The Archive

Everything currently held at The New Rare, newest first.

  • Original 1994 Tate postcard reproducing Helen Chadwick's Enfleshings I, 1989, showing a photographic transparency image: a deep red-orange circular mass of organic matter — raw flesh, viscera, and biological material — arranged around a central glowing light bulb, set against a dark background with a soft blue border characteristic of Tate postcard printing of the period. Reverse of 1994 Tate Helen Chadwick Enfleshings I postcard showing plain white card with small black text block bottom left reading 'HELEN CHADWICK / Enfleshings I 1989 / Photographic transparency and lightbox / 106.6 × 91.5 × 18 cm / Tate Gallery Purchase / © Helen Chadwick Estate / photographs: Helen Chadwick and Edward Woodman / Purchased 1994' with barcode and ISBN number.

    Helen Chadwick — Enfleshings I — Tate Postcard, 1994

    Helen Chadwick — Enfleshings I — Tate Postcard, 1994

  • Original 2007 Charles Ray exhibition announcement card for Matthew Marks Gallery, New York, recto showing a solid green ground with three exhibition titles printed in large dark green sans-serif uppercase text: 'CHICKEN', 'THE NEW BEE- / TLE', and 'FATHER FIGURE', stacked vertically with generous leading. Reverse of 2007 Charles Ray Matthew Marks Gallery exhibition card showing a near-black ground with centred silver-grey text reading 'Charles Ray / Matthew Marks Gallery / November 14, 2007 to January 19, 2008 / 522 West 22nd Street, New York / 212 243 0200 www.matthewmarks.com' in spaced small caps and serif type.

    Charles Ray — Chicken, The New Beetle, Father Figure — Exhibition Postcard, Matthew Marks Gallery, New York, 2007

    Charles Ray — Chicken, The New Beetle, Father Figure — Exhibition Postcard, Matthew Marks Gallery, New York, 2007

  • Original 1992 Richard Prince Good Revolution postcard for Parkett 34, recto showing a colour reproduction of the edition: a framed display piece combining a dark photographic C-print backdrop depicting a nightclub or cabaret scene with neon signage, overlaid with the text 'Richard Prince' and 'good revolution' in retro gold lettering with a Playboy bunny motif, and a gold 7-inch vinyl record mounted to the right with a Parkett label, above a small engraved silver plaque. Reverse of 1992 Richard Prince Parkett 34 postcard showing plain cream card with Parkett Verlag and Parkett Publishers address block in small grey type — Quellenstrasse 27, CH-8005 Zürich and 636 Broadway, New York NY 10012 — with the Parkett logotype in gothic script bottom left and the caption 'Richard Prince Edition for Parkett 34' bottom right.

    Richard Prince — Good Revolution / Parkett 34 Postcard, 1992

    Richard Prince — Good Revolution / Parkett 34 Postcard, 1992

  • Reverse of 2006 Riflemaker becomes Indica announcement card showing a black-and-white photograph of four figures standing against a plain background, one with face obscured by a white balloon, alongside the text 'Riflemaker becomes Indica, November 20' and a list of participating artists including Takis, Conrad Shawcross, Yoko Ono, Gustav Metzger, Goldfrapp, Jesús Rafael Soto, Jaime Gill, Mark Boyle, Boyle Family, Janfamily, Liliane Lijn, Juan Fontanive, Lourdes Castro, David Medalla, and Julio le Parc. Original 2006 Janfamily / Riflemaker promotional announcement card, recto showing two colour photographs stacked vertically: upper image of figures seated at a dining table with white paper squares obscuring their faces; lower image of a group of people gathered in a domestic interior with bookshelves, several wearing green, with the text 'Janfamily' top left and 'Riflemaker' bottom right in small serif type.

    Janfamily / Riflemaker becomes Indica — Promotional Announcement Card, London, 2006

    Janfamily / Riflemaker becomes Indica — Promotional Announcement Card, London, 2006

  • Original 1960 Wolfgang Paalen exhibition insert 'En Hommage', Librairie Loliée, Paris, recto showing the title in quotation marks, artist name PAALEN Wolfgang with dates 1905–1958, a list of three loaned works — Personnages dans une grotte 1933, Selam Trilogy 1947, Sans titre 1954 — lender credit to Mme Géo Dupin, and a note identifying the sheet as an extract from a contemporary article on the retrospective. Reverse of 1960 Wolfgang Paalen 'En Hommage' insert showing an elegiac French text by Octavio Paz, dated Paris, 5 novembre 1960, describing Paalen's practice as suspended between extremes, moving between poetry, science, pre-Columbian culture, and abstraction, closing with the phrase 'Espace sans rivages'.

    Wolfgang Paalen — “En Hommage” / Octavio Paz Text Insert, Librairie Loliée, Paris, 1960

    Wolfgang Paalen — “En Hommage” / Octavio Paz Text Insert, Librairie Loliée, Paris, 1960

  • Original 1979 Dennis Oppenheim exhibition invitation card for Projects 78/79, ARC Paris, Musée d'Art Moderne de la Ville de Paris, showing the artist's name in large bold lowercase type alongside the exhibition title, vernissage date Friday 14 December 18–21h, and run dates through 20 January 1980, with a formal invitation line from the Mayor of Paris at the top. Reverse of 1979 Dennis Oppenheim Projects 78/79 invitation card showing a black-and-white photograph of an installation view — a large-scale sculptural structure with angled metal supports, flat platform surfaces, and dramatic directional light casting sharp shadows across the interior space, consistent with Oppenheim's late 1970s architectural and machine-based sculptural environments.

    Dennis Oppenheim — Projects 78/79, ARC Paris, 1979–1980

    Dennis Oppenheim — Projects 78/79, ARC Paris, 1979–1980

  • Clive Barker — Heads and Chariots, Anthony d'Offay, London, 1974 Clive Barker — Heads and Chariots, Anthony d'Offay, London, 1974

    Clive Barker — Heads and Chariots, Anthony d'Offay, London, 1974

    Clive Barker — Heads and Chariots, Anthony d'Offay, London, 1974

  • Front cover of original 2015 Alex Bag, The Van (Redux) exhibition brochure, ICA Miami — black ground with video still of a blonde woman in profile, white text reading ALEX BAG / The Van / (Redux), ICA Miami logo lower right. Interior text page of Alex Bag, The Van (Redux) exhibition brochure, ICA Miami, 2015 — exhibition essay describing Bag's video practice and ICA Miami presentation, alongside a dark video still of a figure smoking.

    Alex Bag — The Van (Redux)*, Institute of Contemporary Art, Miami, 2015

    Alex Bag — The Van (Redux)*, Institute of Contemporary Art, Miami, 2015

  • Original 2011 In Deed: Certificates of Authenticity in Art catalogue, ed. Hapgood & Lauf. Salmon-pink cover with title in bold black serif type left, artist list right. Spine repeating 'deed' in red. Interior page from In Deed, 2011. Carey Young, Donorcard, 2005, offset on card stock, signed. Blue credit-card with red heart; reverse shows legal certificate text, signed and dated 16/11/2005.

    In Deed: Certificates of Authenticity in Art, ed. Hapgood & Lauf, ROMA Publications, 2011

    In Deed: Certificates of Authenticity in Art, ed. Hapgood & Lauf, ROMA Publications, 2011

  • Original 2005 Yves Klein auction catalogue, Pierre Bergé & Associés, Drouot Richelieu, Paris. Front cover showing a colour photograph of La Vénus d'Alexandrie, a headless female torso sculpture coated in International Klein Blue (IKB), against a white ground. Title text in red and black: 'Vente Art Moderne / Art Contemporain / Quelques Klein... / de la collection Jean-Paul Ledeur / Le gardien du bleu'. Pierre Bergé & Associés imprint upper centre with associate names. Drouot Richelieu, Paris. Vendredi 25 no Open spread from 2005 Yves Klein / Jean-Paul Ledeur collection auction catalogue, Pierre Bergé & Associés. Left page: full-page black-and-white photograph of Yves Klein seated on the floor in a dark suit, holding a monochrome painting above his head and gazing up at it. Page number 4 lower left, with handwritten inscription 'W. Maywald' lower right. Right page: colour photograph of Jean-Paul Ledeur at work in a studio or laboratory, with blue pigment visible in the background, alongside the essay heading 'Y

    Yves Klein — Quelques Klein… de la collection Jean-Paul Ledeur, Pierre Bergé & Associés, 2005

    Yves Klein — Quelques Klein… de la collection Jean-Paul Ledeur, Pierre Bergé & Associés, 2005

  • Original 1994 Jürgen Klauke Prosecuritas exhibition catalogue. Front cover showing a black-and-white scanned or photocopied image: two small dog silhouettes walk across a pale ground trailing long curved lines, while large dark shadowy forms — a vertical pole left and a crouching figure lower right — dominate the foreground. Title 'JÜRGEN KLAUKE »PROSECURITAS«' in small spaced sans-serif type upper centre. Square format, cloth-bound hardcover with clear plastic dust jacket. Interior spread from Jürgen Klauke Prosecuritas catalogue, 1994. Upper half: four-panel black-and-white photographic sequence captioned 'Abb. 9 »SCHUSSFOLGE/SCHLUSSFOLGE«, 1976, vierteilige Fotosequenz, je 80×120 cm', showing a shirtless man holding a revolver to his head in four sequential poses. Lower half: full-width black-and-white photograph captioned 'Abb. 10 aus dem Werkkomplex: »SCHATTENBILDER«, 1984, Fotoarbeit, 110×200 cm', showing two seated silhouettes facing each other across a table with a tel

    Jürgen Klauke — Prosecuritas, Cantz / Kunsthalle Bielefeld, 1994

    Jürgen Klauke — Prosecuritas, Cantz / Kunsthalle Bielefeld, 1994

  • Black-and-white softcover catalogue titled André Kertész. The cover features a blurred self-portrait-like silhouette reflected against a doorway, with the photographer's name printed across the centre. Early photograph The Kiss, Budapest (1915), depicting a formally dressed couple embracing beneath foliage.

    André Kertész — Budapest, Paris, New York, Vintage Galéria, Budapest, 2007

    André Kertész — Budapest, Paris, New York, Vintage Galéria, Budapest, 2007

  • Original 2006 Isa Genzken monograph, Phaidon Contemporary Artists Series. Front cover showing Rose II, a tall slender steel rose sculpture with a single bud, photographed against a pale sky in front of a modernist glass-and-steel institutional building. Title 'ISA GENZKEN' in black sans-serif type upper right, with author names Alex Farquharson, Diedrich Diederichsen, Sabine Breitwieser. Phaidon imprint lower left. Laminated ex-library copy. Two full-page close-up photographs of human ears against dark backgrounds, one plain, one with a small circular stud earring.

    Isa Genzken — Phaidon Contemporary Artists Series, 2006

    Isa Genzken — Phaidon Contemporary Artists Series, 2006

  • Mike Kelley Plato’s Cave, Rothko’s Chapel, Lincoln’s Profile (with Sonic Youth) / The Peristaltic Airwaves (2012) double CD in sealed jewel case. Purple-toned cover image featuring cave-like formations with white typography. Published by Compound Annex Records. Reverse of sealed Mike Kelley double CD showing track information, recording credits, performance details, and a black-and-white photograph of Kelley. Includes references to Sonic Youth, Artists Space, New York, and KPFK Radio, Los Angeles.

    Mike Kelley — Plato's Cave, Rothko's Chapel, Lincoln's Profile (with Sonic Youth) / The Peristaltic Airwaves, Compound Annex, 2012

    Mike Kelley — Plato's Cave, Rothko's Chapel, Lincoln's Profile (with Sonic Youth) / The Peristaltic Airwaves, Compound Annex, 2012

  • Katerina Jebb — Deus ex Machina, Musée Réattu / Skira, 2017 Katerina Jebb — Deus ex Machina, Musée Réattu / Skira, 2017

    Katerina Jebb — Deus ex Machina, Musée Réattu / Skira, 2017

    Katerina Jebb — Deus ex Machina, Musée Réattu / Skira, 2017

  • Stack of art theory books spine-out including Roland Barthes Camera Lucida, Mythologies, Image Music Text, Walter Benjamin Illuminations, Jean Baudrillard America, Douglas Crimp On the Museum's Ruins, and Mark Dion Natural History and Other Fictions. Second stack including Art After Modernism, Harrison & Wood Art in Theory 1900–1990, Lucy Lippard Six Years The Dematerialization of the Art Object, Beyond Recognition by Owens, and Modernism in Dispute.

    Simon Morris & Helen Sacoor — Bibliomania 1998–1999, 1999

    Simon Morris & Helen Sacoor — Bibliomania 1998–1999, 1999

  • Original 2015 Mark Grotjahn K&H Liquors artist book, Karma, New York. Front cover showing two men standing in a liquor store aisle lined with bottles, with the Karma imprint visible at lower left. Open spread from Mark Grotjahn K&H Liquors, Karma, 2015. Two handmade liquor store price signs: 'Watneys $5.99 Tx' in red and blue on yellowed label, and 'Special Potters 219 Zoo' on fluorescent green Young's Market Company sticker.

    Mark Grotjahn — K&H Liquors, Karma, New York, 2015

    Mark Grotjahn — K&H Liquors, Karma, New York, 2015

  • Félix González-Torres exhibition catalogue with a dark green abstract cover image resembling a cosmic field or atmospheric surface. Soft-focus light effects and deep green tonal variations create a minimal, contemplative appearance. Open spread from the Félix González-Torres exhibition catalogue showing a text essay opposite a minimalist grid drawing with a diagonal line. Small black-and-white image reproduced within the essay.

    Félix González-Torres — Hirshhorn Museum and Sculpture Garden, Washington D.C., 1994

    Félix González-Torres — Hirshhorn Museum and Sculpture Garden, Washington D.C., 1994

  • Original 1973 Robert Doty, Extraordinary Realities, Whitney Museum of American Art, New York. Square softcover divided horizontally into two equal bands — upper half in warm amber-orange, lower half in deep cobalt blue — with 'EXTRAORDINARY' in white outlined rounded sans-serif type on the orange field and 'REALITIES' in the same type on the blue field. Spine wear, edge rubbing, and corner creasing consistent with period." nterior title page from 1973 Robert Doty, Extraordinary Realities, Whitney Museum of American Art. Cream page with 'EXTRAORDINARY REALITIES' in large black outlined rounded sans-serif type at top, followed by 'by Robert Doty / with a preface by Edward Gorey / Whitney Museum of American Art, New York' in smaller serif type below.

    Extraordinary Realities — Robert Doty, Whitney Museum of American Art, 1973

    Extraordinary Realities — Robert Doty, Whitney Museum of American Art, 1973

  • Original 1968 Albert Cossery, Men God Forgot, City Lights Books, San Francisco, second printing. Cream softcover with 'men God forgot' in large bold lowercase serif type at top and 'cossery' at foot, with a black-and-white close-up photograph of a young man's face — dark eyes, strong features, slightly downward gaze — filling the lower two-thirds of the cover. Age toning, light rubbing, and edge wear consistent with period. Reverse of 1968 Albert Cossery, Men God Forgot, City Lights Books. Cream back cover with 'HENRY MILLER WRITES:' in bold serif type at top, followed by Miller's endorsement dated January 19, 1963: 'Am happy you are reprinting Men God Forgot. I reread it recently and still think it a gem. In a way, it's a classic...' Below: brief biography of Cossery noting he was born in Egypt in 1913 and lives in Paris, and a note that the cover photo is courtesy of New Directions. Price: $1.50 at foot.

    Albert Cossery — Men God Forgot

    Albert Cossery — Men God Forgot

  • Second cover variant of 2012 Lovecat: The Model Fanzine, Issue 3, The Art Issue. Large black-and-white halftone portrait of Andy Warhol with yellow hair and red lips, overlaid with dark green graffiti-style 'lovecat' lettering and Mr. Brainwash signature at lower right. Caption reads 'ANDY WARHOL BY MR. BRAINWASH / THE ART ISSUE / DON'T PAY ANY ATTENTION TO WHAT THEY WRITE ABOUT YOU. JUST MEASURE IT IN INCHES.' Contributors listed: Raphael Mazzucco, Anja Konstantinova, Chuck Close, Raica Oliveira. Original 2012 Lovecat: The Model Fanzine, Issue 3, The Art Issue, New York. Cover showing a large black-and-white halftone portrait of Cindy Crawford overlaid with pink graffiti-style 'lovecat' lettering, pink heart, and handwritten text reading 'Love is the Answer'. Caption reads 'CINDY CRAWFORD BY MR. BRAINWASH / THE ART ISSUE'. General handling wear and edge wear consistent with period fanzine.

    Lovecat: The Model Fanzine, Issue 3 — The Art Issue

    Lovecat: The Model Fanzine, Issue 3 — The Art Issue

  • Original 1990 Laura Carpenter / Philippe Thomas, Insights, Galerie Claire Burrus, Paris. Softcover with a close-up black-and-white photograph of a curved shadow cast across a pale textured surface, suggesting a body or sculptural form. 'INSIGHTS' in spaced white serif capitals at upper centre, 'LAURA CARPENTER' in smaller spaced white serif type at lower centre. Light surface wear and minor corner softening consistent with period. Reverse of 1990 Laura Carpenter / Philippe Thomas, Insights, Galerie Claire Burrus, Paris. Softcover back showing a close-up colour photograph of two adjacent fabric surfaces — a warm yellow draped textile on the left and a cool grey-blue fabric on the right — meeting at a diagonal fold, no text, no imprint. Light surface wear and age toning consistent with period.

    Laura Carpenter / Philippe Thomas — Insights

    Laura Carpenter / Philippe Thomas — Insights

  • Original 2015 Daniel Bosser, Philippe Thomas Declines His Identity, Occasional Papers, London. Cream textured softcover with 'DANIEL BOSSER' in small spaced serif capitals at top, 'PHILIPPE THOMAS / DECLINES HIS IDENTITY' in larger spaced serif type at centre, and a black-and-white photograph below showing Philippe Thomas seated at a table, holding up a document, wearing a black top, expression direct and slightly confrontational. 'Occasional Papers' in italic type at foot. Reverse of 2015 Daniel Bosser, Philippe Thomas Declines His Identity, Occasional Papers. Plain cream textured back cover, entirely unprinted except for ISBN barcode and number 978-0-9929039-0-9 and the URL www.occasionalpapers.org at foot. Book shown in protective polypropylene sleeve.

    DANIEL BOSSER / PHILIPPE THOMAS — Philippe Thomas Declines His Identity, Occasional Papers, London, 2015

    DANIEL BOSSER / PHILIPPE THOMAS — Philippe Thomas Declines His Identity, Occasional Papers, London, 2015

  • Original 1967 Harry Callahan exhibition catalogue, Museum of Modern Art, New York. Cream softcover with a black-and-white photograph of a standing female figure seen from behind, torso bare, seated on a stool before a window with venetian blinds, interior domestic space visible around her. 'HARRY CALLAHAN' in sans-serif type below the image. Interior page from 1967 Harry Callahan, Museum of Modern Art. Black-and-white photograph of a single dried plant stem with a small spherical seed head at its tip, two additional bare stems beside it, all set against a plain white ground in high-contrast graphic isolation

    Harry Callahan — Museum of Modern Art, New York, 1967

    Harry Callahan — Museum of Modern Art, New York, 1967

  • Inverted Odysseys — Claude Cahun / Maya Deren / Cindy Sherman Inverted Odysseys — Claude Cahun / Maya Deren / Cindy Sherman

    Inverted Odysseys — Claude Cahun / Maya Deren / Cindy Sherman

    Inverted Odysseys — Claude Cahun / Maya Deren / Cindy Sherman

  • Original 1973 William S. Burroughs White Subway, Aloes Books, London, first edition. Photo-illustrated softcover showing a collaged black-and-white street photograph: a building facade with a partially visible sign reading 'ATORS' at upper left, a bare winter tree at centre, and a figure walking on the pavement below, with 'WHITE SUBWAY' and 'william burroughs' in white type overlaid on the image. Reverse of 1973 William S. Burroughs White Subway, Aloes Books. Plain unprinted card back cover showing age toning, foxing, and handling marks consistent with a small-press publication of the period.

    William S. Burroughs — White Subway — Aloes Books, London, 1973

    William S. Burroughs — White Subway — Aloes Books, London, 1973

  • Original 1964 Arcade No. 1, William Burroughs Special, Dodo/Arcade, London. Cover showing large bold '5d' numeral in black on cream ground with 'arcade' in script below, a blue starburst label reading 'William Burroughs Special' across the centre, and a red price roundel showing '2/6'. Age toning and light soiling consistent with period. Interior spread from 1964 Arcade No. 1, William Burroughs Special. Page by Jane Beckett showing a grid of twelve black-and-white Victorian-era boxing and wrestling instruction photographs, with a column of technical move names in small type at lower right.

    William S. Burroughs — Arcade No. 1: William Burroughs Special

    William S. Burroughs — Arcade No. 1: William Burroughs Special

  • Original 1979 AA Bronson and Peggy Gale, eds., Performance by Artists, Art Metropole, Toronto. Softcover with white ground and bold black title typography, 'Performance by Artists' in large sans-serif type, editors' names below, Art Metropole imprint at foot. nterior page from 1979 Performance by Artists, Art Metropole. Black-and-white photograph of Ulay and Marina Abramovic in a durational performance, two nude figures facing each other with a clothed photographer between them in a narrow doorway.

    AA Bronson & Peggy Gale, eds. — Performance by Artists

    AA Bronson & Peggy Gale, eds. — Performance by Artists

  • Original 1970 Larry Bell, Robert Irwin, Doug Wheeler exhibition catalogue, Tate Gallery, London, 5–31 May 1970. Plain pale yellow square-format cover, unprinted, with visible age toning and light surface wear consistent with period exhibition material. Interior spread from 1970 Larry Bell, Robert Irwin, Doug Wheeler, Tate Gallery. Four black-and-white film stills showing blurred motion of a vehicle or object in a darkened space, printed across a double-page spread.

    Larry Bell / Robert Irwin / Doug Wheeler — Tate Gallery, London, 1970

    Larry Bell / Robert Irwin / Doug Wheeler — Tate Gallery, London, 1970

  • Original 2007 Matthew Barney Supercontemporary exhibition publication, Electa, Milan. Cover showing Barney in prosthetic makeup with pointed ears and pale skin, wearing a white suit jacket, set against a blue tartan background, with the title in magenta type and series name in a red vertical band. Interior page from 2007 Matthew Barney Supercontemporary, Electa. Showing a production photograph of multiple figures with elaborate floral and bubble headdresses submerged in a field of white pearled material, Barney at centre.

    Matthew Barney — Supercontemporary, Electa, Milan, 2007

    Matthew Barney — Supercontemporary, Electa, Milan, 2007

  • Original 2012 Acne Paper No. 14 magazine, Manhattan Portraits issue, Acne Studios, Winter 2012. Cover showing Brigitte Lacombe's portrait of Mikhail Baryshnikov against a dark background, with the Acne Paper logotype in large serif type at the foot of the page. Reverse of 2012 Acne Paper No. 14 magazine showing back cover with Givenchy fashion advertisement featuring a model in a dark coat, with the Givenchy logotype repeated in white.

    Acne Paper No. 14 — Manhattan Portraits, Winter 2012

    Acne Paper No. 14 — Manhattan Portraits, Winter 2012

  • Original 1978 Kathy Acker The Adult Life of Toulouse Lautrec by Henri Toulouse Lautrec paperback, TVRT Press and Printed Matter, New York. Front cover with black-and-white photographic image of two pairs of legs, one in stockings raised in the air, the other bare and low. Title in lowercase serif type: all she wants is love... Publisher imprints PM and TVRT Press at foot with ISBN 0-931106-21-4. Original price $4.50 at top left. Covers with age toning and surface wear. Reverse of 1978 Kathy Acker The Adult Life of Toulouse Lautrec by Henri Toulouse Lautrec, TVRT Press and Printed Matter. Back cover with black-and-white photographic image of intertwined bare limbs and hands. Title and author credit in white serif type at lower centre: The Adult Life of Toulouse Lautrec / By Henri Toulouse Lautrec. Age toning and surface scuffing to covers.

    Kathy Acker — The Adult Life of Toulouse Lautrec by Henri Toulouse Lautrec (1978)

    Kathy Acker — The Adult Life of Toulouse Lautrec by Henri Toulouse Lautrec (1978)

  • Original 1991 Kathy Acker Hannibal Lecter, My Father paperback, Semiotext(e) Native Agents Series, New York. Front cover in vivid pink with repeating text pattern in lighter pink forming the background, overlaid with bold black title lettering and author name. Printed wrappers in good condition with minor shelf wear. Reverse of 1991 Kathy Acker Hannibal Lecter, My Father paperback, Semiotext(e) Native Agents Series. Back cover in magenta-pink showing a halftone portrait photograph of Acker and the text: This writing is all fake (copied from other writing) so you should go away and not read any of it. ISBN and series imprint at foot.

    Kathy Acker — Hannibal Lecter, My Father (1991)

    Kathy Acker — Hannibal Lecter, My Father (1991)

  • Original 1982 Kathy Acker Great Expectations paperback, Open Book Publications, San Francisco. Front cover with title in bold serif type above a black-and-white woodcut illustration of a hunched long-haired figure leaning over a bed with a cane. Printed wrappers with toning and wear to spine. Interior spread of 1982 Kathy Acker Great Expectations, Open Book Publications. Left page shows black-and-white woodcut of a hunched figure at a desk. Right page opens Chapter 1 titled Plagiarism, subsection I Recall My Childhood, with Dickens-derived opening paragraph. Page 5.

    Kathy Acker — Great Expectations (1982)

    Kathy Acker — Great Expectations (1982)

  • Front cover of 1988 Kathy Acker Algeria French edition, Le Dernier Terrain Vague / DTV Compact Livre, Paris — full-bleed image by Kiki Picasso: saturated composite of fragmented urban photography, abstracted figures, and colour fields in yellow, green, orange, and blue; Kathy Acker in black diagonal type at lower left; ALGERIA in large bold black capitals; DTV logo at upper right; cover design functioning as graphic assault and media noise. Back cover of 1988 Kathy Acker Algeria French edition, Le Dernier Terrain Vague / DTV Compact Livre, Paris — full-bleed image by Kiki Picasso: dense field of small human figures rendered in warm amber, orange, and white tones against a glowing ground, figures repeated across the surface in a pattern suggesting mass, heat, and dissolution; TTC 69 F / ISBN 2-86219-035-7 printed vertically at left; compact livre logo in black square at lower right.

    Kathy Acker — Algeria (French edition), Le Dernier Terrain Vague / DTV, Paris, 1988

    Kathy Acker — Algeria (French edition), Le Dernier Terrain Vague / DTV, Paris, 1988

  • Original 2015 Enki Bilal Inbox exhibition postcard, Fondazione Giorgio Cini, Venice — recto reproducing a detail from Inbox: two spectral faces rendered in Bilal's characteristic blue-grey science-fiction palette, faces upturned and partially dissolved, a thin vertical pale form dividing the composition; acrylic on canvas; figures suspended between painting, cinema still, and hallucinated image against a dark blue-grey ground Reverse of 2015 Enki Bilal Inbox exhibition postcard, Fondazione Giorgio Cini, Venice — verso on white card stock functioning as postal announcement; Inbox in bold black on dark rectangle at upper left; By Enki Bilal; dates 08.05–02.08.2015; Fondazione Giorgio Cini / Isola di San Giorgio Maggiore, Venezia–Italia; hours 10.00–19.00, Chiuso il mercoledì / Closed on Wednesday; Artcurial Briest·Poulain·F.Tajan and Fondazione Giorgio Cini logos at foot; vertical yellow-green stripe at centre with CartCom/NeoStop

    Enki Bilal — Inbox, Fondazione Giorgio Cini, Venice, 2015

    Enki Bilal — Inbox, Fondazione Giorgio Cini, Venice, 2015