{"title":"Pictures Generation Ephemera","description":"\u003cp\u003eThe Pictures Generation takes its name from \u003cem\u003ePictures\u003c\/em\u003e, the 1977 exhibition Douglas Crimp organised at Artists Space in New York, and from the Metropolitan Museum's 2009 survey \u003cem\u003eThe Pictures Generation, 1974–1984\u003c\/em\u003e. Its artists, among them Cindy Sherman, Richard Prince, Sherrie Levine, Robert Longo, Barbara Kruger and Louise Lawler, worked with images taken from film, advertising and the media. The New Rare holds the printed traces of that moment and its long after-life: invitations, catalogues, posters and artists' publications, each catalogued with its own register number and condition.\u003c\/p\u003e\n\u003cp\u003eRead the story behind the name in the Journal: \u003ca href=\"\/blogs\/journal\/re-circulation-012-filed-under-something-else\"\u003eRE:CIRCULATION No. 012, Filed Under Something Else\u003c\/a\u003e, on how these artists were filed under other headings for thirty years before it.\u003c\/p\u003e","products":[{"product_id":"richard-prince-de-kooning-gagosian-gallery-paris-2011","title":"RICHARD PRINCE — de Kooning, Gagosian Gallery, Paris, 2011","description":"\u003cp\u003eFolded exhibition invitation for Richard Prince’s \u003cem\u003ede Kooning\u003c\/em\u003e exhibition at Gagosian Gallery, Paris, held 30 March–21 May 2011. Opening reception: Tuesday 29 March, 5–8 pm.\u003c\/p\u003e\u003cp\u003eOversized card, printed in colour on card stock and folded once, with a full image spread across the interior and exhibition details set on a vertical white panel. Dimensions: 21 × 25.5 cm folded; 25.5 × 37 cm unfolded.\u003c\/p\u003e\u003cp\u003eThe front presents a cropped reproduction from Prince’s de Kooning series against a warm peach ground, already staging the collision the works depend on: quotation, distortion, repainting, and the unstable return of a canonical image through another artist’s hand. Opened out, the card expands into a near full-bleed detail, intensifying the abrasive facture and unstable figuration associated with the series. The reverse is nearly blank, carrying only the work caption in small type: \u003cem\u003eUntitled (de Kooning)\u003c\/em\u003e, 2009, inkjet and acrylic on canvas.\u003c\/p\u003e\u003cp\u003eWhat circulates here is not only an announcement but a compressed statement of method. Prince’s de Kooning paintings rework Willem de Kooning’s already volatile women into a second-order image economy of reproduction, collage, and repainting. In invitation form, that logic becomes especially clear: the card itself operates through cropping, folding, enlargement, and redistribution. A work about appropriation is encountered through another act of appropriation.\u003c\/p\u003e\u003cp\u003eCondition: light handling wear and minor corner and edge rubbing consistent with age and storage; structurally sound and clean overall.\u003c\/p\u003e","brand":"Gagosian Gallery","offers":[{"title":"Default Title","offer_id":53185586790738,"sku":"TNR-2026-0032","price":125.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Richard_Prince_2011_0001.jpg?v=1776061946"},{"product_id":"new-observations-nos-50-51-84","title":"RICHARD PRINCE \/ JOHN DOGG — New Observations Nos. 50, 51 \u0026 84, New York, 1987–c.1991","description":"\u003cp\u003eThree issues of \u003cem\u003eNew Observations\u003c\/em\u003e, a New York-based magazine operating at the intersection of art, criticism, and theory during the late 1980s moment when image culture, appropriation, and postmodern discourse converged into a shared field.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eIssue 50 — Sculpture and Paradise\u003c\/strong\u003e (guest edited by Alain Kirili) assembles a cross-section of sculptural thinking alongside figures such as Louise Bourgeois, Julia Kristeva, and Stephen Westfall — positioning sculpture not as medium but as a conceptual condition moving between language, body, and form.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eIssue 51 — Radical Consumption and the New Poverty\u003c\/strong\u003e (guest edited by Collins \u0026amp; Milazzo) shifts toward the economies of images and objects, with contributions from Jeff Koons, Haim Steinbach, Peter Halley, Ashley Bickerton, Allan McCollum, and John Dogg — the shared alias of Richard Prince and Colin de Land, inserting authorship itself into the field of exchange.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eIssue 84 — Alchemy\u003c\/strong\u003e extends this logic into a more diffuse, quasi-symbolic register, bringing together Marcel Duchamp, Joseph Beuys, Sigmar Polke, and Gordon Matta-Clark under a thematic structure that reads less as editorial coherence and more as an accumulation of references — material, conceptual, and historical.\u003c\/p\u003e\u003cp\u003eAcross the three, the publication operates as a site of alignment rather than documentation: artists, critics, and positions placed in proximity, indexed, and circulated. The magazine becomes a container for overlapping authorial identities, where contribution and citation blur into one another.\u003c\/p\u003e\u003cp\u003eOriginal period items. Ships protected.\u003c\/p\u003e","brand":"New Observations","offers":[{"title":"Default Title","offer_id":53288792424786,"sku":"TNR-2026-0045","price":125.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/New-Observations-magazine-005.jpg?v=1777178675"},{"product_id":"richard-prince-new-portraits-gagosian-gallery-2014","title":"Richard Prince — New Portraits, Gagosian Gallery, 2014","description":"\u003cp\u003e\u003cstrong\u003e£295 — shipping included\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eOriginal booklet issued for Richard Prince’s \u003cem\u003eNew Portraits\u003c\/em\u003e, the 2014 exhibition of Instagram-sourced images enlarged as inkjet-on-canvas works with Prince’s added comments.\u003c\/p\u003e\n\u003cp\u003eThe booklet repeats the structure of the feed: handle, image, likes, caption, comment. A social image is moved into the gallery, then returned to paper as catalogue. The object records this transfer without resolving it.\u003c\/p\u003e\n\u003cp\u003eThe series remains tied to questions of authorship, permission, display, celebrity, and legal afterlife. Donald Graham’s \u003cem\u003eRastafarian Smoking a Joint\u003c\/em\u003e, reproduced through the \u003cem\u003eNew Portraits\u003c\/em\u003e project, later became part of the litigation around Prince’s use of Instagram-sourced imagery.\u003c\/p\u003e\u003cp\u003eImage, caption, comment, claim.\u003cbr\u003eThe feed becomes exhibition.\u003cbr\u003eThe exhibition becomes paper.\u003c\/p\u003e\n\u003cp\u003eSee also: \u003ca href=\"\/products\/richard-prince-new-portraits-blum-poe-2016\"\u003eRichard Prince — New Portraits, Blum \u0026amp; Poe, 2016\u003c\/a\u003e, the hardcover catalogue published after the series was shown in Tokyo.\u003c\/p\u003e","brand":"Gagosian Gallery","offers":[{"title":"Default Title","offer_id":53317011636562,"sku":"TNR-2026-0058","price":295.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Prince_-Richard.-New-Portraits_-2014-1-cover.jpg?v=1777493215"},{"product_id":"richard-prince-douglas-blair-turnbaugh-collection-1977-1988","title":"Richard Prince — The Douglas Blair Turnbaugh Collection (1977–1988)","description":"\u003cp\u003ePublished on the occasion of \u003cem\u003eRichard Prince: The Douglas Blair Turnbaugh Collection (1977–1988)\u003c\/em\u003e at Edward Cella Art \u0026amp; Architecture, Los Angeles, 11 June–30 July 2016. The catalogue documents material from the private archive of Douglas Blair Turnbaugh, an early friend, collector, and supporter of Prince. The exhibition gathered artworks, letters, exhibition announcements, publications, postcards, photographs, altered ephemera, and related objects from the artist's formative years.\u003c\/p\u003e\u003cp\u003eA catalogue of secondary material around an artist whose work depends on secondary material. Prince's practice is built through existing images, jokes, advertisements, printed matter, cultural debris, and shifts of authorship. Here the surrounding paper becomes the subject: the letter, the invitation, the checklist, the matchbook, the jacket, the early publication.\u003c\/p\u003e\u003cp\u003eThe book records the period in which Prince's work moved through Artists Space, Metro Pictures, the Pictures Generation, SoHo, East Village networks, and early European exhibition circulation. It is not a retrospective of finished works so much as an inventory of formation.\u003c\/p\u003e\u003cp\u003eAn artist's career, seen through retained paper.\u003c\/p\u003e\u003cp\u003eShipping and handling included in the listed price. Ships flat \/ protected.\u003c\/p\u003e","brand":"Edward Cella Art \u0026 Architecture","offers":[{"title":"Default Title","offer_id":53386196713810,"sku":"TNR-2026-0068","price":125.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Prince_-Richard-.-THE-DOUGLAS-BLAIR-TURNBAUGH-COLLECTION-_1977-1988_.-2016--cover_7736879e-4dc1-47a7-ba07-594ea867f60c.jpg?v=1778472545"},{"product_id":"richard-prince-purple-20-years-the-richard-prince-purple-book-2012","title":"Richard Prince — Purple 20 Years: The Richard Prince Purple Book","description":"\u003cp\u003eSpecial edition made by Richard Prince for \u003cem\u003ePurple Fashion\u003c\/em\u003e no. 18, marking twenty years of Purple magazine. The publication brings together fragments of Prince's “Bird Talk” texts with collages made from celebrity headshots, film stills, promotional photographs, album material, and other collected image debris.\u003c\/p\u003e\u003cp\u003eA fashion magazine supplement as artist book.\u003cbr\u003eA Richard Prince object routed through Purple.\u003cbr\u003eCelebrity material, handwritten captions, rhetorical questions, commercial images, and borrowed surfaces.\u003c\/p\u003e\u003cp\u003eThe book sits close to Prince’s long use of existing cultural material: publicity photographs, entertainment residue, fan-image circulation, soft celebrity, advertising language, and the unstable line between collecting and authorship. The source image remains visible. The gesture is in the re-captioning, grouping, and return to circulation.\u003c\/p\u003e\u003cp\u003eHere, Purple is not only publisher but frame. Fashion magazine, artist book, anniversary object, and promotional support occupy the same printed form. Prince’s image-world is placed inside another image-world, then released as a magazine-adjacent edition.\u003c\/p\u003e\u003cp\u003eA secondary object made from secondary images.\u003cbr\u003eThe found photograph becomes layout.\u003cbr\u003eThe caption becomes authorship.\u003cbr\u003eThe magazine becomes support.\u003c\/p\u003e\u003cp\u003eShipping and handling included in the listed price.\u003c\/p\u003e","brand":"Purple Institute","offers":[{"title":"Default Title","offer_id":53390010220882,"sku":"TNR-2026-0069","price":100.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Prince_-Richard.-purple-20-years-the-richard-prince-purple-book.-2012--cover.jpg?v=1778489164"},{"product_id":"richard-prince-menthol-wars-printed-matter-2009","title":"Richard Prince — Menthol Wars","description":"\u003cp\u003eOriginally published in October 1980 to coincide with a Richard Prince window installation at \u003ca href=\"https:\/\/www.printedmatter.org\"\u003ePrinted Matter\u003c\/a\u003e’s original 7 Lispenard Street location, \u003cem\u003eMenthol Wars\u003c\/em\u003e belongs to Prince’s early sequence of narrative artist books, alongside \u003cem\u003eWar Pictures\u003c\/em\u003e and \u003cem\u003eMenthol Pictures\u003c\/em\u003e. Printed Matter reissued this facsimile in 2009 for \u003cem\u003eRichard Prince: Calling All Readers\u003c\/em\u003e, curated by John McWhinnie at the New York Art Book Fair.\u003c\/p\u003e\u003cp\u003eThe book sits before the more stabilised image of Prince as the artist of cowboys, jokes, nurses, and rephotographed American desire. Here the material is thinner and stranger: short texts, names, overheard voices, social drift, cigarettes, style, movies, records, and conversational fragments. The book form functions less as catalogue than as distribution system — a cheap printed support for fiction, pose, and borrowed atmosphere.\u003c\/p\u003e\u003cp\u003eAs a facsimile, the 2009 edition is also a second object: not the scarce 1980 original, but its controlled return through Printed Matter. A re-entry of early Prince into the artist-book market, produced through the same institution that first held the window installation. The copy becomes a readable substitute, a later administrative version of an early downtown object.\u003c\/p\u003e\u003cp\u003eOriginal period content, later institutional reprint.\u003cbr\u003eA minor book object from Prince’s pre-market vocabulary.\u003c\/p\u003e\u003cp\u003eShipping and handling included in listed price. Ships flat \/ protected.\u003c\/p\u003e","brand":"Printed Matter","offers":[{"title":"Default Title","offer_id":53401122242898,"sku":"TNR-2026-0071","price":385.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Prince_-Richard-.-MENTHOL-WARS.-2009-1-front-cover_cc6fe57d-23b4-4f37-b4e8-558b3c420b4c.jpg?v=1778554046"},{"product_id":"richard-prince-new-portraits-blum-poe-2016","title":"Richard Prince — New Portraits","description":"\u003cp\u003eISBN: 978-0-9861128-4-3\u003c\/p\u003e\u003cp\u003ePublished by Blum \u0026amp; Poe in 2016, following Richard Prince’s \u003cem\u003eNew Portraits\u003c\/em\u003e exhibition at Blum \u0026amp; Poe Tokyo, 3 April–30 May 2015. The book holds installation views, reproductions from the \u003cem\u003eNew Portraits\u003c\/em\u003e series, and Prince’s ‘Bird Talk’ text in Japanese and English.\u003c\/p\u003e\u003cp\u003eA book made after the feed had already been enlarged, printed, exhibited, argued over, and returned to print. Instagram appears here not as platform but as support. The portrait is no longer a post, not exactly a painting, not simply a reproduction. It has passed through several systems of authorisation and arrives as a bound object.\u003c\/p\u003e\u003cp\u003eThe acrylic covers extend the logic of display. Transparent, reflective, protective, and slightly industrial, they make the catalogue behave closer to a case file or portable vitrine.\u003c\/p\u003e\u003cp\u003eWithin Prince’s longer practice of appropriation, joke transfer, advertising extraction, and re-captioned American image culture, \u003cem\u003eNew Portraits\u003c\/em\u003e marks the point where social media becomes both source and surface. Authorship is not removed; it is displaced, commented on, enlarged, litigated, and reissued. The catalogue remains as residue of that passage.\u003c\/p\u003e\u003cp\u003eOriginal period publication.\u003cbr\u003eShipping and handling included in the listed price.\u003c\/p\u003e\u003cp\u003eSee also: \u003ca href=\"\/products\/richard-prince-new-portraits-gagosian-gallery-2014\"\u003eRichard Prince — New Portraits, Gagosian Gallery, 2014\u003c\/a\u003e, the original staple-bound booklet from the first showing in New York.\u003c\/p\u003e","brand":"Blum \u0026 Poe","offers":[{"title":"Default Title","offer_id":53425817813330,"sku":"TNR-2026-0075","price":595.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Prince_-Richard.-New-Portraits.-2016-cover.jpg?v=1778690133"},{"product_id":"richard-prince-early-photographs-1977-1979-skarstedt-2001","title":"Richard Prince — Early Photographs 1977–1979","description":"\u003cp\u003eSkarstedt Fine Art, New York, 2001\u003cbr\u003eHardcover\u003cbr\u003e46–47 pp.\u003cbr\u003e20.3 × 30.5 cm\u003cbr\u003eColour offset printing\u003cbr\u003eText in English\u003cbr\u003eIncludes writing by Richard Prince taken from \u003cem\u003eWhy I Go to the Movies Alone\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very good. Light shelf wear to grey boards, faint surface rubbing and minor corner\/edge wear. Interior clean, with strong colour plates.\u003c\/p\u003e\u003cp\u003ePublished by Skarstedt Fine Art on the occasion of Richard Prince’s 2001 exhibition \u003cem\u003ePhotographs 1977–1979\u003c\/em\u003e. The exhibition gathered the early re-photographic works that established Prince’s long engagement with authorship, originality, advertising, and the borrowed image.\u003c\/p\u003e\u003cp\u003eThe book is restrained and object-like: grey hardcover boards, pale blue title typography, wide white margins, and captioned colour plates. Cigarettes, jewellery, couples, interiors, and commercial surfaces appear as already-circulated images, removed from their first use and placed back into view. The publication keeps that operation quiet. Advertisement becomes photograph. Photograph becomes inventory. Inventory becomes book.\u003c\/p\u003e\u003cp\u003eA compact record from the early-2000s consolidation of Prince’s late-1970s photographic language. Published in limited quantity by Skarstedt Fine Art.\u003c\/p\u003e\u003cp\u003eOriginal period publication.\u003cbr\u003eShipping and handling included in the listed price.\u003c\/p\u003e","brand":"Skarstedt Fine Art","offers":[{"title":"Default Title","offer_id":53426283872594,"sku":"TNR-2026-0076","price":350.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Prince_-Richard-Early-Photographs-1977-1979-cover.jpg?v=1778698843"},{"product_id":"richard-prince-spiritual-america-guggenheim-2007","title":"Richard Prince — Spiritual America","description":"\u003cp\u003eExhibition dates: 28 September 2007 – 9 January 2008\u003c\/p\u003e\u003cp\u003eOriginal postcard issued for \u003cem\u003eRichard Prince: Spiritual America\u003c\/em\u003e at the Solomon R. Guggenheim Museum, New York. The exhibition was Prince’s first comprehensive retrospective since 1992 and brought together photography, painting, sculpture, and works on paper across the Cowboys, Jokes, Girlfriends, Nurses, Hoods, and related series.\u003c\/p\u003e\u003cp\u003eThe recto reproduces one of Prince’s nurse images: a pulp-fiction figure isolated, masked, and reprocessed through the museum postcard. The card functions as a small institutional relay for a practice built around repetition, appropriation, American image culture, and the conversion of already-circulating material into art. Prince’s Nurse paintings began in 2002, using enlarged pulp medical-romance covers, overpainting, and surgical masks to turn the nurse figure into something both seductive and threatening.\u003c\/p\u003e\u003cp\u003eA minor Guggenheim support object.\u003cbr\u003eImage, title, museum, sponsor, address field.\u003cbr\u003eA work about circulation returned to circulation as card.\u003c\/p\u003e\u003cp\u003eShipping and handling included in the listed price. Ships flat with protective backing.\u003c\/p\u003e","brand":"Guggenheim Museum","offers":[{"title":"Default Title","offer_id":53441647771986,"sku":"TNR-2026-0081","price":40.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Prince_-Richard.-_Spiritual-America_-exhibition-announcement.-2007-front_e91007a2-0963-454b-9a4f-6800aba8a8f0.jpg?v=1778786721"},{"product_id":"richard-prince-the-masochist-7-ratstar-shoot-the-lobster-2020","title":"Richard Prince — The Masochist #7","description":"\u003cp\u003e\u003cem\u003eThe Masochist #7\u003c\/em\u003e presents a group of Richard Prince drawings in a deliberately reduced, low-production format. The booklet sits closer to zine, studio photocopy, or provisional drawing packet than conventional exhibition catalogue. Its crude figures, notebook edges, visible reproduction grain, and stapled construction place the work against the polished surface of Prince’s more familiar appropriated media images.\u003c\/p\u003e\u003cp\u003ePrince’s practice has long moved between found image, joke, celebrity, advertising, and self-authored interruption. Here the gesture appears almost anti-monumental: drawings that look immediate, juvenile, and unstable are routed through a modest printed support. The title introduces a darker register, while the images remain blunt, cartoon-like, and unresolved.\u003c\/p\u003e\u003cp\u003eA small-format publication from Prince’s late-period printed output. The book functions as an accessible carrier for drawings, but also as a deliberately plain object within a larger practice built around authorship, reproduction, circulation, and value.\u003c\/p\u003e\u003cp\u003eOriginal period item.\u003cbr\u003eShipping and handling included in the listed price. Ships protected.\u003c\/p\u003e","brand":"RATSTAR \/ Shoot the Lobster","offers":[{"title":"Default Title","offer_id":53445467078994,"sku":"TNR-2026-0084","price":150.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Prince_-Richard.-Masochist-_7.-2020-cover.jpg?v=1778823410"},{"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\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.\u003c\/p\u003e","brand":"National Gallery of Art","offers":[{"title":"Default Title","offer_id":53548400312658,"sku":"TNR-2026-0106","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_95ff625c-461a-49d2-8317-34f748e5d95d.jpg?v=1782104972"},{"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":"sherrie-levine-directions-hirshhorn-museum-washington-1988","title":"Sherrie Levine — Directions — Exhibition Brochure, Hirshhorn Museum and Sculpture Garden, Washington D.C., 1988","description":"\u003cp\u003eExhibition dates: 9 March – 30 May 1988\u003c\/p\u003e\u003cp\u003eIssued for Sherrie Levine’s 1988 \u003cem\u003eDirections\u003c\/em\u003e exhibition at the Hirshhorn Museum and Sculpture Garden in Washington, D.C., later travelling to the High Museum of Art in Atlanta as part of \u003cem\u003eArt at the Edge\u003c\/em\u003e. The publication includes essays by Phyllis Rosenzweig and Susan Krane alongside a checklist, bibliography, exhibition history, and reproductions of works from Levine’s then-recent \u003cem\u003eLead Checks\u003c\/em\u003e and \u003cem\u003eGolden Knots\u003c\/em\u003e series.\u003c\/p\u003e\u003cp\u003eThe brochure marks a distinct moment in Levine’s practice. During the early 1980s her name became closely associated with re-photographed images and acts of appropriation, but by the late 1980s those strategies had migrated toward painting and material itself. The reproduced \u003cem\u003eLead Checks\u003c\/em\u003e works borrow the language of modernist geometry while removing its rhetoric of originality. The \u003cem\u003eGolden Knots\u003c\/em\u003e paintings similarly elevate accidental defects in commercially available plywood into subjects of attention.\u003c\/p\u003e\u003cp\u003eThe publication records a transition rather than a conclusion. Photography becomes painting, repetition becomes material, and citation becomes object. It also captures a moment when Neo-Geo and post-appropriation discourse were actively reorganising assumptions around authorship and artistic authority.\u003c\/p\u003e\u003cp\u003eWithin a New Rare inventory the brochure functions as a retained institutional support object — part checklist, part exhibition document, part evidence of a critical shift in Levine’s work becoming publicly fixed in print.\u003c\/p\u003e\u003cp\u003eOriginal period item. Shipping and handling included in the listed price.\u003c\/p\u003e","brand":"Hirshhorn Museum and Sculpture Garden","offers":[{"title":"Default Title","offer_id":53549909442898,"sku":"TNR-2026-0109","price":120.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Levine_Sherrie._Directions_show_invite._1988_front.jpg?v=1779601140"},{"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":"prince-good-revolution-parkett-34-pc-1992","title":"Richard Prince — Good Revolution \/ Parkett 34 Postcard, 1992","description":"\u003cp\u003ePostcard issued by Parkett Publishers for Richard Prince’s \u003cem\u003eGood Revolution\u003c\/em\u003e edition for \u003cem\u003eParkett\u003c\/em\u003e no. 34, 1992.\u003c\/p\u003e\u003cp\u003eRecto: colour reproduction of \u003cem\u003eGood Revolution\u003c\/em\u003e — a framed edition combining a C-print backdrop, gold 7-inch vinyl record, and engraved plaque. Verso: Parkett Verlag \/ Parkett Publishers imprint with the credit “Richard Prince Edition for Parkett 34.”\u003c\/p\u003e\u003cp\u003eThe original \u003cem\u003eGood Revolution\u003c\/em\u003e edition was a gold record and plaque mounted on a C-print, with a playable 7-inch vinyl record by Prince — an object that folds together music, performance, edition, reproduction, and display. The postcard reduces that system back into circulation: image, publisher, issue number, address.\u003c\/p\u003e\u003cp\u003eA small printed support connected to one of Prince’s more unusual early-1990s multiples, where the logic of the gold record — achievement, commerce, celebrity — is reframed as art edition and distributable object.\u003c\/p\u003e\u003cp\u003eShipping and handling included.\u003c\/p\u003e","brand":"Parkett Publishers","offers":[{"title":"Default Title","offer_id":53699391455570,"sku":"TNR-2026-0176","price":65.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Prince_Richard._Artist_postcard_Edition_for_Parakeet_34._1992_front.jpg?v=1781070410"},{"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":"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":"sherrie-levine-galerie-nachst-st-stephan-vienna-1988","title":"Sherrie Levine — Galerie nächst St. Stephan Rosemarie Schwarzwälder, Vienna, 1988","description":"\u003cp\u003eTexts by Dieter Schwarz and Sherrie Levine (\u003cem\u003eA Simple Heart\u003c\/em\u003e), published in English and German.\u003c\/p\u003e\u003cp\u003eProduced for Sherrie Levine’s May 1988 exhibition at Galerie nächst St. Stephan in Vienna, shortly after Rosemarie Schwarzwälder assumed ownership of the gallery and expanded its programme around international conceptual and post-minimal practices. By this point Levine had established herself as one of the defining figures of the Pictures Generation through works such as \u003cem\u003eAfter Walker Evans\u003c\/em\u003e, fundamentally reshaping debates around originality, authorship, and appropriation.\u003c\/p\u003e\u003cp\u003eThe publication documents this pivotal moment, reproducing key photographic and geometric works from the 1980s alongside critical writing and Levine’s literary intervention, \u003cem\u003eA Simple Heart\u003c\/em\u003e — itself an appropriation of Gustave Flaubert’s famous parrot narrative. More than a straightforward exhibition catalogue, the book belongs to a generation of publications that carried postmodern discourse beyond the gallery walls.\u003c\/p\u003e\u003cp\u003eDuring the late 1980s, printed catalogues were essential vehicles through which conceptual art circulated internationally, functioning simultaneously as exhibition record, theoretical text, and portable artwork. Many remained in academic collections or institutional libraries, making well-preserved trade copies increasingly uncommon today.\u003c\/p\u003e\u003cp\u003eA compact but significant publication from one of the defining artists of late twentieth-century conceptual practice, documenting a period when appropriation art moved from controversy into the centre of contemporary art history.\u003c\/p\u003e\u003cp\u003eShipping and handling included in the listed price.\u003c\/p\u003e","brand":"Galerie nächst St. Stephan","offers":[{"title":"Default Title","offer_id":53783306338642,"sku":"TNR-2026-0239","price":65.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Levine_Sherrie._Vienna_Galerie_Nachst_St._Stephan_1988._1988_front.jpg?v=1781758385"},{"product_id":"richard-prince-i-changed-my-name-1988-artpost-postcard","title":"Richard Prince — I Changed My Name, 1988, Artpost Postcard","description":"\u003cp\u003e© Richard Prince \/ Courtesy Barbara Gladstone Gallery, New York.\u003c\/p\u003e\u003cp\u003eArtpost postcard reproducing Richard Prince’s text painting \u003cem\u003eI Changed My Name\u003c\/em\u003e, 1988, acrylic, silkscreen on canvas, 56¼ × 78¼ in. The work presents the phrase \u003cem\u003eI never had a penny to my name so I changed my name.\u003c\/em\u003e in red text against a deep blue ground, split across two panels by a thin white vertical line.\u003c\/p\u003e\u003cp\u003eThe painting belongs to the body of text-based works that emerged alongside Prince’s rephotographed advertisements and Joke Paintings, where borrowed language became both image and subject. The phrase performs the same operation as the broader practice: a found sentence, displaced from its source, repositioned as art object.\u003c\/p\u003e\u003cp\u003eAs a printed multiple, the postcard extends the work beyond the gallery into everyday circulation. It functions simultaneously as reproduction, souvenir, and portable artwork, carrying Prince’s investigation of authorship into another distribution system. Removed from the museum shop or bookstore and retained over time, it becomes a small but enduring record of how contemporary art continues to circulate through printed matter.\u003c\/p\u003e\u003cp\u003eShipping and handling included in the listed price. Carefully packed in a protective archival sleeve with rigid backing.\u003c\/p\u003e","brand":"Artpost","offers":[{"title":"Default Title","offer_id":53806710358354,"sku":"TNR-2026-0258","price":45.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Prince_-Richard.-Changed-my-Name---Postcard_ddc20594-28a9-440e-88db-5c47b968ff78.jpg?v=1782020878"},{"product_id":"cindy-sherman-possession-city-art-galleries-manchester-1994","title":"CINDY SHERMAN — Possession, City Art Galleries, Manchester, 1994","description":"\u003cp\u003eCity Art Galleries, Princess Street, Manchester, 1994. 17 September – 6 November 1994.\u003c\/p\u003e\u003cp\u003eThe poster reproduces Cindy Sherman's \u003cem\u003eUntitled #96\u003c\/em\u003e, 1981, one of the key images from her \u003cem\u003eCenterfolds\u003c\/em\u003e series. Originally made in relation to the visual language of magazine spreads, the image turns the format of the centre-fold away from display and towards ambiguity. Sherman appears as a figure already mediated: staged, vulnerable, artificial, cinematic, and withheld.\u003c\/p\u003e\u003cp\u003eIn this poster, the image is placed under another title: \u003cem\u003ePossession\u003c\/em\u003e. The word shifts the work again. What was once a photograph becomes exhibition identity, public advertisement, institutional surface, and collectible document. The image is possessed by the artist, by the role she performs, by the magazine format it addresses, by the Manchester exhibition, and finally by the poster itself.\u003c\/p\u003e\u003cp\u003eWithin The New Rare, this object sits close to the logic of reclassification. It is not simply a reproduction of a Cindy Sherman work, but a secondary support through which the work travelled. The poster records how an image moves from artwork to publicity, from publicity to archive, from archive to object.\u003c\/p\u003e\u003cp\u003eCondition is central to this example. The visible creasing, fold marks, surface scuffing, handling wear, and light edge wear are not treated here as separate from the object's meaning. They mark its movement through display, storage, handling, and exchange. The surface carries the evidence of circulation: a public image becoming a handled object.\u003c\/p\u003e\u003cp\u003eA strong example of exhibition ephemera as transferred authorship: Sherman's constructed image re-entering circulation through the language of display, promotion, and possession.\u003c\/p\u003e","brand":"City Art Galleries Manchester","offers":[{"title":"Default Title","offer_id":53868493177170,"sku":"TNR-2026-0303","price":220.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Sherman_Cindy._Show_poster_Possession_._1994.jpg?v=1782727815"},{"product_id":"richard-prince-3rd-place-point-dironie-39-agnes-b-paris-2006","title":"RICHARD PRINCE — 3rd Place, Point d’Ironie no. 39, Agnès b. \/ Point d’Ironie, Paris, 2006","description":"\u003cp\u003eIssued as no. 39 of Point d’Ironie, \u003cem\u003e3rd Place\u003c\/em\u003e belongs to a publication format designed for circulation rather than preservation. Folded, distributed, handled and easily discarded, the object was never intended to behave like a conventional rare book. Its survival is therefore part of its meaning.\u003c\/p\u003e\u003cp\u003eInstitutional records fix its position within the series: De Appel records it as Point d’Ironie 39: Richard Prince, Avril 2006, published by Agnès b. in Paris, with Hans Ulrich Obrist as editor; MACBA also records no. 39 as a 2006 serial publication by Richard Prince. These references matter less as citations than as placement. They confirm that a temporary printed object has entered the same systems of identification, cataloguing and retention usually reserved for more stable works.\u003c\/p\u003e\u003cp\u003ePrince’s images of rural America, biker culture and found vernacular material are not only reproduced here; they are carried by the publication itself as a folded support. The value is not only in rarity as scarcity. It is in survival, recognition, and the fact that this copy remains in the form in which it first moved through the world.\u003c\/p\u003e\u003cp\u003eShips carefully packed, flat or folded as issued; international shipping available.\u003c\/p\u003e","brand":"Agnès b. \/ Point d’Ironie","offers":[{"title":"Default Title","offer_id":53894830195026,"sku":"TNR-2026-0323","price":100.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Prince_Richard.Exhibitionposter.2006_07f6cf38-35f5-4378-8210-126b3bdfaef8.jpg?v=1782935551"},{"product_id":"richard-prince-spiritual-america-continuation-guggenheim-museum-new-york-2007","title":"RICHARD PRINCE — Spiritual America \/ Continuation, Solomon R. Guggenheim Museum, New York, 2007","description":"\u003cp\u003eColour image to recto; printed caption, barcode, Guggenheim Museum logo, and postal layout to verso. Reproduces \u003cem\u003eContinuation\u003c\/em\u003e, 2004–05, fiberglass, polyester resin, acrylic and wood, 44 × 69⁵⁄₈ × 82½ inches. Collection of the artist; courtesy Gladstone Gallery, New York.\u003c\/p\u003e\u003cp\u003eProduced in connection with Prince’s major Guggenheim exhibition \u003cem\u003eSpiritual America\u003c\/em\u003e, the postcard carries one of his recurring American subjects: the car body as object, surface, commodity, and cultural fragment.\u003c\/p\u003e\u003cp\u003eBy 2007, Prince’s practice had already moved through photography, jokes, cowboys, nurses, books, cars, and advertising. The Guggenheim exhibition placed those bodies of work inside a major institutional frame, turning a career built from borrowed images and commercial language back into museum history.\u003c\/p\u003e\u003cp\u003eThis postcard belongs to that institutional circulation. It is not an editioned artwork, but a printed museum object issued at the moment of exhibition. The car hood moves from industrial form to sculpture, from sculpture to institutional image, from museum shop object to surviving document. A small object, but exact in its position: Prince, Guggenheim, 2007, and the afterlife of American commodity imagery in print.\u003c\/p\u003e\u003cp\u003eShips flat with protective backing; international shipping available.\u003c\/p\u003e","brand":"Solomon R. Guggenheim Museum","offers":[{"title":"Default Title","offer_id":53916603253074,"sku":"TNR-2026-0332","price":100.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Richard_Prince_2007_01.jpg?v=1783152273"},{"product_id":"richard-prince-tell-me-everything-spiritual-america-guggenheim-museum-new-york-2007","title":"RICHARD PRINCE — Tell Me Everything, 1987 \/ Spiritual America, Solomon R. Guggenheim Museum, New York, 2007","description":"\u003cp\u003eColour artwork reproduction to recto; printed artwork credit, barcode, Guggenheim Museum logo, and “Printed in USA” to verso. Reproduces \u003cem\u003eTell Me Everything\u003c\/em\u003e, 1987, acrylic and silkscreen on canvas, 56 × 48 inches. Skarstedt Collection, New York; courtesy Gladstone Gallery, New York.\u003c\/p\u003e\u003cp\u003eIssued by the Guggenheim in 2007 in connection with Prince’s \u003cem\u003eSpiritual America\u003c\/em\u003e exhibition. The card reproduces one of Prince’s Joke paintings: borrowed comedy language — “I went to see a psychiatrist. He said, ‘Tell me everything.’ I did, and now he’s doing my act.” — transferred onto a flat ochre monochrome painted surface, then returned here to small-scale museum circulation.\u003c\/p\u003e\u003cp\u003eA compact printed support for a practice built around repetition, appropriation, authorship, and American popular language. The joke becomes painting. The painting becomes postcard. The postcard becomes evidence of institutional circulation.\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":53916624748882,"sku":"TNR-2026-0333","price":100.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Richard_Prince_2007_03.jpg?v=1783153017"},{"product_id":"richard-prince-untitled-cowboy-spiritual-america-guggenheim-museum-new-york-2007","title":"RICHARD PRINCE — Untitled (cowboy), 1997–98 \/ Spiritual America, Solomon R. Guggenheim Museum, New York, 2007","description":"\u003cp\u003eColour image to recto; artwork credit, barcode, Guggenheim imprint, and “Printed in USA” to verso. 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. Guggenheim Museum, New York, 2007","description":"\u003cp\u003eFull-colour reproduction to recto; printed museum details, barcode, Guggenheim Museum logo, and image caption to verso. Reproduces \u003cem\u003eUntitled (cowboy)\u003c\/em\u003e, 2003, Ektacolor photograph, edition of 2, 40 × 30 inches; courtesy Gladstone Gallery, New York.\u003c\/p\u003e\u003cp\u003eIssued around Prince’s 2007 Guggenheim retrospective \u003cem\u003eSpiritual America\u003c\/em\u003e. Prince’s Cowboy works came from rephotographed Marlboro advertisements, stripped of text and returned as art images. The Guggenheim’s teaching material describes how Prince began rephotographing magazine images in the late 1970s and how the Cowboy series isolated an American symbol of adventure, masculinity, and advertising desire.\u003c\/p\u003e\u003cp\u003eWithin The New Rare register, the postcard is not important because it is large or editioned, but because it is a surviving museum object from the exhibition’s public circulation. Image, caption, barcode, institution, shop and display system. The work moves from advertisement to artwork to museum postcard: a reduced support for a much larger history of appropriation.\u003c\/p\u003e\u003cp\u003eShips flat in protective card-backed packaging; UK and international shipping available.\u003c\/p\u003e","brand":"Solomon R. Guggenheim Museum","offers":[{"title":"Default Title","offer_id":53916697166162,"sku":"TNR-2026-0335","price":100.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Richard_Prince_2007_07.jpg?v=1783155208"},{"product_id":"richard-prince-man-crazy-nurse-spiritual-america-guggenheim-museum-new-york-2007","title":"RICHARD PRINCE — Man-Crazy Nurse, 2002–03 \/ Spiritual America, Solomon R. Guggenheim Museum, New York, 2007","description":"\u003cp\u003eArtwork reproduction to recto; printed caption, barcode, and Guggenheim Museum logo to verso. Reproduces \u003cem\u003eMan-Crazy Nurse\u003c\/em\u003e, 2002–03, acrylic and inkjet on canvas, 80 × 52 inches. Private collection, New York; courtesy Gladstone Gallery, New York.\u003c\/p\u003e\u003cp\u003eA small Guggenheim support object from Prince’s major 2007 retrospective \u003cem\u003eSpiritual America\u003c\/em\u003e. The card carries an image already built from circulation: pulp cover, scanned source, painted surface, museum reproduction, shop object. Within The New Rare register, its interest is not only the reproduced Nurse painting, but the way the image moves again through the museum’s own retail and postal format.\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":53916727509330,"sku":"TNR-2026-0336","price":100.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Richard_Prince_2007_09.jpg?v=1783156142"},{"product_id":"richard-prince-dude-ranch-nurse-spiritual-america-guggenheim-museum-new-york-2007","title":"RICHARD PRINCE — Dude Ranch Nurse, 2002 \/ Spiritual America, Solomon R. Guggenheim Museum, New York, 2007","description":"\u003cp\u003eColour reproduction to recto; printed exhibition and object details, barcode, and Guggenheim Museum logo to verso. Printed in USA. Reproduces \u003cem\u003eDude Ranch Nurse\u003c\/em\u003e, 2002, acrylic and inkjet on canvas, 80 × 52 inches. Collection of Julie and Edward J. Minskoff; courtesy Gagosian Gallery; © 2007 Richard Prince, courtesy Gladstone Gallery, New York.\u003c\/p\u003e\u003cp\u003eOriginal Guggenheim postcard issued in connection with \u003cem\u003eRichard Prince: Spiritual America\u003c\/em\u003e, the artist’s major 2007–08 retrospective in New York. The recto reproduces \u003cem\u003eDude Ranch Nurse\u003c\/em\u003e, 2002, from Prince’s Nurse series, where pulp medical-romance imagery is enlarged, masked, and reprocessed through painting. In postcard form, the image returns to circulation as a small institutional object: artwork, museum, barcode, caption, address field.\u003c\/p\u003e\u003cp\u003eA clean example of Prince’s image-world moving through another system — from pulp cover to painting, from painting to retrospective, from retrospective to museum-shop card.\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":53917675127122,"sku":"TNR-2026-0337","price":100.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/RichardPrince200710.jpg?v=1783156932"},{"product_id":"rosetta-brooks-zg-no-11-art-text-15-double-trouble-1984","title":"ROSETTA BROOKS (ed.) — ZG No. 11 \/ Art \u0026 Text 15: Double Trouble, ZG Magazine \/ Art \u0026 Text, New York \/ Melbourne, 1984","description":"\u003cp\u003eDouble-cover format: ZG No. 11, Summer ‘84 \/ Art \u0026amp; Text 15, Spring 1984.\u003c\/p\u003e\u003cp\u003eContributions and features include Rosetta Brooks, Peter Halley, Sherrie Levine, Jean Baudrillard, Juan Davila, Laurie Simmons, Mike Parr, Imants Tillers, John Hilliard, and others.\u003c\/p\u003e\u003cp\u003eA strong surviving issue from the early 1980s intersection of art criticism, theory, photography, simulation, and media culture. ZG operated between London and New York, bringing together art, film, sexuality, fashion, politics, and popular culture through a magazine format that was closer to a temporary exhibition space than a conventional journal. This issue’s collaboration with Art \u0026amp; Text is especially relevant: a double publication on doubling, remaking, cloning, simulation, and image culture, with Laurie Simmons, Juan Davila, Peter Halley, and Baudrillard all sitting inside the same printed field.\u003c\/p\u003e\u003cp\u003eWithin The New Rare register, this is not just an old magazine but a distribution object: theory, artist pages, reproduced images, and editorial framing carried through paper. Its condition records that passage.\u003c\/p\u003e\u003cp\u003eShips securely packed; UK and international shipping available.\u003c\/p\u003e","brand":"ZG Magazine \/ Art \u0026 Text","offers":[{"title":"Default Title","offer_id":53918223139154,"sku":"TNR-2026-0339","price":125.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/ZG_No._11_Summer_84._Double_Trouble.jpg?v=1783159516"},{"product_id":"rosetta-brooks-zg-magazine-no-13-political-fictions-spring-1985","title":"ROSETTA BROOKS (ed.) — ZG Magazine No. 13: Political Fictions, Spring 1985","description":"\u003cp\u003eFront and back cover art by Nancy Dwyer.\u003c\/p\u003e\u003cp\u003eContributions by Rosetta Brooks, Josh Baer, Krystina Kitsis, J.G. Ballard, Richard Prince, Robert Kleyn, Gary Indiana, Michael Newman, John Roberts, Gray Watson, Jonathan Miles, and others.\u003c\/p\u003e\u003cp\u003eZG was one of the sharp independent art and culture magazines of the 1980s, moving between contemporary art, fashion, theory, music, media, and politics. Edited by Rosetta Brooks, it helped frame the period’s image culture as something unstable, political, and highly constructed. This issue is especially strong for its mix of Ballard, Richard Prince, Gary Indiana, Krystina Kitsis, and Nancy Dwyer, placing fiction, appropriation, fashion, and criticism into the same printed field.\u003c\/p\u003e\u003cp\u003eWithin The New Rare register, this is a strong period object: a large printed support for the circulation of 1980s art and theory. Not a catalogue and not simply a magazine, but a temporary exhibition space in paper form.\u003c\/p\u003e\u003cp\u003eShips flat with protective packaging; international shipping available.\u003c\/p\u003e","brand":"ZG Magazine","offers":[{"title":"Default Title","offer_id":53918499799378,"sku":"TNR-2026-0341","price":150.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/ZG_No._13_Fall_84._Political_Fictions._Good.jpg?v=1783162134"},{"product_id":"the-new-rare-editions-record-phillips-de-pury-contemporary-art-june-2005","title":"THE NEW RARE EDITIONS — Record: Phillips de Pury \u0026 Company, Contemporary Art, June 6, 2005","description":"\u003cp\u003eOriginal Phillips de Pury \u0026amp; Company softcover auction catalogue for a Contemporary Art sale held in New York on 6 June 2005. Front cover reproduces Richard Prince, \u003cem\u003eUntitled (Kool-Aid)\u003c\/em\u003e, 1982\/83. Interior includes lots by Robert Gober, Félix González-Torres, Mike Kelley, Paul McCarthy, Richard Prince, Ugo Rondinone, Frank Stella, Christopher Wool, and others.\u003c\/p\u003e\u003cp\u003ePrince’s Kool-Aid image belongs to the early rephotographic work that moved advertising, product graphics, and commercial desire into the space of conceptual photography. Prince has described removing brand information from images of consumer goods during this 1982–84 period; by 2005, that same logic had returned as the face of an auction catalogue.\u003c\/p\u003e\u003cp\u003eThe catalogue was first produced as a market instrument: a guide to lots, estimates, images, and provenance. In this form, it no longer simply documents a sale. It records the passage of images through auction, ownership, discount circulation, cutting, retention, and renewed placement. Its meaning changes through placement, retention, and renewed circulation.\u003c\/p\u003e\u003cp\u003eThe cuts, wear, and second-hand price label remain part of the work’s record: auction object, remaindered book, retained studio material, reclassified edition.\u003c\/p\u003e","brand":"The New Rare Editions","offers":[{"title":"Default Title","offer_id":53935857795410,"sku":"TNR-2026-0352","price":200.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/PhillipsdePury_Company._cutcatalogue_ContemporaryArtCatalogueJune62005.jpg?v=1783319991"},{"product_id":"richard-prince-third-place-family-tweets-2017","title":"Richard Prince — Third Place: Family Tweets, 2017","description":"\u003cp\u003eFolded poster reproducing one of Prince's \u003cem\u003eFamily Tweets\u003c\/em\u003e, 2017. Produced in connection with \u003cem\u003eThird Place\u003c\/em\u003e, Prince's contribution to Desert X, Desert Hot Springs, California.\u003c\/p\u003e\u003cp\u003eThe poster enlarges the format of a social media post into a physical printed object. \u003cem\u003eThird Place\u003c\/em\u003e was a desert house covered with texts, images, and family-related fragments — a psychological portrait of place, memory, humour, and dysfunction rendered at architectural scale.\u003c\/p\u003e\u003cp\u003ePrince's practice has long moved through found images, jokes, pulp fiction, celebrity, and advertising. By the 2010s, his use of Instagram and Twitter extended that logic into the language of social media: screenshots and casual posts turned into printed and exhibited material. The tweet becomes the work; the poster becomes its distribution.\u003c\/p\u003e\u003cp\u003eDesign features: enlarged Twitter interface, embedded image, pale printed ground, visible fold structure, strong poster scale.\u003c\/p\u003e","brand":"The New Rare","offers":[{"title":"Default Title","offer_id":53951316197714,"sku":"TNR-2026-0354","price":175.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Prince_Richard._THRID_PLACE_FAMILY_TWEETS._2017_poster_2_e3740d98-a6ed-40b9-9565-e06bd04b85e5.jpg?v=1783460216"},{"product_id":"gretchen-bender-political-entertainment-spruth-magers-berlin-2025","title":"Gretchen Bender — Political Entertainment, Sprüth Magers, Berlin, 2025","description":"\u003cp\u003ePoster for Gretchen Bender’s solo exhibition \u003cem\u003ePolitical Entertainment\u003c\/em\u003e, held at Sprüth Magers, Berlin, 14 November 2025 – 4 April 2026. The exhibition presented Bender’s \u003cem\u003eTop Ten Grossing Films of 1988\u003c\/em\u003e, shown for the first time since its 1989 debut: ten black, crumpled heat-set vinyl works, backlit with neon and carrying the titles of that year’s highest-grossing films.\u003c\/p\u003e\u003cp\u003eBender’s work sits at the sharp edge of 1980s image culture. Close to the Pictures Generation, but moving more aggressively into television, video, corporate graphics and mass entertainment, she treated media not as background noise but as the structure through which politics was delivered. Her “electronic theater” installations mixed video, sound and performance to confront the power of corporate imagery over collective consciousness.\u003c\/p\u003e\u003cp\u003eThis poster carries that logic back into print. Hollywood titles become surface, list, commodity and cultural index: Big, Die Hard, Coming to America, Beetlejuice, Good Morning Vietnam. The entertainment industry appears here not through actors or images, but through names already processed by box office ranking, public memory and commercial repetition.\u003c\/p\u003e\u003cp\u003eA current exhibition poster, but already functioning as a secondary support for a work about circulation. Film title into sculpture. Sculpture into exhibition. Exhibition into poster. A sheet of paper recording the return of a 1989 media work into a 2025 gallery context.\u003c\/p\u003e","brand":"Sprüth Magers","offers":[{"title":"Default Title","offer_id":53966494957906,"sku":"TNR-2026-0360","price":110.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Bender_Gretchen._Show_poster_-_Political_Entertainment._2025_76f97ad6-e0ef-4ded-9cf8-1de0f0c977e5.jpg?v=1783629664"},{"product_id":"barbara-kruger-untitled-tell-us-something-we-dont-know-fotofolio-postcard","title":"BARBARA KRUGER — Untitled (Tell us something we don’t know), 1987. Fotofolio postcard, c. 2000","description":"\u003cp\u003eFotofolio, New York. Original Fotofolio artist postcard reproducing Barbara Kruger’s \u003cem\u003eUntitled (Tell us something we don’t know)\u003c\/em\u003e, 1987. Image to recto; title, date, artist credit, Fotofolio mark, stock number F617, barcode and ISBN to verso. Unposted.\u003c\/p\u003e\u003cp\u003eThe original work was executed in 1987 as a large gelatin silver photograph held within the artist’s frame. Its field of repeated eyes is interrupted by six red text panels, distributing the sentence across the image rather than presenting it as a single caption.\u003c\/p\u003e\u003cp\u003eKruger developed this direct combination of found imagery and language after working in magazine design, using pronouns and short commands to expose how mass media structures authority, identity and desire. Her work has repeatedly moved beyond the gallery through posters, publications, shopping bags, billboards and other widely distributed formats.\u003c\/p\u003e\u003cp\u003eThis later Fotofolio issue returns the work to mass circulation. A photographic work about looking becomes a postcard addressed to an absent recipient; the request for information travels while the sender and receiver remain unspecified.\u003c\/p\u003e\u003cp\u003eSecurely packed; tracked UK and international shipping available.\u003c\/p\u003e","brand":"Fotofolio","offers":[{"title":"Default Title","offer_id":54033729782098,"sku":"TNR-2026-0410","price":45.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Kruger_Barbara._Artist_postcard_tell_us_something_we_don_t_know.jpg?v=1784349086"},{"product_id":"richard-prince-american-prayer-gagosian-rizzoli-2011","title":"RICHARD PRINCE: American Prayer, Gagosian Gallery \/ Rizzoli, New York, 2011","description":"\u003cp\u003eExhibition catalogue, Gagosian Gallery, New York \/ Rizzoli International Publications, 2011. ISBN 978-0-8478-3649-9.\u003c\/p\u003e\u003cp\u003ePublished following Prince’s American Prayer exhibition at the Bibliothèque nationale de France, Paris, 29 March–26 June 2011. Rather than presenting a conventional survey of his artworks, the exhibition drew upon Prince’s private library: rare books, manuscripts, letters, paperbacks and material associated with Beat, hippie, pulp and punk culture.\u003c\/p\u003e\u003cp\u003ePrince developed his practice through the reuse of existing images, texts and cultural identities. In American Prayer, collecting becomes another form of appropriation. Books are photographed in stacks, rearranged through subject and association, and placed alongside snapshots, artworks and printed fragments. The distinction between what Prince owns, what he selects and what he makes is left deliberately unstable.\u003c\/p\u003e\u003cp\u003eAt almost 600 pages, the publication operates less as an exhibition catalogue than as a portable version of the library itself. A private collection is transferred into an institutional exhibition and then returned to circulation as a mass-produced book. The object is particularly relevant to the histories of artist collecting, secondary images and the reclassification of printed matter.\u003c\/p\u003e\u003cp\u003eSecurely packed; tracked UK and international shipping available.\u003c\/p\u003e","brand":"Rizzoli","offers":[{"title":"Default Title","offer_id":54117240734034,"sku":"TNR-2026-0463","price":85.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Prince_-Richard.-American-Prayer.-2011-COVER.jpg?v=1785215274"},{"product_id":"richard-prince-the-entertainers-1982-1983-fulton-ryder-2023","title":"RICHARD PRINCE: The Entertainers 1982–1983, Fulton Ryder, New York, 2023","description":"\u003cp\u003eIllustrated clothbound hardcover with inset photographic panels, Fulton Ryder, New York, 2023. English text. Original publisher’s information sticker. ISBN 979-8-985236-82-8. Publisher’s edition now listed as sold out.\u003c\/p\u003e\u003cp\u003eThe Entertainers was made during Prince’s early Time-Life period and developed from publicity photographs of aspiring singers, actors and models encountered around the cinemas, bars and restaurants of Times Square. Prince softened their focus, increased contrast and introduced saturated colour and graphic elements, returning images designed to secure attention and employment as studies of aspiration, performance and manufactured identity.\u003c\/p\u003e\u003cp\u003eThe book reproduces the photographic panels alongside related works, advertisements and taped trade clippings. It also includes Prince’s texts The Counterfeit Memory from 1981 and The Lone Ranger, extending the series through memories of adult cinemas, bars, celebrity, childhood heroes and death.\u003c\/p\u003e\u003cp\u003eThe series is currently included in Helter Skelter: Arthur Jafa and Richard Prince, curated by Nancy Spector at Fondazione Prada’s Ca’ Corner della Regina in Venice, 9 May–23 November 2026. There, The Entertainers is placed alongside Jafa’s Viriconium and considered through surrogate portraiture, self-presentation and the construction of identity through found cultural material.\u003c\/p\u003e\u003cp\u003eStill sealed, this copy remains in the state in which it first entered circulation. The publication reproduces images already displaced from publicity material into art; the shrinkwrap introduces another interval, preserving that transfer while withholding the book from ordinary use.\u003c\/p\u003e\u003cp\u003eSecurely packed; tracked UK and international shipping available.\u003c\/p\u003e","brand":"Fulton Ryder","offers":[{"title":"Default Title","offer_id":54121448767826,"sku":"TNR-2026-0464","price":125.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Prince_Richard._The_Entertainers_1982_1983._2023_front.jpg?v=1785238865"},{"product_id":"richard-prince-naked-nurses-jmc-ghb-2006-signed-lachapelle","title":"RICHARD PRINCE: Naked Nurses, JMc \u0026 GHB Editions, New York, 2006 — Signed by David LaChapelle","description":"\u003cp\u003eNaked Nurses gathers found erotic photographs organised around the nurse as a recurring commercial fantasy. The book appeared alongside Prince's Nurse paintings, begun from his collection of inexpensive 1950s and 1960s paperback novels. For those works, Prince enlarged the original covers, transferred them to canvas and painted across their already manufactured images of desire.\u003c\/p\u003e\u003cp\u003eThe small paperback returns the Nurse image to the printed culture from which the paintings emerged. Anonymous photographs are selected, sequenced and placed under Prince's name. It operates less as a catalogue than as another act of collecting and republication.\u003c\/p\u003e\u003cp\u003eThis copy records an unusually precise day of circulation. Bought at an art fair, carried across New York and signed that evening at another artist's exhibition opening, it passed directly from commerce into a personal encounter. LaChapelle's signature does not imply authorship of Prince's book; it records the object's movement between The Armory Show, Tony Shafrazi Gallery and private ownership.\u003c\/p\u003e\u003cp\u003eSecurely packed; tracked UK and international shipping available.\u003c\/p\u003e","brand":"JMc \u0026 GHB Editions","offers":[{"title":"Default Title","offer_id":54122543350098,"sku":"TNR-2026-0465","price":275.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Prince_-Richard-Naked-Nurses-2006-cover.jpg?v=1785244276"},{"product_id":"richard-prince-photographien-photographs-1977-1993-kestner-1994","title":"RICHARD PRINCE: Photographien \/ Photographs 1977–1993, Kestner-Gesellschaft, Hannover, 1994","description":"\u003cp\u003eGerman and English text.\u003c\/p\u003e\u003cp\u003ePublished for Prince's retrospective at the Kestner-Gesellschaft, 3 June–24 July 1994. The catalogue contains 57 plates alongside essays, an interview, exhibition history, bibliography and checklist.\u003c\/p\u003e\u003cp\u003eThe publication surveys the period in which Prince established photography through the reuse of existing photographs. Magazine advertisements, publicity images and other commercial pictures were isolated, enlarged and returned as Cowboys, Girlfriends, fashion images, parties and anonymous figures. Familiar images remain visible, but their original captions, products and purposes have been removed.\u003c\/p\u003e\u003cp\u003eIssued relatively early in Prince's institutional history, the book gathers sixteen years of displaced imagery and stabilises it as a photographic body of work. Images taken from printed circulation are photographed again, exhibited, catalogued and reproduced once more. The catalogue does not simply document appropriation; it becomes another stage within it.\u003c\/p\u003e\u003cp\u003eSecurely packed; tracked UK and international shipping available.\u003c\/p\u003e","brand":"Kestner-Gesellschaft","offers":[{"title":"Default Title","offer_id":54122753163602,"sku":"TNR-2026-0466","price":195.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Prince_-Richard-Photographien-Photographs-1977-1993--cover.jpg?v=1785245003"},{"product_id":"richard-prince-1-2-3-4-fulton-ryder-2025","title":"RICHARD PRINCE: 1, 2, 3, 4, Fulton Ryder, New York, 2025","description":"\u003cp\u003eThe book gathers works from Prince’s 1-2-3-4 series, in which found portraits are organised by the number of figures they contain: one person, two people, three people, four. Singers, actors, celebrities and anonymous subjects become solo, duo, trio and quartet. The title also recalls the count-in to a garage or punk song, giving the repeated classification a simple visual rhythm.\u003c\/p\u003e\u003cp\u003ePrince’s intervention lies in selection, counting and sequence. Existing images are detached from their original settings and returned as a new arrangement: individual, pair, group, repeat.\u003c\/p\u003e\u003cp\u003eStill sealed, this copy remains close to its first commercial state. The shrinkwrap and stock label preserve the publication as inventory — visible and available, but withheld from ordinary use.\u003c\/p\u003e\u003cp\u003eSecurely packed; tracked UK and international shipping available.\u003c\/p\u003e","brand":"Fulton Ryder","offers":[{"title":"Default Title","offer_id":54122928734546,"sku":"TNR-2026-0467","price":65.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Prince_-Richard.-1_2_3_4.-2025-cover.jpg?v=1785246225"},{"product_id":"richard-prince-phaidon-2003","title":"RICHARD PRINCE, Phaidon Press, London \/ New York, 2003","description":"\u003cp\u003eMonograph, Phaidon Contemporary Artists series, Phaidon Press, London and New York, 2003. English text. Survey by Rosetta Brooks; interview by Jeff Rian; focus text by Luc Sante; Artist’s Choice by Sheila Nicholls; writings by Richard Prince. ISBN 978-0-7148-4164-9.\u003c\/p\u003e\u003cp\u003ePublished in 2003, this was among the first substantial monographs to place Prince’s photographs, paintings, sculptures, collecting and writing within a single editorial structure. The survey moves between the early rephotographed fashion images and Cowboys, the Girlfriends and joke works, while Prince’s interview ranges across rock music, folk art, crime, celebrity and his own formation as an artist.\u003c\/p\u003e\u003cp\u003ePrince developed his practice by isolating photographs already circulating through magazines and advertising, removing their original text and returning them as images without stable ownership or purpose. The book reproduces those transfers once more: advertisement into photograph, photograph into artwork, artwork into monograph.\u003c\/p\u003e\u003cp\u003eThe cover uses the familiar Cowboy image across both jacket panels. Prince’s name is placed over a photograph that was itself extracted from commercial publishing, allowing a borrowed image to become the identifying surface of an authorised artist monograph. The original £24.95 price panel remains attached, recording the book’s first classification as standard Phaidon stock.\u003c\/p\u003e\u003cp\u003eSecurely packed; tracked UK and international shipping available.\u003c\/p\u003e","brand":"Phaidon Press","offers":[{"title":"Default Title","offer_id":54122976182610,"sku":"TNR-2026-0468","price":85.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Prince_-Richard.-Artist-Monograph.-2003-cover.jpg?v=1785246541"},{"product_id":"richard-prince-everyday-sadie-coles-hq-2023","title":"RICHARD PRINCE: Everyday, Sadie Coles HQ, London, 2023","description":"\u003cp\u003eISBN 978-1-3999-5027-5.\u003c\/p\u003e\u003cp\u003ePublished for Prince’s seventh solo exhibition at Sadie Coles HQ, 29 March–5 May 2023. The catalogue reproduces paintings made between 2019 and 2021 that extend the Joke Paintings he began in the early 1980s. It also includes a contribution from Jim Carrey and an exchange between Dave Hickey and Sheila Heti.\u003c\/p\u003e\u003cp\u003eFor this series, Prince drew on an archive of jokes and handwritten stage notes by American comedian Rodney Dangerfield. Familiar one-liners are enlarged and repeatedly painted over facsimiles of Dangerfield’s dense late-career notes, alongside fragments drawn from Prince’s earlier Hippie Drawings, Protest Paintings, Cheque Paintings and High Times.\u003c\/p\u003e\u003cp\u003eThe joke becomes an unstable piece of shared language. Removed from performance, repeated across different paintings and layered over another person’s handwriting, it becomes difficult to assign to a single speaker. What begins as comedy moves between archive, readymade text, painting and publication.\u003c\/p\u003e\u003cp\u003eThe catalogue returns these layered paintings to printed circulation. The cover’s oversized joke is reproduced over notes, corrections and provisional marks, while the barcode on the reverse places the resulting object back within an ordinary system of stock and sale.\u003c\/p\u003e\u003cp\u003eSecurely packed; tracked UK and international shipping available.\u003c\/p\u003e","brand":"Sadie Coles HQ","offers":[{"title":"Default Title","offer_id":54125255262546,"sku":"TNR-2026-0469","price":65.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Prince_-Richard.-Everyday.-2023--cover.jpg?v=1785262822"},{"product_id":"arthur-jafa-richard-prince-helter-skelter-fondazione-prada-2026","title":"ARTHUR JAFA AND RICHARD PRINCE: Helter Skelter, Fondazione Prada, Milan, 2026","description":"\u003cp\u003eEnglish and Italian text. ISBN 978-88-87029-99-4.\u003c\/p\u003e\u003cp\u003ePublished for Helter Skelter: Arthur Jafa and Richard Prince, curated by Nancy Spector at Fondazione Prada’s Ca’ Corner della Regina in Venice, 9 May–23 November 2026. The exhibition brings together more than fifty photographs, videos, installations, sculptures and paintings, establishing a dialogue between two artists who repeatedly extract and reorganise imagery from film, advertising, music, popular publishing and online circulation.\u003c\/p\u003e\u003cp\u003eThe book includes a foreword by Miuccia Prada, visual essays by both artists, a conversation between Jafa and Prince, Spector’s curatorial essay and contributions by Aria Dean, Ashley James, Amy Taubin, Greil Marcus and Jack Halberstam. Its subjects move through Black music and religiosity, whiteness, gender, punk, science fiction, cars, celebrity and American myth.\u003c\/p\u003e\u003cp\u003eThis is the Dispense edition: a complete black-and-white reprint of the larger colour exhibition catalogue, issued by Fondazione Prada at a deliberately reduced price. The same 436-page structure is transferred into a smaller, less expensive and more widely distributable form. It is not simply a secondary edition; it extends the exhibition’s interest in how images change through reproduction, sequencing and altered conditions of circulation.\u003c\/p\u003e\u003cp\u003eStill sealed, this copy retains that publication as inventory rather than reading matter: an exhibition, translated into a catalogue, reproduced again as an accessible edition and preserved inside its original packaging.\u003c\/p\u003e\u003cp\u003eSecurely packed; tracked UK and international shipping available.\u003c\/p\u003e","brand":"Fondazione Prada","offers":[{"title":"Default Title","offer_id":54125367558482,"sku":"TNR-2026-0470","price":55.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Prince_Richard._Jaffa_Arthur._Helter_Skelter.jpg?v=1785263892"},{"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. Inside, individual works are reproduced across the folding panels. The original translucent private-view insert completes the set and is particularly vulnerable to separation or loss.\u003c\/p\u003e\u003cp\u003eThe exhibition examined the readymade's continued influence across appropriation, replication, consumer objects and conceptual practice. Its accompanying 125-page catalogue included essays by Francis M. Naumann and Thomas Girst; the complete invitation set appears considerably less available and more scarce.\u003c\/p\u003e\u003cp\u003eSecurely packed; tracked UK and international shipping available.\u003c\/p\u003e","brand":"Dickinson Roundell Inc.","offers":[{"title":"Default Title","offer_id":54133622735186,"sku":"TNR-2026-0478","price":125.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Anderson_Robert.Dine_Jim.Gober_Robert.Gonzales-Torres_Felixetal.Aftershockinviteandhandout.2003.jpg?v=1785352450"},{"product_id":"richard-prince-black-bra-karma-new-york-2016","title":"RICHARD PRINCE \u0026 JOAN KATZ — Black Bra, Karma, New York, 2016","description":"\u003cp\u003eOut of print.\u003c\/p\u003e\u003cp\u003eA slight, deliberately provisional publication assembled from text, photographs and the discarded visual language of magazines and publishing. Pages move between jokes, cultural references, photographic reproductions and images of studio material — including a battered package addressed to Richard Prince Studio through the TIME photo department, repeatedly stamped BLACK BRA.\u003c\/p\u003e\u003cp\u003eThe title has a further biographical resonance: Prince and writer Joan Katz were in a band called Black Bra around 1990, folding another minor strand of his life back into the circulation of the name.\u003c\/p\u003e\u003cp\u003ePrince’s practice has long operated through material already in circulation: advertisements, magazines, cartoons, photographs, jokes and other people’s images. \u003cem\u003eBlack Bra\u003c\/em\u003e reduces that method to the scale of a cheaply produced pamphlet. Rather than explaining the work, the publication behaves like it — material is selected, displaced, reproduced and returned to circulation under another name.\u003c\/p\u003e\u003cp\u003eFor The New Rare, this is precisely where a small publication becomes more than supporting literature. Magazine image, mailing package, joke, studio residue and artist book occupy the same register. The document does not sit outside the practice; it is one of the places the practice happens.\u003c\/p\u003e\u003cp\u003eSecurely packed; tracked UK and international shipping available.\u003c\/p\u003e","brand":"Karma","offers":[{"title":"Default Title","offer_id":54207765184850,"sku":"TNR-2026-0524","price":350.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Prince_Richard.BlackBra.2016.jpg?v=1786175441"},{"product_id":"richard-prince-new-paintings-jablonka-galerie-koln-1996","title":"RICHARD PRINCE — New Paintings, Jablonka Galerie, Köln, 1996","description":"\u003cp\u003eThis unusually spare catalogue documents a group of his Joke Paintings: works in which anonymous one-liners, sexual jokes and fragments of vernacular humour are relocated from everyday circulation into painting. Prince had already spent more than a decade working with images that appeared to belong everywhere and nowhere — advertising photographs, magazine imagery, cowboys and other material detached from its original context. With the jokes, the appropriation becomes almost immaterial. There is no photograph to steal and often no identifiable author: only language already passed from person to person.\u003c\/p\u003e\u003cp\u003eThe publication makes that movement visible again. A joke becomes a painting. The painting becomes a photograph. The photograph returns to paper. The catalogue is therefore not simply documentation of Prince’s work; it participates in the same system of copying, displacement and recirculation that produced it.\u003c\/p\u003e\u003cp\u003eIts design is particularly good in this respect. The pink wrapper announces RICHARD PRINCE almost like a brand, while inside jokes sit alone on largely empty pages before encountering reproductions of the paintings. Name, language and image repeatedly separate and reattach.\u003c\/p\u003e\u003cp\u003eA modest exhibition catalogue with an unusually direct relationship to the mechanics of the work it records: authorship transferred rather than resolved.\u003c\/p\u003e\u003cp\u003eSecurely packed; tracked UK and international shipping available.\u003c\/p\u003e","brand":"Jablonka Galerie","offers":[{"title":"Default Title","offer_id":54207840846162,"sku":"TNR-2026-0525","price":300.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Prince_Richard.Catalogue_NewPaintings_JablonkaGalerie_Koln.1996.jpg?v=1786176042"},{"product_id":"richard-prince-howard-johnson-the-popes-butler-fulton-ryder-2012","title":"RICHARD PRINCE \/ HOWARD JOHNSON — The Pope’s Butler, Fulton Ryder, New York, 2012","description":"\u003cp\u003eA slight, deliberately anonymous publication from the Fulton Ryder orbit, where the distinction between artist book, found document, joke and evidence is allowed to remain unresolved.\u003c\/p\u003e\u003cp\u003eThe cover is built from the spines of commercially produced religious DVDs: \u003cem\u003eThe Lost Tomb of Jesus\u003c\/em\u003e, \u003cem\u003eThe Spear of Christ\u003c\/em\u003e, \u003cem\u003eJerusalem: Center of the World\u003c\/em\u003e, \u003cem\u003eSecrets of Angels, Demons \u0026amp; Masons\u003c\/em\u003e and others. Removed from the shelf and reproduced together, their titles begin to read less as merchandise than as a strange inventory of belief, conspiracy and mass-market spirituality.\u003c\/p\u003e\u003cp\u003eInside, that language disappears. In its place are close, degraded black-and-white images of stained, burnt, torn and heavily repaired cloth. One spread is followed simply by the title page: \u003cem\u003eThe Pope’s Butler\u003c\/em\u003e by Howard Johnson \/ Fulton Ryder. The publication gives little instruction as to how its parts should be reconciled.\u003c\/p\u003e\u003cp\u003eThat uncertainty is central to the object. Howard Johnson is presented as author; Richard Prince sits behind the publication and Fulton Ryder, the short-lived New York bookshop and publishing project through which Prince circulated books, editions, appropriated material and objects that frequently complicated conventional attribution.\u003c\/p\u003e\u003cp\u003eAlmost nothing about it settles into a single category. A found image becomes a cover. Damage becomes subject matter. A name becomes an unstable attribution. A modest stapled booklet carries the structure of an artist’s work without needing to announce itself as an artwork. It belongs to the quieter side of Prince’s publishing practice: objects whose significance is produced through selection, reproduction, adjacency and circulation rather than spectacle.\u003c\/p\u003e\u003cp\u003eSecurely packed; tracked UK and international shipping available.\u003c\/p\u003e","brand":"Fulton Ryder","offers":[{"title":"Default Title","offer_id":54208001311058,"sku":"TNR-2026-0526","price":350.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Prince_Richard.Johnson_Howard.ThePope_sButler.2012.jpg?v=1786177471"},{"product_id":"richard-prince-barbara-gladstone-gallery-new-york-1988","title":"RICHARD PRINCE — Richard Prince, Barbara Gladstone Gallery, New York, 1988","description":"\u003cp\u003eAn early Richard Prince publication from the point at which the artist’s handling of found photographs, magazine imagery, cartoons, celebrity, cars and borrowed voices was becoming a complete working system.\u003c\/p\u003e\u003cp\u003ePublished by Barbara Gladstone Gallery in 1988, the book does more than reproduce works. It places Prince’s material back into circulation as printed matter: photographs beside fragments of autobiography, appropriated imagery beside apparently personal observation, the source and its reuse deliberately left close enough to remain unstable.\u003c\/p\u003e\u003cp\u003eThat distinction matters here. Prince’s work begins with material that already exists in the world — photographs, advertisements, jokes, magazines, other people’s language — but its meaning changes through selection, repetition and placement. The publication becomes another stage of that movement. What began elsewhere enters the gallery, then returns to the page carrying a different status.\u003c\/p\u003e\u003cp\u003eThe book is therefore particularly legible within The New Rare: not simply a catalogue documenting Richard Prince, but a physical object produced inside the same economy of copying, circulation, attribution and reassignment that the work itself examines. An early printed object in which the document does not sit outside the work. It participates in it.\u003c\/p\u003e\u003cp\u003eSecurely packed; tracked UK and international shipping available.\u003c\/p\u003e","brand":"Barbara Gladstone Gallery","offers":[{"title":"Default Title","offer_id":54211182821714,"sku":"TNR-2026-0527","price":350.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Prince_Richard.RichardPrincePublishedbyBarbaraGladstoneGallery_NewYork_1988.jpg?v=1786202037"},{"product_id":"cindy-sherman-kunst-heute-nr-14-kiepenheuer-witsch-1995","title":"CINDY SHERMAN — Kunst heute Nr. 14, Kiepenheuer \u0026 Witsch, 1995","description":"\u003cp\u003eCindy Sherman, \u003cem\u003eKunst heute: Gespräche mit zeitgenössischen Künstlern, Nr. 14\u003c\/em\u003e. Kiepenheuer \u0026amp; Witsch, Cologne, 1995.\u003c\/p\u003e\u003cp\u003eA compact monographic publication built around an extended conversation between Cindy Sherman and critic Wilfried Dickhoff, conducted in New York in 1994. The interview is accompanied by reproductions spanning Sherman's practice from the early 1980s through the Fashion and later grotesque and theatrical works of the 1990s.\u003c\/p\u003e\u003cp\u003ePublished at a particularly interesting point in Sherman's career, after the \u003cem\u003eUntitled Film Stills\u003c\/em\u003e had established her central place within the Pictures Generation but as her work was moving increasingly toward prosthetics, masks, artificial bodies and deliberately abject forms of representation. The book catches Sherman discussing that transition from constructed identity toward images in which disguise begins to overwhelm the person performing it.\u003c\/p\u003e\u003cp\u003eThe publication itself is unusually strong as an object. Sherman's image occupies the cover like a fashion magazine or mass-market monograph, while the interior moves between interview, biography and photographic sequence. A Comme des Garçons advertisement appears inside, further collapsing the distance between fashion image, editorial photography and Sherman's own manipulation of those visual codes.\u003c\/p\u003e\u003cp\u003eRather than simply documenting the work, \u003cem\u003eKunst heute\u003c\/em\u003e places Sherman back inside the image economy she spent her career disassembling: cover girl, interview subject, reproduced artwork and published persona at once.\u003c\/p\u003e\u003cp\u003eSecurely packed; tracked UK and international shipping available.\u003c\/p\u003e","brand":"Kiepenheuer \u0026 Witsch","offers":[{"title":"Default Title","offer_id":54228323369298,"sku":"TNR-2026-0544","price":65.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Sherman_Cindy.Kunstheute_Nr.14.1995front.jpg?v=1786420805"},{"product_id":"cindy-sherman-staatliche-kunsthalle-baden-baden-museum-boijmans-van-beuningen-1997","title":"CINDY SHERMAN — Cindy Sherman, Staatliche Kunsthalle Baden-Baden \/ Museum Boijmans Van Beuningen, 1997","description":"\u003cp\u003eCindy Sherman, \u003cem\u003eCindy Sherman\u003c\/em\u003e. Edited by Talitha Schoon and Karel Schampers. Staatliche Kunsthalle Baden-Baden \/ Museum Boijmans Van Beuningen, 1996–97. Large-format softcover; 176 pages, 20 × 32 cm; colour and black-and-white reproductions throughout. ISBN 90-6918-165-7.\u003c\/p\u003e\u003cp\u003eSubstantial exhibition catalogue published for the travelling Cindy Sherman exhibition originating at Museum Boijmans Van Beuningen, Rotterdam, in 1996 and subsequently shown in Madrid, Bilbao and the Staatliche Kunsthalle Baden-Baden, 19 January–23 March 1997.\u003c\/p\u003e\u003cp\u003eThe book arrives at a particularly important moment for both Sherman and photography. By the mid-1990s, staged and conceptual photography had moved decisively beyond a specialist photographic market and into the centre of contemporary art. Sherman is almost a case study in that transition: her works initially appeared in photography auctions, but were subsequently moved into contemporary-art sales where they performed much more strongly. In December 1995, MoMA acquired the complete \u003cem\u003eUntitled Film Stills\u003c\/em\u003e, presenting the entire series in 1997. Photography was no longer simply the medium through which the work was classified; the photograph had become the contemporary artwork.\u003c\/p\u003e\u003cp\u003eSherman's importance to that shift lies partly in how little her photographs depend on conventional ideas of photographic truth. The camera records something that has already been constructed. Costume, makeup, lighting, gesture, cropping, props and setting are assembled before the shutter is released. The \u003cem\u003eUntitled Film Stills\u003c\/em\u003e deliberately resemble fragments from 1950s and '60s Hollywood, film noir, B movies and European art cinema, but belong to no actual film. They appear to have a before and an after without supplying either.\u003c\/p\u003e\u003cp\u003eThat relationship to cinema is also what gives Sherman's compositions their unusual narrative tension. Each image behaves like evidence extracted from a story that never existed. The viewer supplies the missing narrative from visual conventions already learned through movies, advertising, fashion photography and magazines — a particularly clear form of postmodernism: not inventing an entirely new visual language, but exposing how thoroughly existing languages already organise what we see.\u003c\/p\u003e\u003cp\u003eThis catalogue is especially good at showing the distance Sherman travelled. Early photographs based around facial transformation and invented characters sit alongside the cinematic Film Stills, later colour work, masks, prostheses and the increasingly artificial bodies of the 1990s. By the later images, representation begins to break down: the convincing human performance is replaced by mannequins, fragments and fabricated surfaces. The construction has become visible.\u003c\/p\u003e\u003cp\u003e1997 was also the year Sherman received the Wolfgang Hahn Prize, with three of her colour photographs acquired for the Museum Ludwig collection. The Baden-Baden exhibition therefore sits within a moment of unusually concentrated European institutional recognition. The original £25 publisher's-price sticker remains on the rear cover: a major artist at the point of institutional and market consolidation, still circulating through the ordinary mechanisms of the museum bookshop.\u003c\/p\u003e\u003cp\u003eCondition: Good. General surface rubbing and scratching to wrappers, edge and corner wear, and light handling consistent with age and the large format. Interior pages appear clean and well preserved. Original publisher's £25 price sticker retained to rear cover.\u003c\/p\u003e\u003cp\u003eSecurely packed; tracked UK and international shipping available.\u003c\/p\u003e","brand":"Staatliche Kunsthalle Baden-Baden","offers":[{"title":"Default Title","offer_id":54228365443410,"sku":"TNR-2026-0545","price":95.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Sherman_Cindy.CindySherman_TalithaSchoonandKarelSchampers.1997cover.jpg?v=1786423174"},{"product_id":"cindy-sherman-the-hasselblad-award-1999-hasselblad-center-goteborg-2000","title":"CINDY SHERMAN — The Hasselblad Award 1999, Hasselblad Center, Göteborg, 2000","description":"\u003cp\u003ePublished in conjunction with Cindy Sherman receiving the 1999 Hasselblad Foundation International Award in Photography, presented in Göteborg on 4 March 2000 alongside an exhibition of her work at the Hasselblad Center.\u003c\/p\u003e\u003cp\u003eThere is a particularly good Y2K reading of this publication. Sherman arrives at the end of the twentieth century having spent more than twenty years demonstrating that photographic identity is something assembled: costume, pose, makeup, lighting, genre, expression and camera angle. Her \u003cem\u003eUntitled Film Stills\u003c\/em\u003e had already borrowed the codes of Hollywood, film noir, B movies and European cinema to produce characters whose identities appear familiar even though neither the women nor the films actually existed.\u003c\/p\u003e\u003cp\u003eThen comes 1999. Within a few years, digital cameras, image-editing software, webcams and eventually social media would make the constructed photographic self an everyday condition rather than an avant-garde proposition. Sherman wasn't predicting Instagram, of course, but looking at her practice from the threshold of 2000 makes something unusually clear: she had already treated identity as an interface before interfaces began organising identity.\u003c\/p\u003e\u003cp\u003eThat gives this small award book an interesting double direction. It officially looks backward, institutionalising Sherman as one of the major photographers of the twentieth century. But visually it points forward. The book moves from early black-and-white transformations and contact-sheet sequences through dolls, prosthetic bodies and staged scenes. The person gradually becomes less stable. Photography stops functioning as evidence of who somebody is and becomes a system for producing versions of somebody.\u003c\/p\u003e\u003cp\u003eEven the Hasselblad context contains a productive contradiction. This is one of photography's major institutional honours, yet it is being given to an artist whose importance rests partly on dismantling the assumption that photography delivers an authentic subject. And then there is the object itself. The bright red cover, oversized lower-case \u003cem\u003ecindy \/ sherman\u003c\/em\u003e, tiny inserted photograph and near-corporate typography feel unexpectedly close to late-1990s identity systems, product packaging and early digital branding.\u003c\/p\u003e\u003cp\u003eAn analogue book sitting directly on the threshold of the digital self. Sherman's characters had always been manufactured. What changed after 2000 was that everyone else acquired the tools to manufacture themselves.\u003c\/p\u003e\u003cp\u003eSecurely packed; tracked UK and international shipping available.\u003c\/p\u003e","brand":"Hasselblad Center","offers":[{"title":"Default Title","offer_id":54228425736530,"sku":"TNR-2026-0546","price":95.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Sherman_Cindy.TheHasselbladaward1999.jpg?v=1786424941"},{"product_id":"cindy-sherman-photographic-work-1975-1995-schirmer-mosel-1995","title":"CINDY SHERMAN — Photographic Work 1975–1995, Schirmer\/Mosel, Munich, 1995","description":"\u003cp\u003eCindy Sherman, \u003cem\u003ePhotographic Work 1975–1995\u003c\/em\u003e. Schirmer Art Books \/ Schirmer\/Mosel, Munich, 1995. ISBN 3-88814-809-X.\u003c\/p\u003e\u003cp\u003ePublished for Sherman's twenty-year retrospective, shown at Deichtorhallen Hamburg, Malmö Konsthall and Kunstmuseum Luzern. The book moves from her earliest transformations through the \u003cem\u003eUntitled Film Stills\u003c\/em\u003e, colour photographs and the increasingly artificial, theatrical and grotesque bodies of the 1980s and '90s.\u003c\/p\u003e\u003cp\u003eBut this particular copy has acquired another identity. Ex-library. Faded. Handled. Retained.\u003c\/p\u003e\u003cp\u003eFor Sherman, identity is never a fixed original waiting to be revealed. It is produced through costume, posture, framing, repetition and circumstance. Something similar has happened to this book. It left the publisher as one copy within an edition and subsequently passed through a library system: catalogued, shelved, handled, exposed to light and eventually released back into circulation.\u003c\/p\u003e\u003cp\u003eThe fading is especially good here. The already lurid red-and-yellow cover image has been altered by time into another version of itself. What would normally be described simply as loss of colour becomes evidence of duration. The image has undergone its own transformation without Sherman's intervention.\u003c\/p\u003e\u003cp\u003eThe ex-library provenance pushes this further. A library copy has a peculiar double life: first as a published commodity, then as institutional property, then — once withdrawn — as an individual object carrying the residue of that classification system. The generic monograph becomes a specific copy.\u003c\/p\u003e\u003cp\u003eThat feels unusually appropriate for Sherman. There is another useful parallel in her long relationship with Schirmer\/Mosel. The publisher did not reduce Sherman to one definitive career book. Her work repeatedly returned in newly edited forms — including \u003cem\u003eThe Complete Untitled Film Stills\u003c\/em\u003e, \u003cem\u003eClowns\u003c\/em\u003e and \u003cem\u003eHistory Portraits\u003c\/em\u003e. The same practice continually reappears under another cover, another sequence, another title. In that sense the artist monograph behaves almost like one of Sherman's characters. The source remains recognizable, but the presentation changes. And this copy adds one more version.\u003c\/p\u003e\u003cp\u003eSherman as subject. Sherman as publication. Publication as library object. Library object returned to the market. Its flaws are therefore not incidental to the copy. They are what distinguish it from the cleaner one beside it. The fading records exposure. The library history records placement. Handling records readership. Condition becomes biography.\u003c\/p\u003e\u003cp\u003eSecurely packed; tracked UK and international shipping available.\u003c\/p\u003e","brand":"Schirmer\/Mosel","offers":[{"title":"Default Title","offer_id":54228457095506,"sku":"TNR-2026-0547","price":95.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Sherman_Cindy.Photographicwork1975-1995.1995cover.jpg?v=1786427087"}],"url":"https:\/\/thenewrare.com\/collections\/pictures-generation-ephemera.oembed","provider":"The New Rare","version":"1.0","type":"link"}