{"id":81103,"date":"2014-12-23T12:00:34","date_gmt":"2014-12-23T17:00:34","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=81103"},"modified":"2014-12-22T10:56:47","modified_gmt":"2014-12-22T15:56:47","slug":"paper-trail-2","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2014\/12\/23\/paper-trail-2\/","title":{"rendered":"Paper Trail"},"content":{"rendered":"<p><em>We\u2019re out until January 5, but we\u2019re re-posting some of our favorite pieces from 2014 while we\u2019re away. We hope you enjoy\u2014and have a happy New Year!<\/em><\/p>\n<div id=\"attachment_80128\" style=\"width: 607px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2014\/10\/1.pctts0741-e1417024636688.jpg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-80128\" class=\"wp-image-80128 \" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2014\/10\/1.pctts0741-e1417024636688-1024x590.jpg\" alt=\"\" width=\"597\" height=\"344\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2014\/10\/1.pctts0741-e1417024636688-1024x590.jpg 1024w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2014\/10\/1.pctts0741-e1417024636688-300x173.jpg 300w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2014\/10\/1.pctts0741-e1417024636688.jpg 1418w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a><p id=\"caption-attachment-80128\" class=\"wp-caption-text\">The invitation card for Claes Oldenburg&#8217;s <em>Store<\/em>, New York, 1961.<\/p><\/div>\n<p>Three years ago, PPP Editions published a limited-edition book called <em>100 Fanzines \/ 10 Years of British Punk 1976\u20131985<\/em>. I have a copy and keep intending to give it to any number of friends who know more about the Clash, the Mo-dettes, or Attila the Stockbroker than I do, but I haven\u2019t yet handed it over. I certainly wasn\u2019t a fixture of the Thatcher-era punk scene, but I nonetheless feel nostalgic when I look through the book. The cover of <em>Verbal Warfare<\/em> no. 1, from 1981, contains the line \u201cBeware of the serpent that twines around the cross \u2026 his body, the living dead at their production lines,\u201d and I notice that it\u2019s written in a script that resembles my sister\u2019s eighth-grade cursive. I\u2019m transfixed by the the ratty hand-drawn graphics and raw, energetic designs, not to mention the silliness and badassery of titles like <em>Ignorance of the Unborn<\/em>, <em>Terminal Illiteracy<\/em>,<em> Surrey Vomet<\/em>, and <em>Raisin \u2019ell<\/em> (number 10 is the special \u201cThis issue sucks!\u201d edition). I also love the zines\u2019 materiality: the staples in the bindings, the softly foxed corners, the smudges, visible erasure marks, and toner streaks. The idea that these are at once mass-produced publications (you can almost feel a phantom photocopier heat coming off the page) and rare objects\u2014always already ephemeral\u2014is fascinating.<\/p>\n<p>The very notion of <em>ephemera<\/em> is curious: objects of little value that weren\u2019t meant to be preserved but whose vulnerability, I imagine, appealed to someone. Political buttons, business cards, seed packets, and train timetables\u2014scrappy artifacts that otherwise would have been lost to the dustheap. Even ephemera\u2019s subcategories\u2014like \u201cfugitive materials\u201d and \u201cgray literature\u201d\u2014are suitably mothy and eccentric. In the art world, potential ephemera is everywhere: small-edition artist books, exhibition posters, flyers, announcement cards, invitations, press releases. The Museum of Modern Art Library, in New York, houses an extensive archive populated by such materials. A photograph of the files at MoMA QNS shows reams of folders that resemble medical records, though a bit of feathery orange fluff peeping out from one folder suggests something less sober. Through its sheer volume, the archive offers a minihistory of art and of individual artists.<\/p>\n<p>David Senior, a bibliographer at MoMA Library, curated an exhibition around the archive; \u201c<a title=\"MoMA | Please Come to the Show\" href=\"http:\/\/www.moma.org\/interactives\/exhibitions\/2013\/please_come_show\/\" target=\"_blank\">Please Come to the Show<\/a>\u201d was on view last year in New York and earlier this year at the Exhibition Research Centre in Liverpool. It must have been fun digging through all the files and (re)discovering canon-adjacent materials like Claes Oldenburg\u2019s blue, slightly stained business card\/invitation to <em>The Store<\/em>; Nancy Spero\u2019s pugnacious, textual invitation to \u201cTorture of Women\u201d; and an announcement, addressed to Frank O\u2019Hara, of the premier of Warhol\u2019s film <em>Empire<\/em> (admission: two dollars). <a href=\"https:\/\/www.theparisreview.org\/blog\/2014\/12\/02\/paper-trail\/\">Read More &gt;&gt;<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"<p>We\u2019re out until January 5, but we\u2019re re-posting some of our favorite pieces from 2014 while we\u2019re away. We hope you enjoy\u2014and have a happy New Year! Three years ago, PPP Editions published a limited-edition book called 100 Fanzines \/ 10 Years of British Punk 1976\u20131985. I have a copy and keep intending to give [&hellip;]<\/p>\n","protected":false},"author":54,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[16464],"tags":[7094,15828,922,35,15831,15832,1416,1010,15830,6914,15825,9371,15829,15833,1388,15826,1401,705,2421,6412,14511,15824,15827],"class_list":["post-81103","post","type-post","status-publish","format-standard","hentry","category-best-of-2014","tag-adrian-piper","tag-ana-medieta","tag-andy-warhol","tag-art","tag-barbara-kruger","tag-bas-jan-ader","tag-cindy-sherman","tag-claes-oldenburg","tag-dan-flavin","tag-daniel-buren","tag-david-wojnarowicz","tag-ed-ruscha","tag-ferus-gallery","tag-invitations","tag-leo-castelli","tag-lucio-fontana","tag-mike-kelley","tag-moma","tag-nancy-spero","tag-punk","tag-richard-prince","tag-robert-barry","tag-robert-morris"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO Premium plugin v25.4 (Yoast SEO v25.4) - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>MoMA Library\u2019s Collection of Art Ephemera<\/title>\n<meta name=\"description\" content=\"Nicole Rudick on the hidden art in invitations and exhibition announcements.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.theparisreview.org\/blog\/2014\/12\/23\/paper-trail-2\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Paper Trail by Nicole Rudick\" \/>\n<meta property=\"og:description\" content=\"December 23, 2014 \u2013 We\u2019re out until January 5, but we\u2019re re-posting some of our favorite pieces from 2014 while we\u2019re away. We hope you enjoy\u2014and have a happy New Year! Three\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.theparisreview.org\/blog\/2014\/12\/23\/paper-trail-2\/\" \/>\n<meta property=\"og:site_name\" content=\"The Paris Review\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/parisreview\/\" \/>\n<meta property=\"article:published_time\" content=\"2014-12-23T17:00:34+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2014\/10\/1.pctts0741-e1417024636688.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"1418\" \/>\n\t<meta property=\"og:image:height\" content=\"818\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Nicole Rudick\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@parisreview\" \/>\n<meta name=\"twitter:site\" content=\"@parisreview\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Nicole Rudick\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"3 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2014\/12\/23\/paper-trail-2\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2014\/12\/23\/paper-trail-2\/\"},\"author\":{\"name\":\"Nicole Rudick\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/704545a416a4003f79960597eda16ea7\"},\"headline\":\"Paper Trail\",\"datePublished\":\"2014-12-23T17:00:34+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2014\/12\/23\/paper-trail-2\/\"},\"wordCount\":503,\"publisher\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#organization\"},\"image\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2014\/12\/23\/paper-trail-2\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2014\/10\/1.pctts0741-e1417024636688-1024x590.jpg\",\"keywords\":[\"Adrian Piper\",\"Ana Medieta\",\"Andy Warhol\",\"art\",\"Barbara Kruger\",\"Bas Jan Ader\",\"Cindy Sherman\",\"Claes Oldenburg\",\"Dan Flavin\",\"Daniel Buren\",\"David Wojnarowicz\",\"Ed Ruscha\",\"Ferus Gallery\",\"invitations\",\"Leo Castelli\",\"Lucio Fontana\",\"Mike Kelley\",\"MoMA\",\"Nancy Spero\",\"punk\",\"Richard Prince\",\"Robert Barry\",\"Robert Morris\"],\"articleSection\":[\"Best of 2014\"],\"inLanguage\":\"en-US\"},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2014\/12\/23\/paper-trail-2\/\",\"url\":\"https:\/\/www.theparisreview.org\/blog\/2014\/12\/23\/paper-trail-2\/\",\"name\":\"MoMA Library\u2019s Collection of Art Ephemera\",\"isPartOf\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2014\/12\/23\/paper-trail-2\/#primaryimage\"},\"image\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2014\/12\/23\/paper-trail-2\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2014\/10\/1.pctts0741-e1417024636688-1024x590.jpg\",\"datePublished\":\"2014-12-23T17:00:34+00:00\",\"description\":\"Nicole Rudick on the hidden art in invitations and exhibition announcements.\",\"breadcrumb\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2014\/12\/23\/paper-trail-2\/#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/www.theparisreview.org\/blog\/2014\/12\/23\/paper-trail-2\/\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2014\/12\/23\/paper-trail-2\/#primaryimage\",\"url\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2014\/10\/1.pctts0741-e1417024636688.jpg\",\"contentUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2014\/10\/1.pctts0741-e1417024636688.jpg\",\"width\":1418,\"height\":818,\"caption\":\"Invitation card for Claes Oldenburg's Store, New York, 1961.\"},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2014\/12\/23\/paper-trail-2\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\/\/www.theparisreview.org\/blog\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Paper Trail\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#website\",\"url\":\"https:\/\/www.theparisreview.org\/blog\/\",\"name\":\"The Paris Review\",\"description\":\"The best prose, interviews, poetry, and art. 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