cp\u003eSecurely packed; tracked UK and international shipping available.\u003c\/p\u003e","brand":"Galerie Karl Flinker","offers":[{"title":"Default Title","offer_id":54186729963858,"sku":"TNR-2026-0502","price":150.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Klein_Yves.Exhibitioncatalog_GalerieKarlFlinker.1973invitefront.jpg?v=1785945593"},{"product_id":"bell-delap-kauffman-reynolds-ruscha-5-at-pace-1965","title":"LARRY BELL \/ TONY DELAP \/ CRAIG KAUFFMAN \/ WILLIAM REYNOLDS \/ ED RUSCHA — 5 at Pace, Pace Gallery, New York, 1965","description":"\u003cp\u003eLarry Bell, Tony DeLap, Craig Kauffman, William Reynolds, Ed Ruscha. \u003cem\u003e5 at Pace\u003c\/em\u003e. Pace Gallery, New York, 1965.\u003c\/p\u003e\u003cp\u003e\u003cem\u003e5 at Pace\u003c\/em\u003e brought together five artists associated with the rapidly developing Southern California scene at Pace Gallery in New York in March 1965. The announcement reproduces one work by each artist alongside short biographies and an introduction by Coplans, who was identifying shared qualities of pristine surfaces, reflection, light, new materials and controlled fabrication before categories such as West Coast Minimalism, Finish Fetish and Light and Space became firmly established.\u003c\/p\u003e\u003cp\u003eThe design makes the geographic transfer explicit. A map of Los Angeles becomes the cover, overprinted with the large cream \u003cem\u003e5 AT PACE\u003c\/em\u003e; unfolding it reveals a continuous yellow field of individual artist entries in red and black. Bell’s mirrored glass cube, DeLap’s geometric construction, Kauffman’s acrylic work, Reynolds’s shaped painting and Ruscha’s \u003cem\u003eBOSS\u003c\/em\u003e image are presented almost administratively: image, name, biography, exhibition history.\u003c\/p\u003e\u003cp\u003eRuscha sits slightly outside the Finish Fetish and Light and Space trajectory shared by the other four, making the document an unusually early record of several different versions of Los Angeles modernism being exported together to New York. Contemporary records confirm the exhibition at Pace and its relationship to the Los Angeles artists and gallery networks around Ferus.\u003c\/p\u003e\u003cp\u003eThe separate invitation strengthens the object: announcement and social mechanism remain together. Exhibition information, transportation, reception and circulation survive as one small administrative set.\u003c\/p\u003e\u003cp\u003eSecurely packed; tracked UK and international shipping available.\u003c\/p\u003e","brand":"Pace Gallery","offers":[{"title":"Default Title","offer_id":54233578570066,"sku":"TNR-2026-0552","price":325.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Bell_Larry.Delap_Tony.Kauffman_Craig.Reynolds_William.Ruscha_Edward.Showhandout_5atPace_.Includesinvitetoshowopeningandparty.1965back.jpg?v=1786465324"},{"product_id":"marina-abramovic-boat-emptying-stream-entering-victoria-miro-1989","title":"MARINA ABRAMOVIĆ — Boat Emptying, Stream Entering, Victoria Miro, London, 1989","description":"\u003cp\u003eMarina Abramović. \u003cem\u003eBoat Emptying, Stream Entering\u003c\/em\u003e. Victoria Miro, London, 15 April–12 May 1989. Colour photograph of reddish masonry to recto with artist name in widely spaced white capitals; solid blue ground with italicised title text to verso.\u003c\/p\u003e\u003cp\u003eA document of a genuine hinge in Abramović’s practice. After twelve years of working with Ulay, their collaboration ended with \u003cem\u003eThe Lovers: The Great Wall Walk\u003c\/em\u003e in 1988. By 1989 Abramović had returned to working independently, and \u003cem\u003eBoat Emptying, Stream Entering\u003c\/em\u003e belongs to the first phase of that renewed solo practice — not a continuation of the extreme body-based performances for which she had become known, but a significant move from the artist’s body toward the object, material and eventually the viewer’s body.\u003c\/p\u003e\u003cp\u003eThe exhibition produced the early Transitory Objects, including \u003cem\u003eWhite Dragon: Standing\u003c\/em\u003e, \u003cem\u003eRed Dragon: Sitting\u003c\/em\u003e and \u003cem\u003eGreen Dragon: Lying\u003c\/em\u003e — works made from patinated copper, quartz and obsidian that required the viewer to stand, sit or lie against them. The Centre Pompidou acquired the three-part 1989 installation the following year. Contemporary scholarship relates the title to emptying the mind through meditation, the “stream” becoming the energy of the Wall and of nature: a process of renewal emerging from the dissolution of the Ulay partnership.\u003c\/p\u003e\u003cp\u003eThe invitation’s design carries the same transition. The recto is almost entirely physical: a close photograph of reddish masonry recalling the material surface of the Great Wall. The verso abandons the image completely for an artificial blue field and the italicised words \u003cem\u003eBoat Emptying \/ Stream Entering…\u003c\/em\u003e Wall and stream; matter and energy; image and language. The card doesn’t merely announce the exhibition — its two surfaces reproduce the conceptual movement of the work.\u003c\/p\u003e\u003cp\u003eNot the canonical 1970s endurance performer, not yet the globally institutionalised figure of the 1990s and 2000s, but an artist actively reconstructing a solo practice after the dissolution of one of performance art’s defining collaborations. A small administrative object from the moment one artistic identity was being emptied and another allowed to enter.\u003c\/p\u003e\u003cp\u003eSecurely packed; tracked UK and international shipping available.\u003c\/p\u003e","brand":"Victoria Miro","offers":[{"title":"Default Title","offer_id":54234534281554,"sku":"TNR-2026-0554","price":185.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Abramovic_Marina._Show_invite_boat_emptying_stream_entering_._1989.jpg?v=1786468981"},{"product_id":"christopher-wool-guggenheim-promotional-gocard-2013","title":"CHRISTOPHER WOOL, Guggenheim Promotional GoCARD, Solomon R. Guggenheim Museum, New York, 2013","description":"\u003cp\u003eOffset-printed promotional postcard issued for Christopher Wool's retrospective at the Solomon R. Guggenheim Museum, New York, October 25, 2013–January 22, 2014. The recto reproduces \u003cem\u003eTrouble\u003c\/em\u003e (1989), enamel and acrylic on aluminium, 182.9 × 121.9 cm — a work that reduces TROUBLE to four consonants: TRBL — printed in black, white and yellow. The verso carries the painting's full credit line, exhibition support credits and, in place of a conventional stamp box, the GoCARD Postcard Advertising imprint.\u003c\/p\u003e\u003cp\u003eGoCARD was a commercial free-postcard distribution network: cards formatted to be picked up in bars, cafés and restaurants and carried back into the city. The card belongs to a different circulation system than the museum shop — a visual language that originated partly in signage and street stencilling, passed through painting and the museum, and returned to public space as an advertisement, unchanged in image, changed entirely in placement.\u003c\/p\u003e\u003cp\u003eBy 2013 Wool required no introduction. Nearly thirty years into his New York career and fifteen years after his first major American survey at MOCA Los Angeles in 1998, the Guggenheim retrospective — around ninety works filling the rotunda and an adjacent gallery — confirmed a position already established rather than announcing a new one.\u003c\/p\u003e\u003cp\u003eDesign uncredited. The Guggenheim separately records a 2013 exhibition poster as designed by Christopher Wool; this GoCARD carries no printed design credit and should not be attributed to the artist without further evidence.\u003c\/p\u003e","brand":"Solomon R. Guggenheim Museum","offers":[{"title":"Default Title","offer_id":54460697018706,"sku":"TNR-2026-0627","price":85.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Wool_Christopher.ShowpostcardGuggenheim.2014.jpg?v=1788114549"}],"url":"https:\/\/thenewrare.com\/collections\/list-003.oembed","provider":"The New Rare","version":"1.0","type":"link"}