{"title":"List 001 — Autumn 2026","description":"\u003cp\u003eThe archive is open. Thirty-one books, zines, invitations, posters and ephemera, in order of appearance in the film. Found, kept, listed, placed. Objects marked Placed have already found new shelves.\u003c\/p\u003e","products":[{"product_id":"urs-luthi-exhibition-invitation-galerie-isy-brachot-brussels-1975","title":"URS LÜTHI — Exhibition Invitation, Galerie Isy Brachot, Brussels, 1975","description":"\u003cp\u003e\u003cstrong\u003eURS LÜTHI\u003c\/strong\u003e\u003cbr\u003eGalerie Isy Brachot, Brussels\u003cbr\u003eNovember 12, 1975 – January 8, 1976\u003cbr\u003eOpening: November 10, 19h\u003c\/p\u003e\u003cp\u003eOriginal invitation for Urs Lüthi's 1975 solo exhibition at Galerie Isy Brachot, a key moment in the development of self-performance and gender-fluid identity in postwar European art. The invitation is a bifolded card with two loose inserts, measuring 29.7 × 21.0 cm unfolded, and features stark black-and-white photographs of the artist staging his own body — sometimes disguised, sometimes vulnerable, always deliberately composed.\u003c\/p\u003e\u003cp\u003eEmerging from the 1970s conceptual wave, Lüthi's work blended performance, photography, and personal mythology. He rejected the neutral stance of much conceptual art in favour of something more intimate, melancholic, and theatrical. The images shown here — posed, exposed, and occasionally erased — point to early preoccupations with the self as both object and illusion.\u003c\/p\u003e\u003cp\u003eThis exhibition came at a time when Lüthi was establishing his visual lexicon: the reclining body, the play with androgyny, the subtle references to artifice and autobiography. Surviving ephemera from this period is exceptionally scarce, and this invitation offers both historical significance and stark formal beauty.\u003c\/p\u003e","brand":"Galerie Isy Brachot","offers":[{"title":"Default Title","offer_id":53039877456210,"sku":"TNR-2026-0003","price":120.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/UrsLuthi01.jpg?v=1774601935"},{"product_id":"kathy-acker-blood-and-guts-in-high-school-japanese-1992","title":"KATHY ACKER — Blood and Guts in High School, Hakusuisha, Tokyo, 1992 (Japanese edition)","description":"\u003cp\u003eHakusuisha, Tokyo, 1992\u003cbr\u003eJapanese edition\u003cbr\u003eTranslated by Sachie Watanabe\u003cbr\u003eHardcover with dust jacket\u003cbr\u003e263 pp.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eJapanese edition of Kathy Acker’s \u003cem\u003eBlood and Guts in High School\u003c\/em\u003e, published by Hakusuisha in 1992.\u003c\/p\u003e\n\u003cp\u003eAcker’s text is carried into another language system: English title, Japanese title, blue printed surface, white jacket, translated body. The object does not simply reproduce the book; it relocates it.\u003c\/p\u003e\n\u003cp\u003eInside, the instability of the original remains visible through translation, handwriting, repetition, and diagram. The photographed spread holds several languages at once: English, Japanese, Persian script, phonetic instruction, bodily vocabulary. The page becomes lesson, wound, and index.\u003c\/p\u003e\n\u003cp\u003eThe edition places Acker inside a different publishing context, where the work’s violence and fragmentation are retained but visually reordered. Translation becomes part of the object’s structure: not secondary, but material.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very good. Light wear to dust jacket, minor edge wear and handling marks consistent with age. Interior clean.\u003c\/p\u003e\n\u003cp\u003eOriginal period item.\u003c\/p\u003e","brand":"Hakusuisha","offers":[{"title":"Default Title","offer_id":53300341997906,"sku":"ACKER-BLOODGUTS-JP-1992","price":100.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Acker_-Kathy.-Japanese-edition_-Blood-and-Guts-in-high-school--cover.jpg?v=1777319662"},{"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":"richard-prince-spiritual-america-guggenheim-2007","title":"Richard Prince — Spiritual America","description":"\u003cp\u003eSolomon R. Guggenheim Museum, New York, 2007\u003cbr\u003eExhibition announcement postcard\u003cbr\u003e15 × 10.5 cm\u003cbr\u003eOffset-printed card; colour image to recto, exhibition details and postal layout to verso\u003cbr\u003eExhibition dates: 28 September 2007 – 9 January 2008\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very good. Light handling wear and faint surface marks consistent with printed exhibition ephemera.\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":"RP-SA-GUG-2007","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":"yayoi-kusama-festival-of-life-infinity-nets-david-zwirner-new-york-2017","title":"Yayoi Kusama — Festival of Life + Infinity Nets — Exhibition Announcement Card, David Zwirner, New York, 2017","description":"\u003cp\u003eExhibition announcement card\u003cbr\u003eApprox. 21 × 14.8 cm\u003cbr\u003eOffset print on card stock; colour studio portrait to recto, exhibition details to verso\u003cbr\u003ePublished by \u003ca href=\"https:\/\/www.davidzwirner.com\" rel=\"noopener noreferrer\" target=\"_blank\"\u003eDavid Zwirner\u003c\/a\u003e, New York\u003cbr\u003eExhibition dates: 2 November – 16 December 2017\u003cbr\u003eCondition: very good; light handling wear and minor surface marks consistent with age and storage\u003c\/p\u003e\n\u003cp\u003eIssued for a significant concurrent two-part exhibition by Yayoi Kusama in New York in late 2017. The invitation announced two simultaneous presentations across separate David Zwirner locations: \u003cem\u003eFestival of Life\u003c\/em\u003e in Chelsea and \u003cem\u003eInfinity Nets\u003c\/em\u003e on the Upper East Side.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eFestival of Life\u003c\/em\u003e brought together sixty-six paintings from Kusama’s \u003cem\u003eMy Eternal Soul\u003c\/em\u003e series alongside immersive \u003cem\u003eInfinity Mirror Rooms\u003c\/em\u003e and large-scale sculptural works. Running in parallel, \u003cem\u003eInfinity Nets\u003c\/em\u003e returned to one of the artist’s foundational bodies of work: monochromatic paintings built through repeated hand-painted gestures accumulating into dense optical fields.\u003c\/p\u003e\n\u003cp\u003eThe image reproduced on the front departs from a conventional artwork reproduction and instead presents Kusama inside the environment of her own production. Seated in the studio, surrounded by \u003cem\u003eMy Eternal Soul\u003c\/em\u003e paintings, the distinction between artist, setting, and work begins to collapse. The red wig, patterned dress, and surrounding surfaces seem to operate within the same visual system. Portrait becomes installation; installation becomes self-image.\u003c\/p\u003e\n\u003cp\u003eAcross Kusama’s practice, repetition acts simultaneously as method, psychological structure, and image-making device. Dots, nets, accumulations, and mirrored spaces continuously oscillate between personal compulsion and visual infinity. Rather than depicting a world, the work creates one.\u003c\/p\u003e\n\u003cp\u003eAs an object, the card retains a moment when two major trajectories of Kusama’s practice — recent maximalism and foundational repetition — were presented in parallel. A small printed support carrying the structure of a much larger environment.\u003c\/p\u003e","brand":"David Zwirner","offers":[{"title":"Default Title","offer_id":53548409618770,"sku":"KUSAMA-DZ-INV-2017","price":35.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Kusama_Yayoi._Festival_of_Life_show_invite._2017_front.jpg?v=1779601142"},{"product_id":"kathy-acker-great-expectations-1982","title":"Kathy Acker — Great Expectations (1982)","description":"\u003cp\u003eKathy Acker, \u003cem\u003eGreat Expectations\u003c\/em\u003e. San Francisco: Open Book Publications, 1982. Paperback original. 128 pp. 13.5 × 21 cm. Printed wrappers; black-and-white cover illustration; original $5.95 price to rear. \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCondition: Fair.\u003c\/strong\u003e Spine worn and tattered, with rubbing, toning, handling marks, edge wear, and softened corners to covers. Interior pages remain in good condition. Complete and readable.\u003c\/p\u003e\n\u003cp\u003eAcker's \u003cem\u003eGreat Expectations\u003c\/em\u003e rewrites Dickens through plagiarism, autobiography, sexuality, violence, and literary theft. Published in 1982, it belongs to her key early period, when appropriation became not just a method but a form of attack. The first chapter announces itself directly: Plagiarism.\u003c\/p\u003e\n\u003cp\u003eThe rear cover carries praise attributed to Alain Robbe-Grillet — a detail that sits perfectly within the book's own unstable authorship. Whether taken as endorsement, mask, literary joke, or suspect quotation, it adds another layer to the object: Acker's plagiarism reflected back onto the commercial surface of the book itself.\u003c\/p\u003e\n\u003cp\u003eA strong early Acker object. Tattered, handled, and still sharp.\u003c\/p\u003e","brand":"The New Rare","offers":[{"title":"Default Title","offer_id":53612050219346,"sku":"ACKER-OPENBOOK-CAT-1982","price":105.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Acker_-Kathy.-Great-Expectations.-1982--cover.jpg?v=1780249277"},{"product_id":"isa-genzken-phaidon-contemporary-artists-series-2006","title":"Isa Genzken — Phaidon Contemporary Artists Series, 2006","description":"\u003cp\u003eSoftcover monograph, laminated ex-library copy. 160 pages, approx. 25 × 29 cm. Published by Phaidon Press, 2006. Essays by Alex Farquharson, Diedrich Diederichsen, and Sabine Breitwieser.\u003c\/p\u003e\n\u003cp\u003eCondition: Good ex-library condition. Cover laminate, edge wear, softened corners, handling marks, library stickers, barcode, stamps, and internal institutional markings. Pages remain clean and readable.\u003c\/p\u003e\n\u003cp\u003eEx-library copy withdrawn from York St John Library and Information Services. Library barcode, normal loan return sheet, shelf mark, withdrawn stamp, date stamp, stickers, and laminated cover remain present and intact.\u003c\/p\u003e\n\u003cp\u003ePhaidon's 2006 Genzken monograph belongs to its Contemporary Artists Series format: interview, survey essay, focus section, artist's writings, chronology, and bibliography. The cover reproduces \u003cem\u003eRose II\u003c\/em\u003e, Genzken's monumental public rose sculpture, photographed in front of a glass-and-steel institutional building. Inside, the book tracks her movement through sculpture, collage, architecture, photography, film, and urban material across four decades.\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eYork St John copy.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eLaminated cover, barcode, shelf mark, loan sheet, withdrawal stamp.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe book retains its administrative surface. Use, custody, and removal remain visible. The library record has not been cleaned from the object; it has become part of its present condition.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eShipping and handling included in the listed price. Ships carefully packed.\u003c\/p\u003e","brand":"Phaidon Press","offers":[{"title":"Default Title","offer_id":53624972345682,"sku":"GENZKEN-PHAIDON-CAT-2006","price":60.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Isa_Genzken_Phaidon_Contemporary_Artists_Series_cover.jpg?v=1780379402"},{"product_id":"martin-kippenberger-67-improved-papertigers-not-afraid-of-repetition-schirmer-mosel-2012","title":"Martin Kippenberger — 67 Improved Papertigers Not Afraid of Repetition, Schirmer\/Mosel, 2012","description":"\u003cp\u003eSoftcover, stapled wrappers. 48 pages, 18 × 26 cm. Text in English and German. Published by Schirmer\/Mosel \/ Edition Julie Sylvester, 2012. Re-edition after the 1987 original.\u003c\/p\u003e\u003cp\u003eCondition: Good used condition. Rubbing, handling marks, light soiling, softened corners, and wear to wrappers.\u003c\/p\u003e\u003cp\u003eA later edition of Kippenberger's 1987 artist's book, collecting 67 aphorisms, jokes, and short verbal propositions. The original appeared through Edition Julie Sylvester, New York; this Schirmer\/Mosel edition keeps the object in circulation after its first appearance as a small artist's book.\u003c\/p\u003e\u003cp\u003eKippenberger's books sit close to his broader practice: provisional, funny, self-mythologising, and resistant to clean categorisation. Here the artist appears through language, repetition, correction, and minor absurdity. Not a catalogue of works, but a printed support for tone, persona, and method.\u003c\/p\u003e\u003cp\u003eA handled copy. The later edition is not rare in the same way as the 1987 first, but it remains a useful Kippenberger object: inexpensive, portable, and structurally close to the artist's book format.\u003c\/p\u003e\u003cp\u003eShipping and handling included in the listed price.\u003c\/p\u003e","brand":"The New Rare","offers":[{"title":"Default Title","offer_id":53625093357906,"sku":"KIPPENBERGER-SCHIRMERMOSEL-CAT-2012","price":40.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Kippenberger_Martin._67_Improved_Papertigers_Not_Afraid_of_Repetition._1987.jpg?v=1780382490"},{"product_id":"basquiat-artscribe-no-47-1984","title":"Jean-Michel Basquiat — Artscribe No. 47, July–August 1984","description":"\u003cp\u003eSoftcover magazine\u003cbr\u003eLondon: Artscribe International, 1984\u003cbr\u003eApprox. 29.5 × 21 cm\u003c\/p\u003e\u003cp\u003eRare 1984 issue of \u003cem\u003eArtscribe\u003c\/em\u003e featuring a full wraparound cover by Jean-Michel Basquiat, with two interior double-page Basquiat image spreads printed inside the magazine. The cover extends across front and back, turning the periodical itself into a temporary printed support for Basquiat’s drawing language.\u003c\/p\u003e\u003cp\u003eIssued during a crucial early moment in Basquiat’s international visibility, this issue sits before the later saturation of his image through museum catalogues, merchandise, and posthumous reproduction. Here, Basquiat appears in real time, inserted into the British art press as both cover image and interior sequence.\u003c\/p\u003e\u003cp\u003eComplete copies with the wraparound cover intact and strong interior Basquiat pages are increasingly scarce. This is not a later retrospective publication, but a period object from 1984: magazine, distribution surface, and retained evidence of Basquiat’s early circulation through the European art world.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Good vintage condition. Light toning, rubbing, edge wear, softened corners, minor creasing, and handling marks consistent with age and use. Interior Basquiat spreads remain present and strong.\u003c\/p\u003e\u003cp\u003eA sharp early Basquiat-related publication object.\u003cbr\u003e\u003cem\u003eThe magazine carried the image. The object remained.\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003eShipping and handling included in the listed price. Ships carefully packed with protective backing.\u003c\/p\u003e","brand":"The New Rare","offers":[{"title":"Default Title","offer_id":53716302725458,"sku":"BASQUIAT-ARTSCRIBE-MAG-1984","price":500.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Issue_47_July_August_1984._Jean-Michel_Basquiat.jpg?v=1781161447"},{"product_id":"zoe-leonard-secession-wiener-secession-vienna-1997","title":"Zoe Leonard — Secession, Wiener Secession, Vienna, 1997","description":"\u003cp\u003eSoftcover exhibition catalogue, 21 × 29.5 cm, 80 pages, black-and-white illustrations throughout. Good vintage condition: light handling wear, minor creasing, age toning to covers, and gentle corner softening. Clean internally.\u003c\/p\u003e\u003cp\u003ePublished for Zoe Leonard’s exhibition at the Wiener Secession, Vienna, from 23 July–14 September 1997, this catalogue documents a decisive period in the artist’s early career. Produced before the broader recognition that followed projects such as \u003cem\u003eAnalogue\u003c\/em\u003e and years before \u003cem\u003eI Want a President\u003c\/em\u003e entered wider public consciousness, it captures Leonard at a moment when photography remained the central vehicle of her practice.\u003c\/p\u003e\u003cp\u003eThe publication reproduces a sequence of photographs made between the late 1980s and mid-1990s: landscapes, mirrors, storefronts, anatomical models, masks, interiors, and found arrangements. Across the book, ordinary objects and overlooked places become charged through attention rather than spectacle. An interview with Anna Blume provides additional context, touching on Leonard’s life in New York and the social realities surrounding the AIDS crisis during the period.\u003c\/p\u003e\u003cp\u003eLike many Secession catalogues of the 1990s, the book was produced primarily for exhibition visitors, specialist bookstores, and institutional distribution. It appears infrequently on the secondary market and is encountered far less often than Leonard’s later monographs.\u003c\/p\u003e\u003cp\u003eA strong 1990s artist publication from a moment before Zoe Leonard became a canonical figure. Less a retrospective than a contemporaneous record: photographs, conversation, and exhibition brought together while the work was still unfolding.\u003c\/p\u003e\u003cp\u003eShipping and handling included in the listed price.\u003c\/p\u003e","brand":"Wiener Secession","offers":[{"title":"Default Title","offer_id":53771450089810,"sku":"LEONARD-SECESSION-CAT-1997","price":95.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Leonard_Zoe._Secession._1997.jpg?v=1781677603"},{"product_id":"sherrie-levine-galerie-nachst-st-stephan-vienna-1988","title":"Sherrie Levine — Galerie nächst St. Stephan Rosemarie Schwarzwälder, Vienna, 1988","description":"\u003cp\u003eSoftcover exhibition catalogue, 14 × 20 cm, 68 pages, offset printed with colour and black-and-white illustrations. Texts by Dieter Schwarz and Sherrie Levine (\u003cem\u003eA Simple Heart\u003c\/em\u003e), published in English and German. Good vintage condition: light age toning to covers, minor surface marks and shelf wear, gentle handling throughout. Internally clean and complete.\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":"LEVINE-NACHST-CAT-1988","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":"nicolas-bourriaud-postproduction-lukas-sternberg-new-york-2002","title":"NICOLAS BOURRIAUD — Postproduction: Culture as Screenplay: How Art Reprograms the World, Lukas \u0026 Sternberg, New York, 2002","description":"\u003cp\u003eSoftcover. 11 × 17 cm. 96 pages. First edition. Translated by Jeanine Herman. Designed by Surface. Published by Lukas \u0026amp; Sternberg, New York, 2002. ISBN 0-9711193-0-9.\u003c\/p\u003e\u003cp\u003eFirst published in 2002, \u003cem\u003ePostproduction\u003c\/em\u003e became one of the defining theoretical texts for understanding art made through existing images, objects, recordings and cultural products. Nicolas Bourriaud describes a generation of artists working less as isolated producers than as users, editors, programmers and DJs: selecting material already in circulation and assigning it another sequence, context or function.\u003c\/p\u003e\u003cp\u003eMoving between the readymade, appropriation, sampling, exhibition-making and consumer culture, the book considers artists including Marcel Duchamp, Jeff Koons, Mike Kelley, Pierre Huyghe, Rirkrit Tiravanija, Liam Gillick and Philippe Parreno. Its central proposition is that cultural production no longer begins with a blank surface. The available world becomes material.\u003c\/p\u003e\u003cp\u003eThe book followed Bourriaud’s influential writing on relational aesthetics but shifted the emphasis from participation towards use. Production and consumption begin to overlap. A record is sampled, an artwork is re-exhibited, a commercial object is redirected, and a historical form becomes available for another programme.\u003c\/p\u003e\u003cp\u003eFor The New Rare, the text provides a useful vocabulary for understanding the continued life of printed matter. Catalogues, invitations, reproductions and discarded publications do not remain fixed within their original purpose. They can be selected, retained, resold, displayed and placed into new relations. Circulation becomes part of the object’s meaning.\u003c\/p\u003e\u003cp\u003eThe compact format and restrained Surface design reinforce this position. Pale horizontal lines and partially obscured text appear across the white wrappers, as though information has already passed through several stages of reproduction. This copy carries further evidence of that passage through reading, storage and handling.\u003c\/p\u003e\u003cp\u003eCondition: good used condition. General toning, rubbing and handling marks to the pale wrappers, with scattered spotting and light surface staining. Minor wear to the edges and corners. Occasional marks internally, including a small stain to one illustrated spread. Binding remains intact.\u003c\/p\u003e","brand":"Lukas \u0026 Sternberg","offers":[{"title":"Default Title","offer_id":53819146174802,"sku":"BOURRIAUD-LUKAS-CAT-2002","price":65.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Bourriaud_-Nicholas.-Postproduction.-2003-FRONT-COVER.jpg?v=1782195507"},{"product_id":"janette-beckman-el-hoyo-maravilla-dashwood-books-new-york-2011","title":"JANETTE BECKMAN — El Hoyo Maravilla, Dashwood Books, New York, 2011","description":"\u003cp\u003eSaddle-stapled softcover. 18 × 24 cm. 30 pages. Black-and-white offset printing. First edition of 500 copies. Published by Dashwood Books, New York, 2011.\u003c\/p\u003e\u003cp\u003eA compact photographic record of East Los Angeles made during the summer of 1983. While visiting California to photograph the West Coast punk scene, Beckman encountered an unillustrated \u003cem\u003eLA Weekly\u003c\/em\u003e article about El Hoyo Maravilla, a Mexican American street gang centred around Maravilla Park. After contacting the writer, she was introduced to the neighbourhood and returned repeatedly with her Hasselblad camera.\u003c\/p\u003e\u003cp\u003eThe resulting portraits show gang members, friends, girlfriends, motorcycles, graffiti and domestic surroundings without reducing the community to crime reportage. Subjects meet the camera directly and largely determine their own poses. Beckman has described the photographs as collaborations grounded in communication and respect, an approach already established through her earlier portraits of British punks, mods, skinheads and the emerging New York hip-hop scene.\u003c\/p\u003e\u003cp\u003eThe photographs were not accepted for publication when first made. They remained in Beckman's archive until Dashwood Books issued this small monograph in 2011 — nearly three decades later. Its publication also reopened contact between the photographer and several people pictured in the series, converting a previously dormant body of work into a shared record with a continuing social life.\u003c\/p\u003e\u003cp\u003eThe book is notably restrained in construction. Near-blank white covers carry small inset photographs; inside, the portraits appear with deep black borders and minimal interruption. The format sits between documentary photo essay, independently produced zine and recovered community archive. The sequence gives equal weight to clothing, posture, machinery, walls and bodies: identity recorded through the surfaces by which it was publicly maintained.\u003c\/p\u003e\u003cp\u003eThis is the original 2011 Dashwood edition, saddle-stapled and limited to 500 copies. A redesigned edition followed in 2020 with additional previously unpublished photographs, making the earlier version a materially distinct first presentation of the project. The original edition is now out of print.\u003c\/p\u003e\u003cp\u003eCondition: appears very good from the supplied photographs, with clean pages and only light handling and surface wear consistent with age.\u003c\/p\u003e\u003cp\u003e\u003ca href=\"\/blogs\/journal\/the-new-rare-at-glue-book-fair-2026\"\u003eThe New Rare at Glue Book Fair 2026\u003c\/a\u003e\u003c\/p\u003e","brand":"Dashwood Books","offers":[{"title":"Default Title","offer_id":53819872870738,"sku":"BECKMAN-DASHWOOD-CAT-2011","price":150.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Beckmann_-Janette.-El-Hoyo-Maravilla--_2011_---Los-Angeles-front-cover.jpg?v=1782204412"},{"product_id":"andrea-zittel-selected-sleeping-arrangements-the-a-z-bed-book-1995","title":"ANDREA ZITTEL — Selected Sleeping Arrangements: The A-Z Bed Book, 1995","description":"\u003cp\u003eAndrea Zittel, \u003cem\u003eSelected Sleeping Arrangements: The A-Z Bed Book\u003c\/em\u003e. A-Z Administrative Services \/ Transcript: A Journal of Visual Culture, University of Dundee, Scotland, 1995. 21 × 26 cm, 16 pp. Staple-bound softcover booklet; printed in reddish-brown ink on pale stock throughout.\u003c\/p\u003e\u003cp\u003eProduced in coordination with \u003cem\u003eTranscript\u003c\/em\u003e and printed in conjunction with work exhibited at Andrea Rosen Gallery, New York; the Whitney Biennial, Whitney Museum of American Art, New York; and NUTOPI: Rooseum Contemporary Art, Malmö, Sweden. Photography by Peter Muscato. Designed by William Julien at Arum. Printed by Spiderweb, UK.\u003c\/p\u003e\u003cp\u003eStructured like a product brochure, service manual, and exhibition document simultaneously, \u003cem\u003eThe A-Z Bed Book\u003c\/em\u003e presents sleeping units — The Small Bed, The Carpet Bed, The Fled, The Ottoman — as both functional furniture and conceptual propositions. Each unit is described through staged photographs, product-description language, and testimonial letters from users. The A-Z stamp logo, sparse typographic layout, and booklet format mimic commercial catalogue material while remaining entirely inside an art context.\u003c\/p\u003e\u003cp\u003eZittel’s practice in the early 1990s collapsed art, design, shelter, clothing, and daily routine into a single operating system. Rather than treating domestic life as background, she made it the site of experiment. Beds, trailers, uniforms, and storage units became tools for testing freedom, limitation, comfort, and control.\u003c\/p\u003e\u003cp\u003eThis booklet is not only documentation of an exhibition. It is a printed extension of A-Z Administrative Services: a paper showroom, a sales device, a user guide, and an artwork’s portable administrative surface. Authorship is distributed through artist, company name, testimonial, gallery, biennial, publisher, and object. The bed moves from furniture to artwork to printed matter, becoming legible through circulation.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Good vintage condition. Light surface soiling and age toning to covers, minor edge wear, soft creasing, and small handling marks throughout. Internally complete and clean.\u003c\/p\u003e","brand":"A-Z Administrative Services","offers":[{"title":"Default Title","offer_id":53879491920210,"sku":"ZITTEL-AZ-CAT-1995","price":80.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Zittel_Andrea._Selected_Sleeping_Arrangements_The_A_-_Z_Bed_Book._1995.jpg?v=1782797374"},{"product_id":"malcolm-mclaren-paul-taylor-impresario-new-museum-mit-press-1988","title":"MALCOLM MCLAREN \/ PAUL TAYLOR — Impresario: Malcolm McLaren \u0026 The British New Wave, New Museum \/ MIT Press, 1988","description":"\u003cp\u003eExhibition catalogue, \u003cem\u003eImpresario: Malcolm McLaren \u0026amp; The British New Wave\u003c\/em\u003e. Paul Taylor (ed.). New Museum of Contemporary Art \/ The MIT Press, New York \/ Cambridge MA, 1988. Published on the occasion of the exhibition at the New Museum, New York, 16 September–20 November 1988. Softcover with French flap covers, 27 × 18 cm, 77 pp. Illustrated in black-and-white and colour. ISBN 0-262-70055-2.\u003c\/p\u003e\u003cp\u003eTexts and contributions by Paul Taylor, Dan Graham, Jon Savage, and Jane Withers, with preface and acknowledgements by Marcia Tucker and William Olander.\u003c\/p\u003e\u003cp\u003eA New Museum \/ MIT Press publication from the moment when punk, fashion, music management, art school, and postmodern image culture entered the museum as a serious subject. McLaren is framed here not only as manager of the Sex Pistols or collaborator with Vivienne Westwood, but as a producer of images, attitudes, performances, and cultural systems.\u003c\/p\u003e\u003cp\u003eWithin The New Rare register, this is not simply a music book. It is an exhibition object recording the institutional absorption of punk and New Wave into contemporary art discourse. A document of transfer: street culture, fashion, record sleeve, shopfront, performance, and museum catalogue held in one printed form.\u003c\/p\u003e\u003cp\u003eOut of print. Scarce in current circulation. Comparable copies appear intermittently online, with stronger examples generally sitting around the £85–95 range.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Good vintage condition. Rubbing and scuffing to blue covers, edge wear, softened corners, light marks and age toning to pages. Complete and structurally sound. Ships flat, protected and tracked where possible; UK and international shipping available.\u003c\/p\u003e","brand":"New Museum of Contemporary Art \/ The MIT Press","offers":[{"title":"Default Title","offer_id":53933763330386,"sku":"MCLAREN-NEWMUSEUM-CAT-1988","price":95.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/McLaren_Malcom._Taylor_Paul._Impresario_Malcolm_McLaren_The_British_New_Wave_New_York._1988_cover.jpg?v=1783279922"},{"product_id":"siouxsie-sioux-anabas-ap146-postcard-1986","title":"SIOUXSIE SIOUX — Anabas AP146 postcard, 1986","description":"\u003cp\u003ePublished by Anabas Products, Romford, Essex, England, in 1986, at a moment when the commercial music industry had learned how to detach fringe identities from records, performances and subcultures and circulate them as images in their own right. SIOUXSIE SIOUX appears without band, album or event.\u003c\/p\u003e\u003cp\u003eThe portrait borrows the polished codes of mid-1980s pop—jewellery, red lips, frontal studio photography—yet the severe makeup, black field and fixed gaze resist the easy accessibility expected of mainstream celebrity. Rather than becoming a conventional pop star, SIOUXSIE SIOUX remained marketable precisely because her difference could be reproduced without being resolved.\u003c\/p\u003e\u003cp\u003eColour offset-printed postcard on semi-gloss card, 12 × 17 cm. Full-face portrait to recto; divided postal back with Anabas logo, publisher’s address, catalogue number AP146 and copyright details to verso. Condition: very good; unused, with light edge and surface wear and minor corner softening consistent with age.\u003c\/p\u003e\u003cp\u003eSecurely packed; tracked UK and international shipping available.\u003c\/p\u003e","brand":"Anabas Products","offers":[{"title":"Default Title","offer_id":54073260704082,"sku":"TNR-2026-0435","price":95.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Anabas._AP146_Siouxsie._1986_11b1a640-996b-4228-8d8c-4757289dcda0.jpg?v=1784804302"},{"product_id":"kathy-acker-don-quixote-which-was-a-dream-paladin-1986","title":"KATHY ACKER — Don Quixote: Which Was a Dream, Paladin, London, 1986","description":"\u003cp\u003eFirst British edition, paperback original, published by Paladin \/ Grafton Books, London, 1986. Front-cover illustration by Catherine Denvir. Illustrated softcover; 207 pages; 13 × 20 cm. ISBN 0-586-08554-8.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e good, visibly handled; rubbing, scratching and creasing to wrappers, edge and corner wear, age-toning, surface marking and areas of abrasion to rear cover. Binding appears intact. Interior condition not confirmed.\u003c\/p\u003e\u003cp\u003ePublished in the same year as the American Grove Press edition, this was Acker’s first British edition of the novel. Cervantes’s wandering knight returns as a woman moving through abortion, desire, American history, Nixon-era politics, New York and London. The borrowed structure is not adapted respectfully but broken open and reused as a means of writing against fixed gender, identity and literary ownership.\u003c\/p\u003e\u003cp\u003eThe Paladin cover translates the book into an especially concentrated image: female knight, dogs, fragmented architecture and urban collapse arranged as a commercial paperback adventure. Catherine Denvir’s collage-like illustration makes visible what Acker does through writing — an existing cultural object dismantled and returned under another name.\u003c\/p\u003e\u003cp\u003eThe edition is now comparatively scarce. Current dealer copies begin around US$65, with a good copy offered above US$100; signed examples sit far higher and are not directly comparable.\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":54093974569298,"sku":"ACKER-PALADIN-CAT-1986","price":95.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Acker_Kathy._Don_Quixote._1986.jpg?v=1784963451"},{"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\u003eArtist's book, first edition, JMc \u0026amp; GHB Editions, New York, 2006. Illustrated softcover; 84 pages; 10.5 × 15.5 cm; black-and-white reproductions with colour pictorial wrappers. Trade edition of 1,000 copies. Signed in black marker by David LaChapelle on the title page.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e good; rubbing, scratches and surface marking to the pictorial wrappers, with pronounced vertical creasing and wear along the edges and corners. Interior complete and securely bound. LaChapelle's large signature occupies much of the title page.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eProvenance:\u003c\/strong\u003e purchased at The Armory Show, New York, 24 February 2007. Carried later that day to Tony Shafrazi Gallery, where it was signed in black marker by David LaChapelle at the opening of his exhibition \u003cem\u003eAwakened\u003c\/em\u003e. The Armory Show ran from 23 to 26 February; LaChapelle's opening took place on the evening of 24 February 2007. Provenance supplied directly by the purchaser.\u003c\/p\u003e\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\u003cp\u003e\u003ca href=\"\/blogs\/journal\/the-new-rare-at-glue-book-fair-2026\"\u003eThe New Rare at Glue Book Fair 2026\u003c\/a\u003e\u003c\/p\u003e","brand":"JMc \u0026 GHB Editions","offers":[{"title":"Default Title","offer_id":54122543350098,"sku":"PRINCE-JMCGHB-NAKEDNURSES-2006-SIGNED","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":"klein-yves-exhibition-catalogue-galerie-karl-flinker-paris-1973","title":"YVES KLEIN — Exhibition Catalogue, Galerie Karl Flinker, Paris, 1973","description":"\u003cp\u003ePublished eleven years after Klein’s death, this compact catalogue records an early posthumous reassessment of a practice developed during an exceptionally concentrated career between 1954 and 1962. Issued for the exhibition held at Galerie Karl Flinker, 25 rue de Tournon, Paris, 14 February to 24 March 1973, opening 13 February.\u003c\/p\u003e\u003cp\u003eThrough monochromes, bodily imprints, fire, performance and the immaterial, Klein shifted painting away from the production of images and towards colour, action and event. The publication moves between monochrome surfaces, sprayed silhouettes and the Anthropometries: works made through the direct imprint of painted bodies, which Klein described as “living brushes.” The catalogue’s blue reproductions do not simply illustrate the work; colour passes through the publication as its organising material.\u003c\/p\u003e\u003cp\u003eThis example retains the original illustrated wrappers. The rear is printed with a large facsimile of Klein’s signature, incorporated into the design rather than added by hand. The artist’s name appears as both attribution and image.\u003c\/p\u003e\u003cp\u003e18 × 24 cm. 32 pages. Staple-bound catalogue in colour-illustrated wrappers; colour and monochrome reproductions; text in French. Condition: good. Small debossed impression to the front wrapper, with light rubbing, handling wear, surface marks and minor edge and corner softening. Internally complete and generally clean.\u003c\/p\u003e\u003cp\u003eSecurely packed; tracked UK and international shipping available.\u003c\/p\u003e","brand":"Galerie Karl Flinker","offers":[{"title":"Default Title","offer_id":54186786914642,"sku":"KLEIN-FLINKER-CAT-1973","price":65.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Klein_Yves.Exhibitioncatalog_GalerieKarlFlinker.1973.jpg?v=1785945594"},{"product_id":"lang-helmut-selective-memory-series-purple-book-2007","title":"HELMUT LANG — Selective Memory Series: The Helmut Lang Purple Book, Purple Institute \/ HL-ART, 2007","description":"\u003cp\u003ePublished as a special supplement to \u003cem\u003ePurple Fashion\u003c\/em\u003e No. 7, Summer 2007, by Purple Institute and HL-ART, Paris and New York. An intimate publication assembled from Helmut Lang’s personal archive: letters, notes, invitations, drawings, photographs and fragments of correspondence exchanged with artists, photographers, collaborators and friends. Among those represented are Louise Bourgeois, Jenny Holzer, Juergen Teller and Bruce Weber.\u003c\/p\u003e\u003cp\u003eRather than present a conventional chronology, the book reproduces the archive as a field of partial evidence. A handwritten message sits beside an exhibition invitation; a private photograph becomes a printed page; a computer contact sheet reveals the filing system from which the material was selected. Memory appears through what was retained, scanned, enlarged and placed back into circulation.\u003c\/p\u003e\u003cp\u003eThe publication appeared two years after Lang departed his namesake fashion house to concentrate on his art practice. It belongs to the moment when material previously understood through fashion, publicity and collaboration began to be reorganised explicitly as artistic work.\u003c\/p\u003e\u003cp\u003eLang had long worked across clothing, architecture, advertising, photography and artist collaboration without treating them as entirely separate disciplines. Here, that expanded field is reduced to paper. The people surrounding the work become part of the work: professional exchange, friendship, inscription and memory held within the same editorial structure.\u003c\/p\u003e\u003cp\u003eOriginally distributed with \u003cem\u003ePurple Fashion\u003c\/em\u003e, the book moves between magazine supplement, personal archive and artist’s publication. The MAK later incorporated excerpts from the Selective Memory Series into its presentation of the Helmut Lang Archive, recognising the project as part of Lang’s continuing examination of storage, memory and display.\u003c\/p\u003e\u003cp\u003e21.5 × 28 cm. 80 pages. Saddle-stitched softcover; black-and-white and colour reproductions; text in English. Condition: good. Light rubbing, handling marks and age toning to the wrappers, with minor creasing, edge wear and corner softening. Small pressure marks and faint surface impressions visible to the covers. Internally complete and generally clean.\u003c\/p\u003e\u003cp\u003eSecurely packed; tracked UK and international shipping available.\u003c\/p\u003e","brand":"Purple Institute \/ HL-ART","offers":[{"title":"Default Title","offer_id":54186920640850,"sku":"LANG-PURPLE-BOOK-2007","price":50.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Lang_-Helmut_-Purple-magazine_-Helmut-Lang-book-selective-memory-series--front.jpg?v=1786703121"},{"product_id":"dieter-roth-art-is-life-life-is-art-iowa-1999","title":"DIETER ROTH — Art Is Life \/ Life Is Art: The Graphic Work of Dieter Roth, University of Iowa Museum of Art, 1999","description":"\u003cp\u003eDieter Roth, \u003cem\u003eArt Is Life \/ Life Is Art: The Graphic Work of Dieter Roth\u003c\/em\u003e. University of Iowa Museum of Art, Iowa City, 11 September–7 November 1999. Spiral-bound exhibition catalogue; 42 pages, 17 × 21 cm; black-and-white offset printing, printed paper wrappers.\u003c\/p\u003e\u003cp\u003eA compact posthumous catalogue published for the University of Iowa Museum of Art’s 1999 survey of Dieter Roth’s graphic work, bringing together prints, drawings, artist books, multiples and related material.\u003c\/p\u003e\u003cp\u003eThe publication is modest and functional in construction: spiral binding, yellow printed wrappers and a cropped image of a wheeled shelving unit extending across the cover. Inside, reproductions are accompanied by catalogue numbers and captions, with particular attention given to Roth’s books and editioned works.\u003c\/p\u003e\u003cp\u003eRoth’s publishing practice was central to his wider work. From the 1950s onward, books became a space in which drawing, typography, photography, found material, repetition and physical alteration could be combined. Publications were frequently revised, republished, incorporated into later works or gathered into larger systems such as his \u003cem\u003eGesammelte Werke\u003c\/em\u003e.\u003c\/p\u003e\u003cp\u003eThis catalogue is especially interesting for the way it records that activity after Roth’s death. Works originally made to circulate as books, multiples and editions are photographed, catalogued and reorganised within a museum publication. The movement is quiet but significant: publication → collected work → exhibition → catalogue.\u003c\/p\u003e\u003cp\u003eRather than simply reproducing individual artworks, \u003cem\u003eArt Is Life \/ Life Is Art\u003c\/em\u003e documents a practice in which the book itself was already a working medium. The reproductions of the \u003cem\u003eGesammelte Werke\u003c\/em\u003e make this particularly clear: earlier publications appear again as objects within another publication.\u003c\/p\u003e\u003cp\u003eFor The New Rare, its interest lies partly in that layering. It is both a conventional exhibition catalogue and a record of how an artist’s deliberately fluid publishing practice begins to enter institutional history. A useful and visually distinctive document of Roth’s relationship to books, editions and graphic production.\u003c\/p\u003e\u003cp\u003eCondition: Good. Light handling and surface wear to wrappers, with minor edge and corner wear consistent with age. Internally clean from the pages inspected.\u003c\/p\u003e\u003cp\u003eSecurely packed; tracked UK and international shipping available.\u003c\/p\u003e","brand":"University of Iowa Museum of Art","offers":[{"title":"Default Title","offer_id":54212390256978,"sku":"ROTH-UIOWA-CAT-1999","price":95.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Roth_-Dieter.-Art-Is-Life_-Life-Is-Art_-The-Graphic-Work-of-Dieter-Roth_-September-11-November-7_-1999.jpg?v=1786219170"},{"product_id":"jeremy-deller-the-klf-2k-k-the-millennium-blast-first-1997","title":"JEREMY DELLER \/ THE KLF (2K) — ***K The Millennium, Blast First \/ Mute Records, 1997","description":"\u003cp\u003eBlast First \/ Mute Records, UK, 1997. Catalogue no. BFFP 146 K. Audio cassette single in clear plastic case; black-and-white printed fold-out J-card. Includes ***K The Millennium (Radio Edit) and Acid Brass \/ What Time Is Love? (Version K).\u003c\/p\u003e\u003cp\u003eA Jeremy Deller work hiding in the pop charts.\u003c\/p\u003e\u003cp\u003eIn 1997 Deller’s Acid Brass put the Williams Fairey Brass Band to work on acid-house anthems, collapsing two apparently separate British musical histories into the same repertoire. Among them was The KLF’s What Time Is Love? Deller describes the project as growing directly from the connections mapped in The History of the World.\u003c\/p\u003e\u003cp\u003eThen the circuit reversed. Bill Drummond and Jimmy Cauty returned as 2K, taking the Acid Brass version of their own record back into ***K The Millennium. The commercial release consequently arrives under the wonderfully unstable credit “Jeremy Deller Presents 2K,” while the sleeve identifies its producers as “the artists formerly known as The Justified Ancients of Mu Mu.” Deller’s artwork had entered pop music and come back out as a cassette single.\u003c\/p\u003e\u003cp\u003eThat makes this modest object particularly exact: not documentation of Acid Brass but evidence of what happened after the idea began circulating. Artist, band, cover version, original recording and commercial commodity fold into one another until authorship becomes difficult to locate.\u003c\/p\u003e\u003cp\u003eThe artwork makes something happen. The thing that happens becomes another object.\u003c\/p\u003e\u003cp\u003eCondition: good to very good. Visible surface rubbing and scuffing to clear case; light handling to printed insert. Playback not tested.\u003c\/p\u003e\u003cp\u003eSecurely packed; tracked UK and international shipping available.\u003c\/p\u003e","brand":"Blast First \/ Mute Records","offers":[{"title":"Default Title","offer_id":54280630567250,"sku":null,"price":45.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Deller_Jeremy.TheKLF._KtheMillennium.1997.jpg?v=1786903714"},{"product_id":"jenny-holzer-kunst-heute-nr-9-kiepenheuer-witsch-1993","title":"JENNY HOLZER — Kunst Heute Nr. 9, Kiepenheuer \u0026 Witsch, Cologne, 1993","description":"\u003cp\u003eKiepenheuer \u0026amp; Witsch, Cologne, 1993. First edition. Jenny Holzer im Gespräch mit Noemi Smolik, edited by Wilfried Dickhoff. Softcover, 96 pages, 16 × 23 cm. Black-and-white illustrations throughout. German language. ISBN 3-462-02297-0.\u003c\/p\u003e\u003cp\u003ePublished in 1993 as the ninth volume of Kunst Heute: Gespräche mit zeitgenössischen Künstlern, this book records an extended conversation between Jenny Holzer and critic Noemi Smolik, edited by Wilfried Dickhoff. The date is the thing. Holzer had begun with the anonymous street posters of Truisms in 1977–79, moved language onto electronic signs and billboards through the 1980s, filled the Guggenheim with LEDs in 1989, and in 1990 became the first woman to represent the United States at the Venice Biennale with a solo presentation, winning the Golden Lion. By 1992–93 the work was turning toward increasingly explicit accounts of war, violence and the body: War followed the Gulf conflict, while Lustmord began in 1993 in response to sexual violence during the war in Bosnia.\u003c\/p\u003e\u003cp\u003eKunst Heute Nr. 9 sits directly inside that transition. The images make the genealogy visible: one spread returns to Holzer’s public billboards — “It is man’s fate to outsmart himself” occupying an ordinary urban streetscape; another reproduces Lady Pink wearing a 1983 T-shirt carrying the Truisms line “ABUSE OF POWER COMES AS NO SURPRISE.” Street, body, clothing, billboard, electronic sign: language repeatedly leaves the page and finds another support.\u003c\/p\u003e\u003cp\u003eOn the rear cover Holzer makes the politics unusually explicit, arguing that the most daring art of the previous decade had come from women, whose work she considered psychologically more extreme than men’s. Smolik would return to Holzer only three years later as editor of Jenny Holzer: Writing \/ Schriften, making this smaller 1993 interview an earlier point in an important critical relationship.\u003c\/p\u003e\u003cp\u003eThe words begin on paper. The work begins when they leave it.\u003c\/p\u003e\u003cp\u003eCondition: very good. Light handling and minor edge wear consistent with age.\u003c\/p\u003e","brand":"Kiepenheuer \u0026 Witsch","offers":[{"title":"Default Title","offer_id":54281115009362,"sku":null,"price":95.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Holzer_Jenny.Kunstheute_Nr.9.1993.jpg?v=1786906703"},{"product_id":"christopher-wool-david-sedaris-white-walls-17-1987","title":"Christopher Wool \/ David Sedaris — White Walls: A Magazine of Writings by Artists #17","description":"\u003cp\u003eWhite Walls was founded in Chicago in 1978 by artist Buzz Spector and poets Reagan and Roberta Upshaw as an alternative forum for artists interested in writing, language and the relationship between text and visual practice. Its proposition was direct: rather than allowing criticism to retain authority over the artwork, the magazine created a space in which artists could produce the language surrounding their own practices.\u003c\/p\u003e\u003cp\u003eAutumn 1987, No. 17 is unusually concentrated. Christopher Wool occupies the cover and pages 25–29. His official bibliography records this exact issue as an artist project; specialist descriptions identify four pages of text works including TROJAN HORSE, HOUDINI and HELTERSKLTER. The Guggenheim identifies 1986–87 as Wool's decisive breakthrough, when commercial paint rollers carrying floral and geometric patterns became both tool and image; the Art Institute of Chicago dates the beginning of his word paintings to 1987. The pages reproduced here appear at the point of formation — letters becoming images, spacing becoming obstruction, language requiring looking before reading. One year later Wool would show with Robert Gober at 303 Gallery, including the now canonical \u003cem\u003eApocalypse Now\u003c\/em\u003e word painting. In 1989 came \u003cem\u003eBlack Book\u003c\/em\u003e.\u003c\/p\u003e\u003cp\u003eFifty-odd pages later, another career is forming under different conditions. David Sedaris contributes \u003cem\u003eCrafty\u003c\/em\u003e. Sedaris graduated from the School of the Art Institute of Chicago in 1987, the year printed on this issue, still moving between visual art, performance and writing, years before his radio breakthrough.\u003c\/p\u003e\u003cp\u003eThis is not a retrospective anthology. In 1987 their eventual positions had not yet stabilised. The magazine records them before the hierarchy catches up. A $5 publication placing an emerging painter beside an emerging writer without needing to know which pages would later become valuable.\u003c\/p\u003e\u003cp\u003eCream paper. Stapled binding. Black ink. $5 printed on the cover. A nonprofit Chicago publication supported in part by the National Endowment for the Arts and Illinois Arts Council.\u003c\/p\u003e\u003cp\u003eEdited by Timothy Porges and Buzz Spector. Managing editor Laurie Palmer. White Walls, Inc., Chicago, 1987. 120 pages. 14 × 21.5 cm. Softcover; black-and-white offset printing throughout. ISSN 0190-9835. Christopher Wool: cover and pp. 25–29. David Sedaris: \u003cem\u003eCrafty\u003c\/em\u003e.\u003c\/p\u003e\u003cp\u003e\u003cem\u003eCondition: very good for age. Light overall toning, handling and minor edge wear to wrappers; occasional surface marks consistent with use and storage. Internally well preserved.\u003c\/em\u003e\u003c\/p\u003e","brand":"White Walls, Inc.","offers":[{"title":"Default Title","offer_id":54312252834130,"sku":null,"price":250.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Wool_Christopher.WhiteWallsAMagazineofWritingsbyArtists_17.1987inside2.jpg?v=1787114864"},{"product_id":"abject-art-repulsion-and-desire-in-american-art-whitney-museum-1993","title":"ABJECT ART: Repulsion and Desire in American Art, Whitney Museum of American Art, New York, 1993","description":"\u003cp\u003ePublished by the Whitney Museum of American Art alongside \u003cem\u003eAbject Art: Repulsion and Desire in American Art\u003c\/em\u003e, 23 June–29 August 1993, this modest paperback belongs to one of the defining collisions between contemporary art, queer and feminist politics, the AIDS era and the American culture wars. ISP Papers No. 3.\u003c\/p\u003e\u003cp\u003eOrganised through the Whitney Independent Study Program by Craig Houser, Leslie C. Jones and Simon Taylor, the exhibition took Julia Kristeva’s theory of the abject — the bodily matter, identities and experiences a social order attempts to expel in order to define itself — and applied it to American art. The curators were not identifying a neat historical movement. They were constructing a new reading of the Whitney’s own collection.\u003c\/p\u003e\u003cp\u003eDuchamp, Pollock, Oldenburg, Warhol, Louise Bourgeois and Yayoi Kusama could suddenly be read alongside Robert Gober, Mike Kelley, Kiki Smith, Cindy Sherman, Andres Serrano, David Wojnarowicz and others through dirt, bodily fluids, fragmentation, sexuality, gender, disgust and desire. The move was retrospective and deliberately destabilising: what if the abject had been inside American modernism all along?\u003c\/p\u003e\u003cp\u003eThe cover makes the argument before the book is opened. Robert Gober’s severed trousered leg — wax, human hair, cloth, shoe and candle transformed into an uncanny fragment of the male body — sits against a surface derived from Andy Warhol’s Oxidation Paintings, works produced through the chemical reaction of urine on copper pigment. Body fragment on bodily fluid. Underneath it all, perfectly typeset: WHITNEY MUSEUM OF AMERICAN ART.\u003c\/p\u003e\u003cp\u003eInside, Claes Oldenburg’s \u003cem\u003eSoft Toilet\u003c\/em\u003e becomes a collapse of the clean, hard mechanism designed to make bodily waste disappear. Yayoi Kusama appears in Leslie C. Jones’s essay “Transgressive Femininity,” where apparently similar sculptural gestures acquire very different meanings according to the gender of the artist who makes them. Other essays move through sadomasochism, queer identity, phobia, bodily fragmentation and the politics of representing people already treated as socially improper.\u003c\/p\u003e\u003cp\u003eWhile \u003cem\u003eAbject Art\u003c\/em\u003e was still on view, the exhibition entered debates in the United States Congress over National Endowment for the Arts funding. Its language and imagery were used by conservative opponents as evidence of precisely the kind of culture they believed public institutions should not support. An exhibition about abjection — about deciding what must remain outside — becomes something political opponents attempt to push outside the legitimate museum itself.\u003c\/p\u003e\u003cp\u003eThe catalogue survives as more than documentation of a provocative Whitney exhibition. It records the moment “abjection” moved from psychoanalytic theory into institutional art history, and institutional art history moved directly into political argument.\u003c\/p\u003e\u003cp\u003eWhitney Museum of American Art, New York, 1993. ISP Papers No. 3. Approx. 23 × 16 cm, 111 pages, illustrated softcover.\u003c\/p\u003e\u003cp\u003e\u003cem\u003eCondition: Good. General handling and shelf wear, rubbing and surface marking to covers, with wear along edges and extremities consistent with age and use. Complete, with handwritten notes by a previous owner inside.\u003c\/em\u003e\u003c\/p\u003e","brand":"Whitney Museum of American Art","offers":[{"title":"Default Title","offer_id":54394253181266,"sku":null,"price":165.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/WhitneymuseumofmodernArt.AbjectArt_RepulsionanddesireinAmericanart.1993.jpg?v=1787706866"},{"product_id":"thomas-ruff-essor-essor-gallery-london-2001","title":"THOMAS RUFF, Essor, Essor Gallery, London, 2001","description":"\u003cp\u003eExhibition catalogue published by Essor Gallery, London, 2001. Produced for Thomas Ruff's exhibition at Essor Gallery, 6 September–28 November 2001 — Ruff's first exhibition in the United Kingdom and simultaneously the opening exhibition of the newly founded gallery.\u003c\/p\u003e\u003cp\u003e22 × 28 cm. 88 unnumbered pp. Softcover, extensively illustrated in colour. Texts by Jacques Herzog and Valeria Liebermann. English text. ISBN 1-904068-00-6.\u003c\/p\u003e\u003cp\u003eThe catalogue places nearly two decades of series against each other with minimal mediation: frontal portraits, architectural photographs, interiors, and Ruff's 1987 self-portrait — in which the photographer submits to his own system as just another photographic surface — alongside Substrat 01, an abstract work begun that same year. Valeria Liebermann's essay 'Photography as Proving Ground' draws on Ruff's account of why the portraits had to exist as a series: one photograph could assert something, but an idea of 'the human being' required repetition and difference across many. Jacques Herzog's essay addresses a decade-long working relationship that began when Ruff photographed the Ricola storage building in Laufen for the architects' Venice Architecture Biennale entry in 1991 and continued through the Eberswalde Library façade and the HypoVereinsbank arcades in Munich. Weeks after this catalogue appeared, Ruff's mid-career survey \u003cem\u003eFotografien 1979–heute\u003c\/em\u003e opened at the Staatliche Kunsthalle Baden-Baden, beginning a tour through Essen, Oslo, Munich, Dublin, Porto, Liverpool and New York. This slim, unpaginated pamphlet sits at the exact hinge point before that consolidation.\u003c\/p\u003e\u003cp\u003eCondition: very good. Wrappers show light handling and faint surface wear consistent with age; minor edge wear. Internally clean and bright. Binding sound.\u003c\/p\u003e\u003cp\u003eThis object is discussed in \u003ca href=\"https:\/\/thenewrare.com\/blogs\/journal\/recirculation-007-how-things-enter-history\"\u003eRE:Circulation No. 007 — How Things Enter History\u003c\/a\u003e.\u003c\/p\u003e","brand":"Essor Gallery","offers":[{"title":"Default Title","offer_id":54550074851666,"sku":"TNR-2026-0648","price":95.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Ruff_Thomas.Essor_accompanyingexhibitioncatalogue.2001.jpg?v=1788598512"},{"product_id":"wolfgang-tillmans-soldiers-the-nineties-four-hole-copy-walther-konig-cologne-1999","title":"WOLFGANG TILLMANS, Soldiers: The Nineties (Four-Hole Copy), Walther König, Cologne, 1999","description":"\u003cp\u003ePublished in 1999 alongside Tillmans's Soldiers – The Nineties project, the book grew out of a decade of looking at how young men in uniform appeared through photography and the media. Tillmans combined photographs he made himself with images he collected, allowing repetition and circulation to become as important as any single photograph. The project was shown that year at Interim Art \/ Maureen Paley in London, Andrea Rosen Gallery in New York, and elsewhere.\u003c\/p\u003e\u003cp\u003eWalther König, Cologne, 1999. 21.5 × 30 cm. 80 pages. Printed hardcover.\u003c\/p\u003e\u003cp\u003eThis copy carries four punctures to the rear cover, positioned close to its corners. Their regular placement suggests something practical rather than accidental: at some point the book appears to have been attached or mounted to another surface. For display? Storage? A shop? An exhibition? There is no surviving evidence that allows us to say.\u003c\/p\u003e\u003cp\u003eWhich is exactly where this copy becomes interesting. A publication already concerned with the movement and repetition of images has itself passed through an undocumented physical use. Four holes are all that remain of it.\u003c\/p\u003e\u003cp\u003eThe New Rare identifies this as the Four-Hole Copy — a copy-specific state within the edition. No history has been assigned beyond what the object itself can support.\u003c\/p\u003e\u003cp\u003eOne publication. Many copies. This one passed through something.\u003c\/p\u003e\u003cp\u003eCondition: Good. General surface and edge wear; four punctures to rear cover, retained and foregrounded as a defining copy-specific alteration. Origin unknown.\u003c\/p\u003e\u003cp\u003e\u003ca href=\"\/blogs\/journal\/the-new-rare-at-glue-book-fair-2026\"\u003eThe New Rare at Glue Book Fair 2026\u003c\/a\u003e\u003c\/p\u003e","brand":"Walther König","offers":[{"title":"Default Title","offer_id":54660302602578,"sku":null,"price":400.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Tillmans_Wolfgang.SoldiersTheNineties.1999.jpg?v=1789068050"},{"product_id":"felix-gonzalez-torres-felix-gonzalez-torres-art-press-new-york-1993","title":"FELIX GONZALEZ-TORRES, Felix Gonzalez-Torres, A.R.T. Press, New York, 1993","description":"\u003cp\u003eThe first monograph devoted to Felix Gonzalez-Torres, published in 1993 by A.R.T. Press, while many of the works now central to his reputation — stacks, candy pieces, curtains, billboards and photographic works — were still part of an unfolding contemporary practice rather than an established historical one. The book contains extensive colour and black-and-white documentation together with a poster made for the publication.\u003c\/p\u003e\u003cp\u003eInterview by Tim Rollins; essay by Susan Cahan; short story by Jan Avgikos. Designed by Lausten\/Cossutta Design.\u003c\/p\u003e\u003cp\u003eTim Rollins interviewed Gonzalez-Torres in his New York apartment on 16 April and 12 June 1993. Rollins was not simply an outside critic: he had been a core member of Group Material and had developed his own radical collaborative practice with K.O.S. Gonzalez-Torres himself had been a member of Group Material from 1987 to 1991. The conversation therefore reads as an exchange between artists formed within overlapping ideas about collective action, political responsibility, pedagogy and the circulation of art.\u003c\/p\u003e\u003cp\u003eIt is also unusually direct. Gonzalez-Torres discusses disappearance, generosity and his refusal of the static art object — describing works designed to diminish, change or leave the exhibition altogether. Read thirty-three years later, these aren't retrospective explanations of a canonised artist. Rollins is speaking to Gonzalez-Torres while the language of the work is still being worked out.\u003c\/p\u003e\u003cp\u003eAnd the publication itself quietly participates in that logic: a book accompanied by a separate folded image, something intended to be removed, unfolded and potentially placed elsewhere.\u003c\/p\u003e\u003cp\u003eThis copy remains in shrink-wrap, with the poster retained inside as issued.\u003c\/p\u003e\u003cp\u003eA.R.T. Press, New York, 1993. 21.6 × 30.5 cm. 96 pages. Softcover with dust jacket; large folded poster laid in, as issued. ISBN 0-923183-12-4.\u003c\/p\u003e\u003cp\u003eCondition: Very good. Shrink-wrapped, with light surface and handling wear visible to the wrapping; contents and folded poster retained within.\u003c\/p\u003e\u003cp\u003e\u003ca href=\"\/blogs\/journal\/the-new-rare-at-glue-book-fair-2026\"\u003eThe New Rare at Glue Book Fair 2026\u003c\/a\u003e\u003c\/p\u003e","brand":"A.R.T. Press","offers":[{"title":"Default Title","offer_id":54661072781650,"sku":null,"price":175.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Gonzalez-Torres_Felix.Artistmonograph_FelixGonzales-Tores.1993.jpg?v=1789069772"},{"product_id":"david-wojnarowicz-rimbaud-in-new-york-1978-79-ppp-editions-2004","title":"DAVID WOJNAROWICZ, Rimbaud in New York 1978–79, PPP Editions \/ Roth Horowitz, 2004","description":"\u003cp\u003eThe face had already travelled before Wojnarowicz put it on the street. Étienne Carjat photographed Rimbaud in 1871; Ray Johnson appropriated that portrait for the 1957 New Directions edition of \u003cem\u003eIlluminations\u003c\/em\u003e; Wojnarowicz later took the image from his own copy, enlarged it on the photostat machine at a temporary advertising job, cut out the eyes and turned it into a mask. Rimbaud then reappeared in Times Square, on the subway, at Coney Island and along the piers — a nineteenth-century image passed through publishing, reproduction and downtown New York before becoming Wojnarowicz's surrogate.\u003c\/p\u003e\u003cp\u003eTwenty-five images became a P·P·O·W portfolio in 1990. After Wojnarowicz's death, the negatives entered the Fales Library archive. In autumn 2004 Andrew Roth returned to them, producing and exhibiting a larger group of 44 photographs and publishing this book through PPP Editions. The series therefore exists through repeated acts of retrieval: book image, mask, photograph, archive, book again.\u003c\/p\u003e\u003cp\u003ePPP Editions \/ Roth Horowitz, New York, 2004. Edited by Andrew Roth; essay by Jim Lewis. 22 × 29 cm, 108 pages, hardcover. First edition of 1,000 copies.\u003c\/p\u003e\u003cp\u003eCondition: Very good. Still shrink-wrapped, with light handling and minor wear visible to the wrapping.\u003c\/p\u003e\u003cp\u003e\u003ca href=\"\/blogs\/journal\/the-new-rare-at-glue-book-fair-2026\"\u003eThe New Rare at Glue Book Fair 2026\u003c\/a\u003e\u003c\/p\u003e","brand":"PPP Editions \/ Roth Horowitz","offers":[{"title":"Default Title","offer_id":54661214437714,"sku":"TNR-2026-0656","price":600.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Wojnarowicz_David.RimbaudinNewYork1978-9.2004.jpg?v=1789071529"},{"product_id":"corpus-delicti-london-i-90erne-kunstforeningen-copenhagen-1995","title":"SARAH LUCAS, JAKE \u0026 DINOS CHAPMAN, MAT COLLISHAW, ANGELA BULLOCH ET AL. — Corpus Delicti: London i 90'erne, Kunstforeningen, Copenhagen, 1995","description":"\u003cp\u003ePublished by Kunstforeningen, Copenhagen, alongside \u003cem\u003eCorpus Delicti: London i 90'erne\u003c\/em\u003e, 25 March–28 May 1995, this catalogue brought twelve London artists to a Danish audience under a title split between two languages. \u003cem\u003eCorpus delicti\u003c\/em\u003e is the Latin legal term for the evidence that a crime has taken place. \u003cem\u003eLondon i 90'erne\u003c\/em\u003e means London in the nineties.\u003c\/p\u003e\u003cp\u003eThe selection is broader than the shorthand later attached to the period. Sarah Lucas, Jake and Dinos Chapman and Mat Collishaw appear alongside Angela Bulloch, Angus Fairhurst, Graham Gussin, Abigail Lane, Georgina Starr, Sam Taylor-Wood and Jane and Louise Wilson. This is not a single style or a single argument. It is a city's art scene, assembled for export.\u003c\/p\u003e\u003cp\u003eThe cover sets the tone before the book is opened. A young woman in a patterned dress lies backwards off a leather sofa, her head hanging toward the floor, the whole image printed in cold blue monochrome. The title is set in two voices: \"corpus\" in a plain lowercase sans-serif, \"delicti\" in blackletter. A body, and the evidence of a crime.\u003c\/p\u003e\u003cp\u003eOn the back, the artists are listed in spaced capitals. At the foot sit a monogram and the logo of the British Council, so a show at a Copenhagen art society carries the mark of Britain's cultural agency abroad. The list runs alphabetically by surname, with one exception: the Chapmans appear as Dinos, then Jake, but the Wilsons as Louise, then Jane. Twelve names, ten practices. Two collaborating pairs, each entered as two individuals.\u003c\/p\u003e\u003cp\u003eKunstforeningen, Copenhagen, 1995. Texts by Torben Christensen, Andrew Renton and Helle Behrndt. Illustrated softcover.\u003c\/p\u003e\u003cp\u003e\u003cem\u003eCondition: Good. Light rubbing and surface marks to covers, with wear to edges and corners, most visible at the lower left of the rear cover.\u003c\/em\u003e\u003c\/p\u003e","brand":"Kunstforeningen","offers":[{"title":"Default Title","offer_id":55073098465618,"sku":null,"price":75.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Bulloch_Angela.Chapman.Lucas_Sarahetal.CorpusDelicti.1995.jpg?v=1792032918"},{"product_id":"duane-hanson-housewife-christine-breyhan-reihe-cantz-001-cantz-2000","title":"DUANE HANSON, Housewife, Christine Breyhan, Reihe Cantz 001, Cantz, 2000","description":"\u003cp\u003eChristine Breyhan\u003cbr\u003eReihe Cantz 001\u003cbr\u003eCantz, 2000\u003c\/p\u003e\u003cp\u003ePublished in April 2000 as number 001, the inaugural title in the Reihe Cantz series. Christine Breyhan's study concentrates on a single sculpture: Duane Hanson's Housewife, 1969\/70.\u003c\/p\u003e\u003cp\u003ePage 7 records the sculpture's institutional history: polyester resin and fibreglass, from the collection of Reinhard Onnasch, first exhibited at O.K. Harris Gallery in New York and on view at the Neues Museum Weserburg in Bremen since 1991. A publication written in the presence of its subject.\u003c\/p\u003e\u003cp\u003eThat arrangement was temporary. The Onnasch collection left the Weserburg in 2005, five years after the book appeared. The Astrup Fearnley Museet in Oslo now lists a Hanson sculpture titled Housewife (Homemaker), 1969–1970, in its collection. The relationship between the two collection records remains to be established.\u003c\/p\u003e\u003cp\u003eOn the cover, the figure sits in a worn green armchair beneath a dome hairdryer, cigarette at her mouth, one slippered foot resting on a vinyl pouffe. Two pink bars carry the title across the photograph. The reverse is entirely pink, with a German text describing the figure as an American anti-Playmate.\u003c\/p\u003e\u003cp\u003eInside, close-up photographs isolate the sculpture's details: the plastic hairdryer cap, stained fingers, a copy of Sunset magazine, the hem of a slip. Other works are reproduced with collection credits, including two attributed to the artist's estate. Hanson died in 1996, four years before publication. The text notes that the figure stands without a plinth.\u003c\/p\u003e\u003cp\u003eThis copy retains evidence of a previous reading. Yellow highlighting runs throughout, following Breyhan's argument across successive pages. On page 13, the reader marks a passage describing Hanson's subjects: not the famous or successful, but individuals characterised by anonymity and failure.\u003c\/p\u003e\u003cp\u003eThe annotations introduce a second, independent reading of the work. Hanson's sculpture reproduces the ordinary body in exacting detail. The previous owner, in turn, selected and marked the printed account, leaving a record of attention within the publication itself.\u003c\/p\u003e\u003cp\u003eOriginally produced to accompany the understanding of a particular sculpture, the book now carries another layer of use. The text remains unchanged. Its reception has become visible.\u003c\/p\u003e\u003cp\u003eThe sculpture's institutional setting was temporary. The book retains its reader.\u003c\/p\u003e\u003cp\u003eDetails\u003cbr\u003eCantz, 2000. Text by Christine Breyhan. German language. Illustrated softcover. 68 pages, 27 photographs. 15.5 × 20.1 cm. First title in the Reihe Cantz series.\u003c\/p\u003e\u003cp\u003eCondition: Good. Light edge wear to covers. Yellow highlighter annotations throughout by a previous owner, with a small pencil mark in the margin of page 31. The markings are retained as part of this copy's reading history.\u003c\/p\u003e","brand":"Cantz","offers":[{"title":"Default Title","offer_id":55081585115474,"sku":null,"price":45.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Hanson_Duane._Housewife._2000.jpg?v=1792043936"}],"url":"https:\/\/thenewrare.com\/collections\/the-archive-film.oembed","provider":"The New Rare","version":"1.0","type":"link"}