Proposition — The New Rare – Page 4

A–Z Catalogue

S

Sakris Exhibition Invitation Neon sign with green glow on a black background

Sarkis — Ma Chambre de la Rue Krutenau à l'Île San Lazzaro, Venice 1990

Sarkis Red Exhibition invite card with black text on a white background

Sarkis, "réserves sans retour" — CAPC Bordeaux invitation card, 1980

`Exhibition catalogue cover, Seul, et le corps…, Galerie du Dragon, Paris, 1966. Cream matte wrappers with title in large serif type, artist names in italic below: Balthus, Bellmer, César, Cremonini, Dalí, Giacometti, Hélion, Hiquily, Ipoustéguy, Magritte, Matta, Petlin, Rosofsky. Publisher name at foot: Galerie du Dragon.`

Seul, et le corps… — Galerie du Dragon, Paris, 1966

Cover of Sherrie Levine *Directions* exhibition brochure from the Hirshhorn Museum and Sculpture Garden, Washington D.C., 1988. The cover reproduces *Untitled (Lead Checks: 6)* (1987), a turquoise and black checkerboard composition painted on lead beneath the exhibition title and dates.

Sherrie Levine — Directions — Exhibition Brochure, Hirshhorn Museum and Sculpture Garden, Washington D.C., 1988

Exhibition invitation for Sherrie Levine’s *Pie Town* featuring a color reproduction from *After Russell Lee: 1–60* (2016). Two figures, Faro and Doris Caudill, stand outdoors beneath a dramatic cloud-filled sky; the man wears a worn hat and work shirt while the woman stands with folded arms in a patterned dress and apron.

Sherrie Levine — Pie Town — Exhibition Announcement Card, David Zwirner, London, 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.

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

`Stuart Brisley — Institute of Contemporary Arts, London, 21 April – 31 May 1981. Exhibition catalogue front cover. Dark green cloth-bound hardcover with white text. Left column: dictionary definition of "Performance" (Oxford English Dictionary). Right column: artist name "Stuart Brisley" in white. ICA logotype at foot centre.`

Stuart Brisley — Institute of Contemporary Arts, London, 1981

T

Terence Koh, The Whole Family, front cover. Peres Projects, Los Angeles, 2008. Plain cream-white softcover with no image. Title 'THE WHOLE FAMILY / TERENCE KOH' in small serif capitals at centre, with exhibition dates and venue 'May 10–June 21, 2008 Peres Projects, Los Angeles' below.

Terence Koh — The Whole Family

Front of original 1997 Thomas Rentmeister exhibition invitation card for Centre d’art contemporain de Vassivière in France, featuring a glossy pale pink biomorphic polyester sculpture against a neutral background.

Thomas Rentmeister — Exhibition Invitation Card, Centre d’art contemporain de Vassivière en Limousin, France, 1997

Original 2014 Tomma Abts exhibition invitation card, David Zwirner, New York — recto reproducing a detail from Untitled, 2013, coloured pencil and pencil on paper: intersecting diagonal bands in yellow, black, green, red, and blue forming a precise geometric spatial construction on white ground

Tomma Abts — Exhibition Invitation, David Zwirner, New York, 2014

Tracey Emin — FLUX Magazine ‘The All Seeing I’ Postcard

Tracey Emin — I Need Art Like I Need God, Jay Jopling/London, 1998. Front cover. Turquoise ground, handwritten blue signature 'Tracey Emin' upper left. Centre: photograph of the artist nude from behind, crouching on a studio floor, facing a large gestural canvas. Published for her 1997 exhibition at South London Gallery.

Tracey Emin — I Need Art Like I Need God, Jay Jopling / London, 1998

U

Urs Lüthi exhibition invitation, Galerie Isy Brachot, Brussels, 1975 — interior bifold showing bibliography page with typed text listing international art publications and catalogues

Urs Lüthi — Exhibition Invitation, Galerie Isy Brachot, Brussels, 1975

W

Wade Guyton Postcard of a smartphone with text on a black background

Wade Guyton – Set of 3 Exhibition Postcards, Serpentine Galleries, 2017

Wes Mills — Missoula Drawings, Joseph Helman Gallery, New York, 2000. Front cover. Uniform grey textured wraps. White sans-serif text centred lower half: "Wes Mills" above "Missoula Drawings". No image. Surface grain visible throughout.

Wes Mills — Missoula Drawings, Joseph Helman Gallery, New York, 2000

William Pope.L — some things you can do with blackness…, Kenny Schachter Rove, London, 2005. Front cover. Deep red ground. Centre: close-up photograph of a small black bear-like sculptural object, heavily textured surface with white dust or residue, suspended or resting against two white diagonal rods. White serif title text lower centre: "William Pope.L / some things you can do with blackness…"

William Pope.L — some things you can do with blackness…, Kenny Schachter Rove, London, 2005

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.

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.

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

Y

Centre Pompidou postcard reproducing a 1968 black-and-white photograph by Harry Shunk and János Kender of Yayoi Kusama on the Brooklyn Bridge with nude performers covered in polka dots holding a banner reading “KUSAMA SELF-OBLITERATION.”

Yayoi Kusama — Explosion anatomique + Manifestation non identifiée — Pair of Museum Postcards, Éditions Centre Pompidou, Paris, 2019

2017 Yayoi Kusama exhibition invitation card featuring a studio portrait of the artist seated at a table surrounded by vividly colored *My Eternal Soul* paintings. Kusama wears her signature bright red wig and an orange dress with black polka dots, visually blending into the dense field of reds, blues, dots, and biomorphic patterns surrounding her.

Yayoi Kusama — Festival of Life + Infinity Nets — Exhibition Announcement Card, David Zwirner, New York, 2017

Yoko Ono *Dollar Piece* Printed Matter membership sheet from 2006 featuring a conceptual instruction text, reproduced signature, Studio One letterhead, and an illustration of the Dakota building at the bottom.

Yoko Ono — Dollar Piece — Printed Matter Membership Multiple with Envelope, Studio One, New York, 2006

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

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

Original 1973 Yvonne Rainer and John Erdman performance postcard showing a black-and-white photograph of Yvonne Rainer performing *Trio A*, balancing with one leg raised on a stage.

Yvonne Rainer & John Erdman — “This is the story of a woman who…” — Performance Announcement Postcard, Portland Center for the Visual Arts, 1973

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