{"title":"Printed Matter","description":"\u003cp\u003eInvitations, artist cards, catalogues, pamphlets, and other printed objects. Original printed matter from The New Rare.\u003c\/p\u003e","products":[{"product_id":"charles-simonds-the-three-trees-1985","title":"Charles Simonds — The Three Trees, 1985","description":"\u003cp\u003eArchitekturmuseum in Basel, Basel\u003cbr\u003eOriginal mailed exhibition card \/ invitation\u003cbr\u003e15 × 10.5 cm\u003cbr\u003eOffset print on light card stock, black and white\u003cbr\u003eRecto with paired photographic images; verso with exhibition details, Basel postal stamp, and typed address label to Connaissance des Arts, Paris\u003cbr\u003eCondition: very good, with light age toning, minor wear, soft corner friction, and visible signs of postal handling\u003c\/p\u003e\u003cp\u003eIssued for Charles Simonds's \u003cem\u003eThe Three Trees\u003c\/em\u003e at the Architekturmuseum in Basel in 1985, this card now reads less as invitation than as displaced support material: an exhibition notice that completed its first function and remained behind as object. The addressed reverse matters. Sent to Connaissance des Arts in Paris, it carries with it a small but precise social geography — museum, postal system, editorial office, archive. A work about passage as much as announcement.\u003c\/p\u003e\u003cp\u003eThe front is equally exact. A modernist building and a stand of trees are placed side by side with almost schematic clarity, as though the exhibition were being reduced to two transferable images: structure and growth, façade and obstruction, institution and outside. In that sense the card behaves like a compact exhibition model. Not the exhibition itself, but one of its delegated surfaces.\u003c\/p\u003e\u003cp\u003eThat relay structure feels close to Simonds, but also to a Collin-Thiébaut-like logic: the artwork not as singular event but as something distributed through reproduction, framing, citation, and reappearance elsewhere. What remains here is not simply promotion, but a small operational fragment of the show's public life.\u003c\/p\u003e\u003cp\u003eA mailed exhibition card with the right kind of double status: image-object and administrative residue.\u003c\/p\u003e","brand":"The New Rare","offers":[{"title":"Default Title","offer_id":53227350884690,"sku":"CS-3TREES-1985-EC","price":100.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Charles_Simonds_0001.jpg?v=1776420618"},{"product_id":"katharina-sieverding-portuguese-language-artist-card-c-1973","title":"Katharina Sieverding — Portuguese-Language Artist Card, c. 1973","description":"\u003cp\u003eLikely issued in connection with \u003cem\u003eFotolinguagem\u003c\/em\u003e, Museu de Arte Moderna do Rio de Janeiro \/ Museu de Arte Moderna de São Paulo, Brazil\u003cbr\u003e15.5 × 10.5 cm\u003cbr\u003eOffset-printed card on light stock; black-and-white image to recto; Portuguese biographical text and exhibition history to verso\u003cbr\u003eCondition: very good; light handling wear, faint corner softening, minor age toning consistent with period paper ephemera\u003c\/p\u003e\u003cp\u003eA small distribution object from an early international point in Katharina Sieverding’s career. Neither a standard invitation nor a later museum survey card, it operates more narrowly: image, biography, exhibition history, circulation. The Portuguese text is the key detail. Sieverding was not Portuguese but German, and the language situates the card within her Brazilian context in 1973, when she was included in \u003cem\u003eFotolinguagem\u003c\/em\u003e, organized by Iole de Freitas and shown at MAM Rio and MAM São Paulo.\u003c\/p\u003e\u003cp\u003eThe object is most compelling at that level. A Düsseldorf-based artist associated with the post-Beuys field of photography, self-staging, and identity construction enters another institutional system through translation. The card reduces that movement to its necessary parts: a portrait, a list, a place of residence, a sequence of appearances. Administrative, almost neutral, but exact. It carries the artist as information.\u003c\/p\u003e\u003cp\u003eBefore the later retrospective framing of Sieverding’s practice, there is this lighter support structure: printed matter designed for passage, classification, and local legibility. Not quite ephemera in the casual sense, more a small paper relay between artist and institution. A concise record of entry.\u003c\/p\u003e","brand":"The New Rare","offers":[{"title":"Default Title","offer_id":53227654218066,"sku":"KS-PTCARD-1973-EC","price":160.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Katharina_Sieverding_0001.jpg?v=1776426758"},{"product_id":"esther-hess-energie-et-vent-1985","title":"Esther Hess — Énergie et Vent, 1985","description":"\u003cp\u003eOriginal exhibition invitation card for Esther Hess’s \u003cem\u003eénergie et vent\u003c\/em\u003e, site-art présent, Paris\u003cbr\u003e21 × 10.5 cm\u003cbr\u003eOffset invitation card, printed recto only\u003cbr\u003eVenue: site-art présent, 10 rue Coquillière, 75001 Paris\u003cbr\u003eDate: 5 February–15 March 1985\u003cbr\u003eCondition: very good vintage condition; light age toning and minor surface wear; blank verso\u003c\/p\u003e\u003cp\u003ePrinted support for an exhibition organized around energy, wind, and invisible movement. Title, venue, date, image. The circular form functions as object, diagram, and sign at once. Not a record after the event so much as one of the forms through which the exhibition entered circulation.\u003c\/p\u003e\u003cp\u003eA small Paris document from the mid-1980s where sculpture is displaced toward field, force, and transmission.\u003c\/p\u003e","brand":"The New Rare","offers":[{"title":"Default Title","offer_id":53229836599634,"sku":"EH-ENERGIE-1985-INV","price":100.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Esther_Hess_001.jpg?v=1776446061"},{"product_id":"joel-hubaut-michel-sohier-epidemik-box-galerie-galea-caen-c-1979","title":"Joël Hubaut \/ Michel Sohier — Epidemik-Box, Galerie Galea, Caen, c. 1979","description":"\u003cp\u003eOriginal exhibition invitation card for a joint presentation by Joël Hubaut and Michel Sohier at Galerie Galea, Caen\u003cbr\u003eVenue: Galerie Galea, 19 rue des Croisiers, 14000 Caen\u003cbr\u003eExhibition: 14 November – 4 December; vernissage Monday 14 November\u003cbr\u003eFormat: recto-printed invitation card in dark brown ink on orange-brown card stock\u003cbr\u003eCondition: very good vintage condition; light general handling wear; small surface abrasion to verso; otherwise clean and well preserved\u003c\/p\u003e\u003cp\u003eA printed support in which the exhibition appears in reduced form: two names, one venue, a set of dates, and the phrase Epidemik-Box. The card operates somewhere between notice, label, and distribution point. Typography is boxed, information is staged without excess, and the object remains close to an administrative surface.\u003c\/p\u003e\u003cp\u003eIts interest lies in this economy. Hubaut and Sohier are not interpreted here so much as placed into circulation. The orange-brown stock and dark brown ink keep the card near the graphic language of filing, storage, and controlled release. What remains is a minor exhibition document in which publicity is almost withdrawn, leaving a more procedural form behind.\u003c\/p\u003e\u003cp\u003eCaen, c. 1979. Printed matter as relay, residue, and placement.\u003c\/p\u003e","brand":"The New Rare","offers":[{"title":"Default Title","offer_id":53229952205138,"sku":"JH-MS-EPIDEMIK-1979-INV","price":100.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Joel_Hubaut_Michel_Sohier_001.jpg?v=1776448987"},{"product_id":"p-s-1-museum-fall-exhibitions-preview-invitation-1989","title":"P.S.1 Museum — Fall Exhibitions Preview Invitation, 1989","description":"\u003cp\u003eCatherine Beaugrand, André Cadere (1934–78), Raymond Hains\u003cbr\u003eThe Institute for Contemporary Art \/ P.S.1 Museum, Long Island City, New York\u003cbr\u003e15 October 1989\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e21 × 10.5 cm\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eOffset print on light card stock; recto printed, verso blank\u003cbr\u003eCondition: very good; light handling wear, minor corner softening, light age toning, blank reverse clean overall\u003c\/p\u003e\n\u003cp\u003eA reception card in which the institution supplies the image.\u003c\/p\u003e\n\u003cp\u003eNot the work.\u003cbr\u003eNot the exhibition.\u003cbr\u003eThe building.\u003c\/p\u003e\n\u003cp\u003eA cropped view of the P.S.1 roofline is used as the stable visual support while names, dates, and programmes are passed across it. The same image appears on other P.S.1 invitations from the period, which places this card less in the register of design than in that of reuse: an administrative image kept in circulation.\u003c\/p\u003e\n\u003cp\u003eBeaugrand, Cadere, Hains. Three positions brought together under one printed roof. The card does not interpret them. It hosts them.\u003c\/p\u003e\n\u003cp\u003eAs shop\/object, it reads as a minor institutional readymade: architecture reduced to sign, invitation reduced to function, exhibition reduced to list. A small transfer object in which authorship is shared between venue, programme, typography, and repetition.\u003c\/p\u003e\n\u003cp\u003eNew York, late 1980s.\u003cbr\u003eA card for entry.\u003cbr\u003eA card in which P.S.1 pictures itself.\u003c\/p\u003e","brand":"The New Rare","offers":[{"title":"Default Title","offer_id":53231061500242,"sku":"PS1-FALL89-INV","price":110.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Alanna_Heiss_001.jpg?v=1776490560"},{"product_id":"richard-prince-new-portraits-gagosian-gallery-2014","title":"Richard Prince — New Portraits, Gagosian Gallery, 2014","description":"\u003cp data-start=\"589\" data-end=\"805\"\u003e\u003cstrong data-start=\"589\" data-end=\"607\"\u003eRichard Prince\u003c\/strong\u003e\u003cbr data-start=\"607\" data-end=\"610\"\u003e\u003cstrong data-start=\"610\" data-end=\"627\"\u003eNew Portraits\u003c\/strong\u003e\u003cbr data-start=\"627\" data-end=\"630\"\u003eGagosian Gallery, New York, 2014\u003cbr data-start=\"662\" data-end=\"665\"\u003e72-page exhibition booklet \/ catalogue\u003cbr data-start=\"703\" data-end=\"706\"\u003eEdition of 500\u003cbr data-start=\"720\" data-end=\"723\"\u003e6 × 8 inches\u003cbr data-start=\"735\" data-end=\"738\"\u003eStaple-bound booklet, offset printed\u003cbr data-start=\"774\" data-end=\"777\"\u003e\u003cstrong data-start=\"777\" data-end=\"805\"\u003e£295 — shipping included\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-start=\"807\" data-end=\"981\"\u003eOriginal booklet issued for Richard Prince’s \u003cem data-start=\"852\" data-end=\"867\"\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 data-start=\"983\" data-end=\"1203\"\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 data-start=\"1205\" data-end=\"1490\"\u003eThe series remains tied to questions of authorship, permission, display, celebrity, and legal afterlife. Donald Graham’s \u003cem data-start=\"1326\" data-end=\"1355\"\u003eRastafarian Smoking a Joint\u003c\/em\u003e, reproduced through the \u003cem data-start=\"1380\" data-end=\"1395\"\u003eNew Portraits\u003c\/em\u003e project, later became part of the litigation around Prince’s use of Instagram-sourced imagery.\u003c\/p\u003e\n\u003cp data-start=\"1492\" data-end=\"1645\"\u003eCondition: very good, with a noticeable bump\/crease to the top right corner, visible on the cover and some pages. Light handling wear consistent with storage.\u003c\/p\u003e\n\u003cp data-start=\"1647\" data-end=\"1741\"\u003eImage, caption, comment, claim.\u003cbr data-start=\"1678\" data-end=\"1681\"\u003eThe feed becomes exhibition.\u003cbr data-start=\"1709\" data-end=\"1712\"\u003eThe exhibition becomes paper.\u003c\/p\u003e","brand":"THE NEW RARE","offers":[{"title":"Default Title","offer_id":53317011636562,"sku":"RP-NP-GAG-2014","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":"tracey-emin-i-need-art-like-i-need-god-jay-jopling-1998","title":"Tracey Emin — I Need Art Like I Need God, Jay Jopling \/ London, 1998","description":"\u003cp\u003e\u003cstrong\u003eTracey Emin — I Need Art Like I Need God\u003c\/strong\u003e\u003cbr\u003eJay Jopling \/ London, 1998\u003cbr\u003ePublished for \u003cem\u003eTracey Emin: I Need Art Like I Need God\u003c\/em\u003e, South London Gallery, 16 April–18 May 1997\u003c\/p\u003e\u003cp\u003eSoftcover exhibition monograph with stiff glossy wraps\u003cbr\u003e73 pp., colour plates\u003cbr\u003e30 × 21 cm \/ large quarto\u003cbr\u003e\u003cstrong\u003eLanguage:\u003c\/strong\u003e English\u003cbr\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very good overall. Light rubbing, handling marks, faint surface wear to glossy covers, minor edge\/corner wear, original rear price\/barcode sticker present. Interior clean and bright.\u003c\/p\u003e\u003cp\u003ePrinted support for an exhibition already moving beyond exhibition status.\u003c\/p\u003e\u003cp\u003eBefore \u003cem\u003eMy Bed\u003c\/em\u003e became the public shorthand, this book fixes an earlier arrangement: body, room, handwriting, photograph, confession, object. The cover stages the artist from behind, inside the workspace, already converted into image and signature. The back cover reduces the body further: four small vertical fragments set into a field of turquoise, with the shop label still attached.\u003c\/p\u003e\u003cp\u003eInside, the sequence continues as document and display. Clothes, blankets, studio floor, handwritten notes, framed fragments, street images, hotel paper. Nothing is outside the work once it enters the catalogue. Biography becomes layout. Intimacy becomes plate. Evidence becomes style.\u003c\/p\u003e\u003cp\u003eThe book does not explain Emin. It files her.\u003c\/p\u003e\u003cp\u003eA catalogue as exhibition residue.\u003cbr\u003eA self-portrait routed through paper.\u003cbr\u003eAn object from the construction of a public name.\u003c\/p\u003e\u003cp\u003eShipping included in the listed price.\u003c\/p\u003e","brand":"THE NEW RARE","offers":[{"title":"Default Title","offer_id":53318458736978,"sku":"TE-INALIG-1998","price":120.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Emin_-Tracey.--I-Need-Art-Like-I-Need-God-cover.jpg?v=1777513928"},{"product_id":"robert-mapplethorpe-fotografie-idea-books-milan-1983","title":"Robert Mapplethorpe — Fotografie, Idea Books Edizioni, Milan, 1983","description":"\u003cp\u003e\u003cstrong\u003eRobert Mapplethorpe — Fotografie\u003c\/strong\u003e\u003cbr\u003eIdea Books Edizioni, Milan, 1983\u003cbr\u003eInterview by Germano Celant\u003cbr\u003eItalian-language edition\u003c\/p\u003e\u003cp\u003eSoftcover, black-and-white illustrations\u003cbr\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Good used copy. Rubbing and shelf wear to covers, edge and corner wear, light creasing, surface marks, and general handling. Original yellow N.P.G. price sticker to rear cover. Interior appears clean. Clippings show folds, toning, creasing, and newspaper fragility consistent with retained press material.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eWith retained period newspaper and magazine clippings.\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003eIdea Books publication on Robert Mapplethorpe, issued in Milan in 1983 with an interview by Germano Celant. Portraits, bodies, flowers, studio arrangements. The classical pose and the charged image held inside a compact Italian publication.\u003c\/p\u003e\u003cp\u003eThis copy includes a group of retained newspaper and magazine clippings relating to Mapplethorpe’s public reception after publication: reviews, censorship coverage, obituary material, television listings, and articles around obscenity, public funding, and institutional display. One clipping is annotated “Guardian 8 X 1990.”\u003c\/p\u003e\u003cp\u003eThe book enters as monograph.\u003cbr\u003eThe clippings enter as record.\u003c\/p\u003e\u003cp\u003eImage, interview, publisher, sticker, review, obituary, legal anxiety, television listing.\u003c\/p\u003e\u003cp\u003eA monograph displaced into dossier form.\u003c\/p\u003e\u003cp\u003eMapplethorpe is held here by two paper systems: the Italian art book and the English-language press file. One fixes the work in 1983. The other records its later movement through publicity, controversy, and reception.\u003c\/p\u003e\u003cp\u003eBook and afterlife, retained together.\u003c\/p\u003e\u003cp\u003eShipping and handling included in the listed price. Dispatched protected and tracked.\u003c\/p\u003e","brand":"The New Rare","offers":[{"title":"Default Title","offer_id":53318910116178,"sku":"RM-FOT-IDEA-1983","price":120.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Mapplethorpe_-Robert.-Fotografie-1983-back-cover_3c793ee3-8781-4c4a-a7d5-ca5406e113c4.jpg?v=1777535435"},{"product_id":"east-village-85-a-guide-a-documentary-pelham-press-1985","title":"Roland Hagenberg et al. — East Village ’85: A Guide. A Documentary., New York: Pelham Press, 1985","description":"\u003cp\u003e\u003cstrong\u003eRoland Hagenberg et al.\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eEast Village ’85: A Guide. A Documentary.\u003c\/strong\u003e\u003cbr\u003eNew York: Pelham Press, 1985\u003cbr\u003eSoftcover, illustrated wrappers\u003cbr\u003eApprox. 20 × 26.5 cm\u003cbr\u003e160 pp., black-and-white and colour illustrations\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very good overall for a heavily handled period softcover. Visible rubbing, edge wear, surface creasing, corner wear, age toning, and handling marks to covers and page edges. Interior remains clean and highly usable. The wear is consistent with an object that circulated as guide, document, address book, scene report, and commercial instrument.\u003c\/p\u003e\u003cp\u003eEdited by Roland Hagenberg, with contributions by Alan Jones, Michael Kohn, Carlo McCormick, Nicolas Moufarrege and others. A dense guide\/documentary of the mid-1980s East Village art scene, combining gallery profiles, essays, maps, portraits, listings, advertisements, and social documentation. Includes references and appearances connected to Jean-Michel Basquiat, Keith Haring, Jeff Koons, Madonna, Kenny Scharf, Walter Robinson, Gracie Mansion, Piezo Electric, Limbo, Civilian Warfare, Artmart, Nolo Contendere, Wolff, and many others.\u003c\/p\u003e\u003cp\u003eA book that converts a neighbourhood into a printed system.\u003cbr\u003eMap, gallery, portrait, advertisement, essay, directory, gossip structure.\u003c\/p\u003e\u003cp\u003e\u003cem\u003eEast Village ’85\u003c\/em\u003e does not sit outside the scene it describes. It participates in it. The book has the form of a yearbook, a sales prospectus, a local index, and a documentary device. Artists, dealers, photographers, critics, performers, and galleries are arranged as entries within a short-lived cultural economy. The East Village appears here not as myth after the fact, but as a working surface: named, mapped, promoted, monetised, and already becoming historical.\u003c\/p\u003e\u003cp\u003eThe commercial language is part of the object. Hagenberg’s project understood the East Village as a place where documentation and promotion could not be separated. The guide records the scene while helping to produce its visibility. In that sense it belongs to the same economy as the gallery card, the downtown flyer, the paid page, the art-world directory, and the social photograph.\u003c\/p\u003e\u003cp\u003eAs shop\/object, this copy functions as retained evidence from a moment when art, nightlife, real estate, youth culture, and market formation briefly occupied the same paper field. Not a neutral guide. A printed mechanism for placement.\u003c\/p\u003e\u003cp\u003eShipping and handling included in the listed price. Dispatched protected and tracked.\u003c\/p\u003e","brand":"The New Rare","offers":[{"title":"Default Title","offer_id":53333045018962,"sku":"EV85-HAGENBERG-PELHAM-1985","price":150.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/East_Village_85_A_guide._A_documentary_cover.jpg?v=1777822032"},{"product_id":"david-diao-lying-2-postmasters-gallery-new-york-2000","title":"David Diao — Lying 2, Postmasters Gallery, New York, 2000","description":"\u003cp\u003e\u003cstrong\u003eDavid Diao — Lying 2\u003c\/strong\u003e\u003cbr\u003ePostmasters Gallery, New York, 2000\u003cbr\u003eExhibition announcement card\u003cbr\u003e18 × 12.7 cm\u003cbr\u003eOffset print on semi-gloss card\u003cbr\u003eColour image recto; black-and-white exhibition information verso\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Good to very good. Light surface wear, faint toning, minor edge and corner handling consistent with period gallery ephemera.\u003c\/p\u003e\u003cp\u003eOriginal announcement card issued by Postmasters Gallery for David Diao’s 2000 exhibition, 14 October – 11 November. The verso identifies the reproduced painting as \u003cem\u003eLying 2\u003c\/em\u003e, 2000, acrylic on canvas, 79 × 115 inches.\u003c\/p\u003e\u003cp\u003eA small Postmasters object from Diao’s early-2000s circulation. The painting appears as reproduction, framed by a teal field and converted into gallery notice. On the reverse, image gives way to schedule, address, phone number, web address, and email. The exhibition is reduced to a card-sized administrative surface.\u003c\/p\u003e\u003cp\u003eA secondary line at the bottom records Jennifer and Kevin McCoy’s \u003cem\u003ePink Light\u003c\/em\u003e in the “hole in the floor” project space, placing the object inside the wider Postmasters programme.\u003c\/p\u003e\u003cp\u003ePainting as notice. Gallery as layout. Exhibition as mailed support.\u003c\/p\u003e\u003cp\u003eShipping and handling included in the listed price. Dispatched protected and tracked.\u003c\/p\u003e","brand":"The New Rare","offers":[{"title":"Default Title","offer_id":53336120754514,"sku":"DD-LYING2-POSTMASTERS-2000","price":95.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/DAvid_Diao_0001.jpg?v=1777843295"},{"product_id":"richard-prince-menthol-wars-printed-matter-2009","title":"Richard Prince — Menthol Wars","description":"\u003cp\u003ePrinted Matter, New York, 2009\u003cbr\u003eFacsimile reprint of the 1980 artist’s book\u003cbr\u003eStaple-bound wrappers\u003cbr\u003e22 pp.\u003cbr\u003e14.1 × 21.3 cm\u003cbr\u003eBlack-and-white offset printing\u003cbr\u003eEdition of 2,000\u003cbr\u003eUnsigned facsimile reprint\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very good. Light handling and minor surface wear to wrappers, faint rubbing to black cover, clean interior, staples intact.\u003c\/p\u003e\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":"THE NEW RARE","offers":[{"title":"Default Title","offer_id":53401122242898,"sku":"RP-MW-PM-2009","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"}],"url":"https:\/\/thenewrare.com\/collections\/printed-matter.oembed","provider":"The New Rare","version":"1.0","type":"link"}