The Archive

Everything currently held at The New Rare, newest first.

  • High Risk: An Anthology of Forbidden Writings, Serpent’s Tail, London, 1991 The back cover of he book cover of 'High Risk: An Anthology of Forbidden book, shown against a white background. The cover features a dark, textured black and gray wolf design with a blue-gray gradient at the bottom.

    High Risk: An Anthology of Forbidden Writings, Serpent’s Tail, London, 1991

    High Risk: An Anthology of Forbidden Writings, Serpent’s Tail, London, 1991

  • Kathy Acker & Paul Buck, Spread Wide, Dis Voir, 2004 — front with band, handwritten inscription above bird motif Kathy Acker & Paul BuckThe back cover of a Kathy Acker & Paul Buck book, featuring a white center with black text, flanked by a dusty purple top and bottom border with handwritten-style purple text.

    KATHY ACKER & PAUL BUCK — Spread Wide, Dis Voir, Paris, 2004

    KATHY ACKER & PAUL BUCK — Spread Wide, Dis Voir, Paris, 2004

  • KATHY ACKER — Bodies of Work, Serpent’s Tail, London and New York, 2006 The back cover of 'Bodies of Work' by Kathy Acker a book, shown against a plain white background. The cover is dark blue with white text, featuring a barcode and several review quotes.

    KATHY ACKER — Bodies of Work, Serpent’s Tail, London and New York, 2006

    KATHY ACKER — Bodies of Work, Serpent’s Tail, London and New York, 2006

  • KATHY ACKER — Bodies of Work: Essays, Serpent’s Tail, London and New York, 1997 The back cover of a Kathy Acker book, featuring a pale pink background with a black top band reading 'A PAPERBACK ORIGINAL' and a large stylized 'K' logo, photographed on a white background.

    KATHY ACKER — Bodies of Work: Essays, Serpent’s Tail, London and New York, 1997

    KATHY ACKER — Bodies of Work: Essays, Serpent’s Tail, London and New York, 1997

  • KATHY ACKER — Blood and Guts in High School, Grove Weidenfeld, New York, 1989 The back cover of a Kathy Acker book, shown flat against a white background. The cover is a muted gray-green color with black text, a small yellow accent near the top right, and a barcode at the bottom right.

    KATHY ACKER — Blood and Guts in High School, Grove Weidenfeld, New York, 1989

    KATHY ACKER — Blood and Guts in High School, Grove Weidenfeld, New York, 1989

  • KATHY ACKER — Algeria: A Series of Invocations Because Nothing Else Works, Aloes Books, London, 1984 Kathy Acker, Algeria, Aloes Books, London, 1984 — reverse, colophon, ISBN and £1.95 price

    KATHY ACKER — Algeria: A Series of Invocations Because Nothing Else Works, Aloes Books, London, 1984

    KATHY ACKER — Algeria: A Series of Invocations Because Nothing Else Works, Aloes Books, London, 1984

  • Gina Pane, Travail d'action invitation, Galerie Guy Brachot, Paris, 1980 — folded cover GINA PANE — Travail d'action — Exhibition Invitation, Galerie Guy Brachot, Paris, 1980

    GINA PANE — Travail d'action — Exhibition Invitation, Galerie Guy Brachot, Paris, 1980

    GINA PANE — Travail d'action — Exhibition Invitation, Galerie Guy Brachot, Paris, 1980

  • Judy Chicago, Woman with Red Flares, 1971–72, invitation recto, Thaddaeus Ropac, 2024 Invitation interior unfolded, artist list left, exhibition title and venue details right

    JUDY CHICAGO — Expanded Horizons: American Art in the 70s, Thaddaeus Ropac, 2024

    JUDY CHICAGO — Expanded Horizons: American Art in the 70s, Thaddaeus Ropac, 2024

  • Kate Bush studio portrait, white shirt, Anabas AP156 postcard recto, 1986 Anabas AP156 postcard verso, publisher address, catalogue number, copyright 1986

    KATE BUSH — Anabas AP156 postcard, 1986

    KATE BUSH — Anabas AP156 postcard, 1986

  • Siouxsie full-face studio portrait, Anabas AP146 postcard recto, 1986 Anabas AP146 postcard verso, publisher address, catalogue number, copyright 1986

    SIOUXSIE SIOUX — Anabas AP146 postcard, 1986

    SIOUXSIE SIOUX — Anabas AP146 postcard, 1986

  • Buñuel film still, yellow-black offset print, Cela s'appelle l'aurore, Centre Pompidou invitation recto ¡Todo Buñuel! inauguration programme, Centre Pompidou, Instituto Cervantes, Paris, 2000

    Luis Buñuel — ¡Todo Buñuel! Centre Pompidou, Paris, 2000

    Luis Buñuel — ¡Todo Buñuel! Centre Pompidou, Paris, 2000

  • MOVEMENT: Vienna and New York, The City 1920s. Front cover, Rachel Adler Gallery, New York, 1987. Interior spread: Erika Giovanna Klien, Tango, 1925. Casein on canvas. Rachel Adler Gallery, 1987.

    MOVEMENT: Vienna and New York: The City, 1920s — Rachel Adler Gallery, New York, 1987

    MOVEMENT: Vienna and New York: The City, 1920s — Rachel Adler Gallery, New York, 1987

  • Constructed Image, Constructed Object — The Alternative Museum, New York — 1984 Constructed Image, Constructed Object — The Alternative Museum, New York — 1984

    Constructed Image, Constructed Object — The Alternative Museum, New York — 1984

    Constructed Image, Constructed Object — The Alternative Museum, New York — 1984

  • Front cover Max Ernst, 1959. Black cover: silver mask sculpture centre, red handwritten 'max ernst' lower right. Rubbing and corner wear. Interior — Êtes-vous Ninié? spread Max Ernst, 1959. Interior: Pl. X, Êtes-vous Ninié?, 1956, Cat. 109 — black-and-white plate of metal sculpture (left).

    MAX ERNST — Max Ernst — Musée national d’Art moderne, Paris — 1959

    MAX ERNST — Max Ernst — Musée national d’Art moderne, Paris — 1959

  • Rauschenberg, ROCI, 1990. Green cover with red turtle illustration, globe motif, white ROCI title. Neue Berliner Galerie. ROCI interior p.6. Donald J. Saff essay in German; black-and-white photo of Rauschenberg in Pearl Street studio, c.1955.

    ROBERT RAUSCHENBERG — ROCI — Neue Berliner Galerie im Alten Museum — 1990

    ROBERT RAUSCHENBERG — ROCI — Neue Berliner Galerie im Alten Museum — 1990

  • Rauschenberg, Cardbirds, 1971. Corrugated cardboard cover with red stamp, stock number 33-6009, signed in green ink Cardbirds production photograph by Malcolm Lubliner. Rauschenberg holds fanned cardboard panels in Gemini workshop.

    ROBERT RAUSCHENBERG — Cardbirds — Gemini G.E.L. — 1971

    ROBERT RAUSCHENBERG — Cardbirds — Gemini G.E.L. — 1971

  • Interior spread — Guillaume Paris Fiasco, 1992. Interior spread: Guillaume Paris, Sans titre, 1988. Checkerboard plexiglas grid with milk carton and bell. Interior spread — Mike Kelley Fiasco, 1992. Interior spread: Mike Kelley, Duck, Goose, 1990. Two stuffed animals arranged on floor, one bent over other.

    JEAN-YVES JOUANNAIS — Fiasco — Art : Concept, Nice — 1992

    JEAN-YVES JOUANNAIS — Fiasco — Art : Concept, Nice — 1992

  • Front cover Artist book, Richard Hell / Josh Smith, Disgusting, 38th Street Publishers, New York, 2010. Front cover: heavy card cut from a promotional poster for the DVD reissue of Blank Generation (dir. Ulli Lommel, 1980). Orange ground with large bold black and white type reading: FEATURING LIVE P[ERFORMANCE] / RICHARD HELL[S]. Right edge carries vertical film credits in small type: directed by Ulli Lommel; starring Carole Bouquet, Richard He[ll]; produced by Roger Deutsch, Olli Lommel; cinematography by Endpapers Artist book, Richard Hell / Josh Smith, Disgusting, 38th Street Publishers, New York, 2010. Interior spread showing hand-painted endpapers by Josh Smith. Double-page spread of warm brown and white abstract impressions — branching, striated forms resembling wood grain or topographic contours — painted directly onto the paper. Left page lighter and more diffuse; right page denser and darker in tone. Original painting unique to this copy; not a reproduction.

    Richard Hell / Josh Smith — Disgusting — 2010

    Richard Hell / Josh Smith — Disgusting — 2010

  • Exhibition poster, Lawrence Weiner, Twenty Works, Anthony d'Offay Gallery, London, 1980. Offset-printed announcement listing all twenty work titles in a two-column grid. White paper with blue ruled border; light horizontal fold visible. Text includes gallery address: 23 Dering Street, New Bond Street, London W1; exhibition dates 22 October – 19 November 1980; private view Tuesday 21 October 5–7.

    LAWRENCE WEINER — Twenty Works — Anthony d'Offay, London, 1980

    LAWRENCE WEINER — Twenty Works — Anthony d'Offay, London, 1980

  • Front cover Invitation card, Gérard Collin-Thiébaut, Les Yeux noirs, Musée Nicéphore Niépce, Chalon-sur-Saône, 2004. Front cover: deep red offset-printed card with black outlined keyboard-style keys arranged in a cross or tree formation. Text reads: Les / Yeux / Gérard Collin-Thiébaut / 23 10 04 — 30 01 05 / N / O / I / R / S. Light rubbing and surface scratches visible. Interior Invitation card, Gérard Collin-Thiébaut, Les Yeux noirs, Musée Nicéphore Niépce, Chalon-sur-Saône, 2004. Interior spread: upper half shows a colour photographic portrait of a figure in a dark veil against a pale background, only the eyes visible. Lower half contains printed invitation text in French: M. Michel Allex, Maire de Chalon-sur-Saône; Mme Karine Delorme; M. François Cheval, Directeur des Musées de Chalon-sur-Saône; seraient heureux de votre présence le vendredi 22 octobre 2004 à 18h30 à l'

    GÉRARD COLLIN-THIÉBAUT — Les Yeux noirs — Musée Nicéphore Niépce, Chalon-sur-Saône, 2004

    GÉRARD COLLIN-THIÉBAUT — Les Yeux noirs — Musée Nicéphore Niépce, Chalon-sur-Saône, 2004

  • Magazine, Women's Art Magazine, No. 61, Women's Art Library, London, November/December 1994. Staple-bound magazine with dark green cover featuring a close-up blurred photograph of a woman's face, mouth open. Text reads: Women's Art Magazine, A Women's Art Library Publication, No61 November/December 1994, £2.50/$10. Cover line: Linda Nochlin: Confessions of a Feminist Thinker. Magazine, Women's Art Magazine, No. 59, Women's Art Library, London, 1994. Special Photography Issue. Staple-bound magazine with gold-toned cover featuring a photograph of a woman in costume reclining — Cindy Sherman. Text reads: Women's Art Magazine, A Women's Art Library Publication, No59 1994, £3.00/£15. Banner top and bottom: Photography Issue Special Photography Issue Special Photography. Cover text: Cindy Raids the Wardrobe.

    WOMEN'S ART MAGAZINE — Nos. 57–61 — Women's Art Library, London, 1994

    WOMEN'S ART MAGAZINE — Nos. 57–61 — Women's Art Library, London, 1994

  • Jack Pierson, Ennui (La Vie Continue), 2013. Galerie Thaddaeus Ropac, Paris. Invitation verso: dark blue and orange film-poster composition; close-up profile of a figure's face in warm orange-red light against deep blue; 'Jack Pierson' in white script at top; 'THADDAEUS ROPAC présente' in small caps; 'Ennui' in large white italic script; '(La Vie Continue)' below; 'OFFICIAL SELECTION' laurel badge; gallery name and address; 'March 2013' in large bold sans-serif; 'Direction Artistique et Photographique: Jack Pierson, Ennui (La Vie Continue), 2013. Galerie Thaddaeus Ropac, Paris. Invitation recto: white card; centred sans-serif typography — 'JACKPIERSON' in mixed weight, 'ENNUI / (LA VIE CONTINUE)' below in light weight; vernissage Saturday 2 March 2013, 17h–19h; 'EXPOSITION DU 2 MARS AU 6 AVRIL 2013'; 'GALERIE THADDAEUS ROPAC' in bold at foot with Paris address, telephone, fax and website.

    JACK PIERSON — Ennui (La Vie Continue). Galerie Thaddaeus Ropac, Paris, 2013

    JACK PIERSON — Ennui (La Vie Continue). Galerie Thaddaeus Ropac, Paris, 2013

  • Recto (black side) Raymond Pettibon, I Taught My Horse to Count, 2014. Printed Matter membership invitation, New York, 2014–15. Recto: black card; white circular vignette with Pettibon's ink drawing of a horse bowing toward a ball, handwritten text curving around the interior; 'PRINTED MATTER' in small caps below; bold white sans-serif — 'Raymond Pettibon in his inimitable style invites you to join us as a Printed Matter Member.'; two paragraphs of body text in small white serif. Verso (white side) Raymond Pettibon, Printed Matter Membership Campaign, 2014–15. Verso: white card; bold header 'MEMBERSHIP LEVELS'; six lettered tiers A–F listing dollar amounts and artist editions — Peter Sutherland, Sam Falls, Linder Sterling, Jeremy Deller, Book Circle, Iñaki Bonillas; six small reproduction images upper right including tote bag and Escort magazine cover; 'Printed Matter, Inc.' logo and address — 195 Tenth Avenue, New York, NY 10011.

    RAYMOND PETTIBON — Printed Matter Membership Campaign, 2014–15. I Taught My Horse to Count

    RAYMOND PETTIBON — Printed Matter Membership Campaign, 2014–15. I Taught My Horse to Count

  • Recto Cildo Meireles, Zero Dollar, 1978–84. Phaidon Press postcard, 2001. Postcard recto: white card; two monochrome reproductions of Zero Dollar stacked vertically — upper image shows the front of the banknote: 'THE UNITED STATES OF AMERICA', denomination 'O', serial number 'C.00000000 M', central portrait of Uncle Sam in top hat replacing Washington, 'ZEØO' in denomination oval, 'ZERO DOLLAR' along the base; lower image shows the reverse: 'THE UNITED STATES OF AMERICA / IN GOD WE TRUST', Fort Knox buildin Verso Cildo Meireles, Zero Dollar, 1978–84. Phaidon Press postcard, 2001. Postcard verso: standard postcard layout; 'Ø' logo upper left (Phaidon); five ruled address lines centre right; small-type caption at foot — artist name, work title, date, medium, dimensions, MoMA collection credit; two-paragraph artist biography in small sans-serif describing Meireles's Conceptual practice, Zero Cruzeiro, Cold War context and Third World critique; publication credit 'From ZeroGallery/Art Room 2000 (Phaidon Press Limi

    CILDO MEIRELES — Zero Dollar, 1978–84. Phaidon Press postcard, 2001

    CILDO MEIRELES — Zero Dollar, 1978–84. Phaidon Press postcard, 2001

  • Recto Walter Mehring, Mais où sont les neiges Dada…, 1966. Association pour l'étude du mouvement Dada, Goethe-Institut, Paris. Invitation recto: cream card; centred typographic text in mixed serif and small-caps — 'L'ASSOCIATION POUR L'ETUDE DU MOUVEMENT DADA / VOUS PRIE DE BIEN VOULOIR ASSISTER A LA CONFÉRENCE / de WALTER MEHRING / MAIS OU SONT LES NEIGES DADA . . . . / LE MARDI 25 OCTOBRE 1966, A 21 HEURES / DANS LES SALONS DU GOETHE INSTITUT / 17, AVENUE D'INÉA, PARIS (XVIᵉ)'; light age toning. Verso Walter Mehring, Mais où sont les neiges Dada…, 1966. Invitation verso: plain cream card stock, unprinted; light age toning and faint surface marks.

    WALTER MEHRING — Mais où sont les neiges Dada… Lecture invitation, Goethe-Institut, Paris, 1966

    WALTER MEHRING — Mais où sont les neiges Dada… Lecture invitation, Goethe-Institut, Paris, 1966

  • Recto Massao Mascaro, Untitled (Jardin #25), 2016. Galerie C Contemporary Art. Card recto: monochrome photograph on heavily textured card — a nude figure lying face-down on a brick ledge, head turned to one side, one arm raised; concrete surface and dark foliage visible behind; soft diffuse light; high-grain, low-contrast silver gelatin aesthetic. Verso Massao Mascaro, Untitled (Jardin #25), 2016. Galerie C Contemporary Art. Card verso: heavily textured white card; large blind-embossed text filling the upper two-thirds — Francis Ponge quotation beginning 'La tâche de l'artiste est', impressed into the paper with no ink; 'C' logo in small serif upper left; three-column footer in small monospaced type — 'Galerie C / Contemporary Art', 'Citation: / Francis Ponge', 'Image: Massao Mascaro, «Untitled (Jardin #25)», 2016'.

    MASSAO MASCARO — Untitled (Jardin #25), 2016. Galerie C Contemporary Art

    MASSAO MASCARO — Untitled (Jardin #25), 2016. Galerie C Contemporary Art

  • Recto Michel Majerus, overdose, 1997. Matthew Marks Gallery, Los Angeles, 2015. Invitation recto: detail from a monumental 15-panel acrylic painting — dense collage of commercial imagery including a chocolate sandwich ice cream wrapper with 'Over-dose' branding, Woody from Toy Story lower right, a Micro Systems logo, detergent packaging, a club flyer reading 'BLIZZ', and a Parkcafé München advertisement; vivid colour, flat graphic style, imagery layered edge to edge. Verso Michel Majerus, Matthew Marks Gallery, Los Angeles, 2015. Invitation verso: white card; 'MICHEL MAJERUS' in large bold sans-serif; 'OPENING SATURDAY, NOVEMBER 21, 6–8 PM / THROUGH JANUARY 9, 2016'; 'MATTHEW MARKS GALLERY / 1062 NORTH ORANGE GROVE / LOS ANGELES 90046 / MATTHEWMARKS.COM'; work caption in small type — 'overdose, 1997 / Acrylic on canvas, 15 parts / Overall: 189 × 275¾ inches; 480 × 700 cm'. Surface rubbing and faint marks.

    MICHEL MAJERUS — Michel Majerus. Matthew Marks Gallery, Los Angeles, 2015

    MICHEL MAJERUS — Michel Majerus. Matthew Marks Gallery, Los Angeles, 2015

  • Recto Zoe Leonard, Analogue, Hauser & Wirth Los Angeles, 2018. Invitation recto: white card; twelve colour and monochrome square photographs in a 4×3 grid with black film borders — street-level goods between use and resale: mattresses, garments on racks, stacked chairs, appliances, a mannequin, wrapped merchandise and cardboard boxes, all photographed on pavements or in storefronts. Verso Zoe Leonard, Analogue, Hauser & Wirth Los Angeles, 2018. Invitation verso: white card; 'ZOE LEONARD / ANALOGUE' in bold sans-serif; public opening Saturday 27 October 2018, 6–9 PM; '27 October 2018–20 January 2019'; 901 East 3rd Street Los Angeles; 'WWW.HAUSERWIRTH.COM'; work caption at foot — 'ANALOGUE (DETAIL), 1998–2009, 412 C-PRINTS AND GELATIN SILVER PRINTS, 28 × 28 CM © ZOE LEONARD'.

    ZOE LEONARD — Analogue. Hauser & Wirth Los Angeles, 2018

    ZOE LEONARD — Analogue. Hauser & Wirth Los Angeles, 2018

  • ZOE LEONARD — Aerials. Hauser & Wirth, London, 2018 ZOE LEONARD — Aerials. Hauser & Wirth, London, 2018

    ZOE LEONARD — Aerials. Hauser & Wirth, London, 2018

    ZOE LEONARD — Aerials. Hauser & Wirth, London, 2018

  • Recto Zoe Leonard, My Kindergarten Class Photo, 2013. Studio Museum in Harlem, Harlem Postcards: Fall/Winter 2013–14. Postcard recto: colour photograph of a school class portrait — Public School 125, Manhattan, 1967, Class K2-567; approximately forty children in four rows with two adult teachers at either side; large American flag on the wall behind; children in formal dress; black placard in the foreground reading 'PUBLIC SCHOOL 125 / MANHATTAN / 1967 / CLASS K2-567'. Warm 1960s colour cast. Verso Zoe Leonard, My Kindergarten Class Photo, 2013. Studio Museum in Harlem, Harlem Postcards: Fall/Winter 2013–14. Postcard verso: white stock; 'ZOE LEONARD / Born 1961, Liberty, NY / Lives and works in Brooklyn, NY' in small sans-serif upper left; 'My Kindergarten Class Photo, 2013' in italic below; vertical text — 'SMHart productions • Harlem Postcards • Fall/Winter 2013–14'; three address lines and stamp box; museum address at foot — 'The Studio Museum in Harlem 144 West 125th Street New York, NY 1002

    ZOE LEONARD — My Kindergarten Class Photo, 2013. Studio Museum in Harlem, Harlem Postcards: Fall/Winter 2013–14

    ZOE LEONARD — My Kindergarten Class Photo, 2013. Studio Museum in Harlem, Harlem Postcards: Fall/Winter 2013–14

  • Verso Annie Leibovitz, The Early Years, 1970–1983: Archive Project No. 1, Hauser & Wirth Los Angeles, 2019. Invitation verso: plain white card; 'HAUSER & WIRTH' in small spaced caps at top; 'ANNIE LEIBOVITZ' in large bold sans-serif; 'THE EARLY YEARS, 1970–1983' in smaller bold caps; 'PUBLIC OPENING / SATURDAY 16 FEBRUARY 2019 / 3–6 PM'; '14 FEBRUARY – 14 APRIL 2019'; '901 EAST 3RD STREET LOS ANGELES CA 90013 / PHONE +1 213 943 1620'; opening hours Tuesday–Sunday 11 AM–6 PM; 'WWW.HAUSERWIRTH.COM'; image cre Recto Annie Leibovitz, The Early Years, 1970–1983: Archive Project No. 1, Hauser & Wirth Los Angeles, 2019. Invitation recto: white card; four black and white photographs in a 2×2 grid — top left, view from inside a car approaching the Golden Gate Bridge in fog, 1977; top right, coastal landscape seen through a car window, Half Moon Bay, California, 1968; bottom left, close self-portrait of a woman from the shoulders up, San Francisco, 1968; bottom right, two wooden ladders standing among trees and shrubs,

    ANNIE LEIBOVITZ — The Early Years, 1970–1983: Archive Project No. 1. Hauser & Wirth Los Angeles, 2019

    ANNIE LEIBOVITZ — The Early Years, 1970–1983: Archive Project No. 1. Hauser & Wirth Los Angeles, 2019

  • Recto Barbara Kruger, Untitled (Tell us something we don't know), 1987. Fotofolio postcard, c. 2000. Recto: black and white photograph of a dense grid of repeated eyeball forms on sticks against a dark ground; six red rectangular text panels interrupt the image distributing the sentence — 'Tell us' upper left, 'something' upper right, 'we' centre, 'don't' lower left, 'know' lower right — each in white Futura bold italic. High contrast monochrome print Verso Barbara Kruger, Untitled (Tell us something we don't know), 1987. Fotofolio postcard, c. 2000. Verso: plain white postcard stock; upper left caption in small sans-serif — 'UNTITLED, 1987. PHOTOGRAPH BY BARBARA KRUGER'; barcode and stock number F617 upper right with ISBN; 'fotofolio' logo in small italic lower right.

    BARBARA KRUGER — Untitled (Tell us something we don’t know), 1987. Fotofolio postcard, c. 2000

    BARBARA KRUGER — Untitled (Tell us something we don’t know), 1987. Fotofolio postcard, c. 2000

  • Recto Martin Kippenberger, Das 2. Sein: Inhalt auf Reisen, Museum für Neue Kunst / ZKM Karlsruhe, 2003. Programme card recto: colour reproduction of a painting — a half-skeleton, half-portrait figure in a dark suit against a blue and white gestural ground, holding a bone staff with a dark heart-shaped form; small fish held in the other hand; large orange sphere upper right; yellow banner across top — 'MARTIN / DAS 2. SEIN / KIPPENBERGER' in black and white bold; 'INHALT AUF / REISEN' in yellow lower right; Verso Martin Kippenberger, Das 2. Sein: Inhalt auf Reisen, Museum für Neue Kunst / ZKM Karlsruhe, 2003. Programme card verso: vivid yellow ground; 'Vortragsreihe' in blue sans-serif at top; 'MARTIN KIPPENBERGER' in large black bold caps; 'DAS 2. SEIN' in white bold; venue note — 'Die Vorträge finden im Veranstaltungsraum des Museums für Neue Kunst | ZKM Karlsruhe im 3. OG statt. Beginn: 18.30 Uhr'; six lectures listed — 20.2 Veit Loers, 6.3 Wolfgang Brauneis, 20.3 Ralph Melcher, 2.4 Diedrich Diederichsen, 1

    MARTIN KIPPENBERGER — Das 2. Sein: Inhalt auf Reisen. Museum für Neue Kunst / ZKM Karlsruhe, 2003

    MARTIN KIPPENBERGER — Das 2. Sein: Inhalt auf Reisen. Museum für Neue Kunst / ZKM Karlsruhe, 2003

  • Paula Izydorek, Olo: Interconnectivity Between Two Beings, self-published artist brochure, 2021. Front cover: white ground; 'Paula Izydorek' in grey serif above; studio address, email, website and phone number in small grey type; colour reproduction of an abstract painting — interlocking orange, red and blue curvilinear forms suggesting two intertwined profiles against a pale ground with diagonal yellow accent; work captions in small type below image. Handling creases and surface undulation. Interior spread Paula Izydorek, Olo: Interconnectivity Between Two Beings, self-published artist brochure, 2021. Interior spread: header — 'Paula Izydorek's Olo Series: Serves as visual field of interconnectivity between two beings.'; four colour reproductions of Olo paintings across the top — abstract interlocking profiles in orange, red, yellow and blue on patterned grounds with blue and grey striped fields; two columns of artist biography and statement text in small serif below; individual work captions

    PAULA IZYDOREK — Olo: Interconnectivity Between Two Beings. Artist brochure, 2021

    PAULA IZYDOREK — Olo: Interconnectivity Between Two Beings. Artist brochure, 2021

  • Recto — portrait with bouffant wig Peter Hujar, Vintage, Albert Merola Gallery, Provincetown, 2022. Announcement recto: monochrome photograph of a figure with an elaborate pale bouffant wig, head tilted downward, eyes cast down, bare shoulders; dramatic high-contrast lighting against dark ground; 'PETER HUJAR' in large serif caps above image; 'Albert Merola Gallery / July 1–27, 2022' in serif below; copyright credit 'All images © Peter Hujar Archive LLC' in small type within image. Verso — reclining figure with flower Peter Hujar, Vintage, Albert Merola Gallery, Provincetown, 2022. Announcement verso: monochrome photograph of a reclining figure in heavy eye makeup, pearl necklace and dark clothing, holding a flower to their lips, head tilted back; 'PETER HUJAR' in large serif caps above image; 'Vintage' in italic below name; subtitle 'Uncomplicated, direct photographs of complicated and difficult subjects' in small italic; 'Albert Merola Gallery / 424 Commercial Street Provincetown /

    PETER HUJAR — Vintage: Uncomplicated, Direct Photographs of Complicated and Difficult Subjects. Albert Merola Gallery, Provincetown, 2022

    PETER HUJAR — Vintage: Uncomplicated, Direct Photographs of Complicated and Difficult Subjects. Albert Merola Gallery, Provincetown, 2022

  • Front cover General Idea, Haute Culture: Une rétrospective, 1969–1994, Musée d'Art moderne de la Ville de Paris, 2011. Booklet front cover: colour photograph of three figures in theatrical costume — heavy dark eye makeup, textured grey headdresses, pastel suits (cream, blue, pink); pyramid composition against pale blue-grey sky; staged, deadpan. Handling creases, surface undulation. Back cover General Idea, Haute Culture: Une rétrospective, 1969–1994, Musée d'Art moderne de la Ville de Paris, 2011. Booklet back cover: colour photograph of a single figure against vivid orange-red ground — short blonde hair, white top, black diagonal strap, holding a glass of milk to lips; direct gaze. Handling creases, small mark lower cover.

    GENERAL IDEA — Haute Culture: Une rétrospective, 1969–1994. Musée d’Art moderne de la Ville de Paris / ARC, 2011

    GENERAL IDEA — Haute Culture: Une rétrospective, 1969–1994. Musée d’Art moderne de la Ville de Paris / ARC, 2011