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RSVP . . . the strange life and after-life of the private view card

Published online by Cambridge University Press:  06 June 2016

Beth Houghton
Beth Houghton*
Affiliation:
Southgate, London N14 5QH, UK
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Abstract

The private view card is a ubiquitous form of art ephemera. Produced in large quantities and circulated widely within the art world, it has evolved over time from the simple postcard invitation to a vehicle for graphic and artistic creative licence, taking on in the process the widest (and weirdest) forms. At the same time it becomes, retrospectively, vital documentation of that art world, providing information otherwise untraceable through more conventional publications.

Type
Research Article
Information
Art Libraries Journal , Volume 31 , Special Issue 4: Ephemera as a research resource: special issue , 2006 , pp. 27 - 32
Copyright
Copyright © The Art Libraries Society 2006

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References

References

1. The Museum of Modern Art artist files. Alexandria, Va.: Chadwyck-Healey, 1986. (ca.6000 microfiche). Index to the Museum of Modern Art artist files. Alexandria, Va.: Chadwyck-Healey, 1993.Google Scholar
2. Artists in Canada: a union list of artists’files = Artistes au Canada: collective des dossiers d’artistes. Ottawa: National Gallery of Canada, Library and Archives, 1999.Google Scholar

Further reading

Extra art: a survey of artists’ ephemera, 1960-1999. Santa Monica, Calif.: Smart Art Press, 2001. Catalogue of an exhibition curated by Leiber, Steven at California College of Arts and Crafts, San Francisco, 12 October-8 December 2001.Google Scholar
Bracewell, Michael. ‘Postcards from the edge’. Frieze, no. 72 (Jan./Feb. 2003): 52-3. A review of ‘Extra art: a survey of artists’ ephemera, 1960-1999’, originated by California College of Arts and Crafts, San Francisco and held at the ICA, London, 2002.Google Scholar
Kopanski, Karlheinz. Die Kunst der Einladung. Bremen: Edition Temmen, 1994. Published in conjunction with an exhibition at Documenta IX, in the Kulturhaus des Stadt, Kassel.Google Scholar