{"title":"Sue Coe","description":"\u003cp\u003eSue Coe (born 1951) is a British artist and illustrator whose graphic work combines political satire, social critique and documentary imagery in a tradition that draws on Goya, Daumier and George Grosz. Working primarily in printmaking, painting and drawing, she has produced sustained bodies of work on factory farming, war, capital punishment and corporate power. Her work has been exhibited internationally and is held in the collections of the Museum of Modern Art, New York, and the Library of Congress, Washington D.C.\u003c\/p\u003e","products":[{"product_id":"kathy-acker-blood-and-guts-in-high-school-grove-press-1984","title":"Kathy Acker — Blood and Guts in High School, Grove Press, New York, 1984","description":"\u003cp\u003e\u003cspan\u003eKathy Acker — Blood and Guts in High School\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eGrove Press, New York, 1984\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eSoftcover\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eOffset-printed wrappers\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eApprox. 165 pp.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eGrove Press softcover issue of Blood and Guts in High School, published in 1984 after the text’s earlier fragmented circulation in the late 1970s.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eOriginal illustrated wrappers by Sue Coe: black field, red titling, image as signal. Interior pages combine narrative, diagram, letter, drawing, mistranslation, transcription, and appropriated material. The book does not settle into a single literary form. It distributes itself across available supports.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eJaney appears less as a fixed character than as a point of passage: sexual, geographic, linguistic, institutional. The body is moved through systems. The text follows by breaking sequence, importing fragments, and refusing stable address.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAs object, the book belongs to the moment when experimental writing, punk-adjacent publishing, feminist rupture, and visual interruption enter the paperback field. A mass-market form carrying a damaged, unstable structure.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eCondition: very good. Light surface wear to covers, minor edge softening consistent with handling and age. Internally clean.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eOriginal period item.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eTHE NEW RARE\u003c\/span\u003e\u003c\/p\u003e","brand":"THE NEW RARE","offers":[{"title":"Default Title","offer_id":53300409368914,"sku":"ACKER-BLOODGUTS-GROVE-1984","price":100.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Acker_-Kathy.-Blood-and-Guts-in-High-School_-1984--cover.jpg?v=1777322140"},{"product_id":"kathy-acker-great-expectations-grove-press-1983","title":"KATHY ACKER — Great Expectations, Grove Press, New York, 1983","description":"\u003cp\u003eFirst Grove Press edition, softcover issue, published by Grove Press \/ Evergreen, New York, 1983. Cover design by Roy Colmer; cover illustration by Sue Coe. Illustrated softcover; 128 pages; 14 × 21 cm. ISBN 0-394-62480-7.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e good, visibly handled; general rubbing, scratching and creasing to wrappers, edge and corner wear, small areas of abrasion and loss near the foot of the spine. Retail label retained on the rear cover, partly obscuring the printed text. Interior condition not confirmed.\u003c\/p\u003e\u003cp\u003eAcker’s text first appeared in 1982 before being issued by Grove Press the following year, making this the first Grove Press edition rather than the absolute first. It was an important stage in the movement of her writing from small experimental presses into wider American circulation.\u003c\/p\u003e\u003cp\u003eBeginning with Dickens, Acker breaks the inherited novel into shifting voices, genders, locations and borrowed passages. Literary appropriation is joined to autobiography: the book moves through childhood, abandonment, sexuality and grief while refusing a stable narrator or continuous history. It became one of the works that brought her wider critical attention.\u003c\/p\u003e\u003cp\u003eSue Coe’s illustration gives the Grove edition a particularly strong visual identity. Bodies, animals and architecture are compressed into a black, red and grey field, turning the familiar literary title into something closer to an underground comic, political poster or commercial pulp paperback. The canonical novel returns with its surface and ownership altered.\u003c\/p\u003e\u003cp\u003eSecurely packed; tracked UK and international shipping available.\u003c\/p\u003e","brand":"The New Rare","offers":[{"title":"Default Title","offer_id":54094012875090,"sku":"ACKER-GROVE-CAT-1983","price":65.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Acker_Kathy._Great_Expectations._1983.jpg?v=1784963451"},{"product_id":"womens-images-of-men-ica-london-1980","title":"Women's Images of Men — ICA, London, 1980","description":"\u003cp\u003eInstitute of Contemporary Arts, London, 1980. First edition \/ first printing. Exhibition catalogue published for \u003cem\u003eWomen's Images of Men\u003c\/em\u003e, ICA, London, 4–26 October 1980. Softcover, 55 unnumbered pages, 30 cm. Illustrated wrappers with pink titles; black-and-white and colour reproductions throughout.\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Good. Visible rubbing, handling, surface marks and age-related soiling to wrappers, with light edge wear and toning consistent with a circulated period publication. Interior considerably cleaner and well preserved.\u003c\/p\u003e\n\n\u003cp\u003eFor centuries, “man” could stand in for humanity while woman appeared as image. In 1980, the ICA reversed the arrangement. Man became the category.\u003c\/p\u003e\n\n\u003cp\u003e\u003cem\u003eWomen’s Images of Men\u003c\/em\u003e brought together 35 women artists to consider what happens when men become the represented subject: observed, desired, caricatured, criticised, sexualised, domesticated and placed within the structures of work and institutional authority.\u003c\/p\u003e\n\n\u003cp\u003eThe exhibition was organised by Joyce Agee, Catherine Elwes, Jacqueline Morreau and Pat Whiteread and opened a significant three-part sequence at the ICA devoted to women’s art. It was followed by \u003cem\u003eAbout Time\u003c\/em\u003e and then Lucy R. Lippard’s \u003cem\u003eIssue: Social Strategies by Women Artists\u003c\/em\u003e.\u003c\/p\u003e\n\n\u003cp\u003eThe distinction matters. This was not simply an exhibition adding women artists to an existing programme. It altered the position from which representation operated. The apparently universal male observer becomes visible as a subject in his own right.\u003c\/p\u003e\n\n\u003cp\u003eAcross the catalogue, masculinity refuses a single image. Sue Coe turns it political. Elisabeth Frink reduces it towards physiognomy and type. Mayotte Magnus photographs Francis Bacon. Pat Whiteread locates male authority inside the boardroom. Anya Teixeira, Erica Daborn, Deborah Lowensberg, Eileen Cooper, Ana Maria Pacheco and others move between intimacy, violence, performance, sexuality and social role.\u003c\/p\u003e\n\n\u003cp\u003eAuthority has an image too.\u003c\/p\u003e\n\n\u003cp\u003eThe complete exhibition included Joyce Agee, Glenys Barton, Philippa Beale, Jo Brocklehurst, Helen Cherry, Lill-Ann Chepstow-Lusty, Sue Coe, Eileen Cooper, Erica Daborn, Gertrude Elias, Elisabeth Frink, Sally Greenhill, Mandy Havers, Roberta Juzefa, Mouse Katz, Deborah Lowensberg, Jane Lewis, Barbara Loftus, Mayotte Magnus, Suzi Malin, Jacqueline Morreau, Ana Maria Pacheco, Robin Richmond, Carole Robb, Annie Ross, Marisa Rueda, Elena Samperi, Tessa Schneideman, Anya Teixeira, Christine Voge, Joan Wakelin, Helen White, Pat Whiteread, Jenni Wittman and Evelyn Williams.\u003c\/p\u003e\n\n\u003cp\u003eProduced to accompany a temporary exhibition, the catalogue now survives as the portable record of that reversal.\u003c\/p\u003e\n\n\u003cp\u003eThe exhibition closed. The object continued.\u003c\/p\u003e\n\n\u003cp\u003eSource object for RE: CIRCULATION 001, The New Rare, 2026.\u003c\/p\u003e","brand":"Institute of Contemporary Arts","offers":[{"title":"Default Title","offer_id":54299110834514,"sku":null,"price":145.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/ICA.Women_sImagesofMen_ICA.1980.jpg?v=1787035022"}],"url":"https:\/\/thenewrare.com\/collections\/sue-coe.oembed","provider":"The New Rare","version":"1.0","type":"link"}