{"title":"A Complete Run of Between C and D","description":"\u003cp\u003e\u003cstrong\u003eHeavenacid\u003c\/strong\u003e is pleased to offer a rare complete run of \u003cem\u003eBetween C and D\u003c\/em\u003e: the influential magazine that encapsulated and exemplified that micro-world of artistic production, and a masterpiece of design. The run also possesses a compelling provenance, once held by the SoHo Center Library at The New Museum — a seminal library of post-war art. \u003c\/p\u003e","products":[{"product_id":"rose-joel-catherine-texier-eds-a-complete-run-of-between-c-and-d","title":"ROSE, Joel, Catherine Texier [eds.]. A complete run of Between C and D.","description":"\u003cp\u003e\u003cspan\u003eROSE, Joel, Catherine Texier [eds.]. A complete run of \u003cem\u003eBetween C and D\u003c\/em\u003e.\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003eNew York: Between C and D, 1984-1990\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e18 issues (all published), each issue a continuous sheet of perforated, fanfold computer paper (280 x 240 mm); fanfold of Vol. 2, No. 2 cleanly separated at pp. 9, 32, and 50. Dot-matrix-printed with mixed-media works laid down, printed, or tipped onto covers, Vol. 4, No. 1 with cover sheet of stickers featuring red printed photographic illustration (intact); Vol. 4, Nos. 1 and 3 with library inkstamp to cover (affecting blank stickers in No. 1), Vol. 4, No. 3 and all numbers of Vol. 5 with printed library labels to covers (additional inkstamp to Vol. 5, No. 3 table of contents and rear cover verso). Each issue (save two) with the called-for prints, multiples, and ephemera, including the Wojnarowicz \u0026amp; Scemama poster in Vol. 1, No. 4 (usually lacking); Vol. 1, No. 2 with text only, lacking the stamps, postcards, and xerox photo illustration, Vol. 3, No. 3 lacking only the rear cover. Vol. 1, No. 1 lacking the resealable ziploc bag, bag of Vol. 6, No. 1 possibly supplied, all others with their original bags, as issued. Beyond the noted faults, the issues with very occasional smudging and minor wear, and overall a very fine set.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eA complete run of \u003cem\u003eBetween C and D\u003c\/em\u003e, with nearly all of the called for extra-textual works, including the Wojnarowicz \u0026amp; Scemama poster in Vol.1, No. 4.\u003c\/strong\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cem\u003eBetween C and D \u003c\/em\u003ewas one of the most important and influential literary magazines of New York’s downtown scene during the 1980s. Founded by Joel Rose and Catherine Texier in 1983, the two editors christened the publication with a straightforward, no-nonsense impulse — their apartment, where they produced each issue, was located on East 7th between Avenues C and D. But its name took on greater significance, serving as as a symbolic beacon, as its pages contained a microcosm of Alphabet City’s vital, subversive literary and artistic world.\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eRose and Texier, seeking to publish literature that challenged both prevailing aesthetic and moral norms, tried to hold shock as an aesthetic end in itself — while also taking seriously the literary merit of the works they published. As such, the magazine became a major venue for new fiction. Featuring works that tended to focus on the city’s underbelly, with regular emphasis on drugs, sex, and obsession, it published new fiction by both established and emerging writers: including Kathy Acker, Lynne Tillman, Dennis Cooper, Gary Indiana, David Wojnarowicz, Eileen Myles, and Patrick McGrath, among numerous others. But its pages also featured writers beyond the more expected Lower East Side names:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe Spring\/Summer 1985 issue (Vol. 4, No. 2) features\u003c\/span\u003e\u003cspan\u003e \u003cspan style=\"text-decoration: underline;\"\u003eone of Anthony Bourdain’s earliest pieces of published writing\u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e, being an excerpt of an early unpublished novel, \u003cem\u003eChef’s Night Out\u003c\/em\u003e, titled “FAO”; the Fall\/Winter 1989 issue (Vol. 5, No. 3) \u003c\/span\u003e\u003cspan\u003efeatures \u003cspan style=\"text-decoration: underline;\"\u003ethe first printing of a short story by David Foster Wallace\u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e, “Crash of ‘69,” published in the same year as \u003cem\u003eGirl with Curious Hai\u003c\/em\u003er, and \u003c\/span\u003e\u003cspan\u003ewhich is \u003cspan style=\"text-decoration: underline;\"\u003euncollected elsewhere\u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e.\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe editors sought to claim early personal computer \u0026amp; printing technology for underground publishing ends — an ‘80s and ‘90s reinvention of the earlier Mimeo Revolution. Rose and Texier two designed each issue on an Epson computer, and then individually printed each issue in their apartment on Epson dot-matrix printers. In a winking joke to the reader, they state, “With special thanks to Epson America for their continuing support.” The prints, multiples, and flexi-discs were outsourced to others. They were then individually packed into a ziploc bag, deliberately reminiscent of those used to sell heroin in the neighborhood.\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eEach issue was produced with several variant covers, with no priority. Most commonly they were issued with 3 variants, though the issues up through Vol. 3, No. 1 had as many as six each. Vol. 1, No. 4, along with the David Wojnarowicz \/ Marion Scemama poster, featured six variants (each in an unknown number) of works by Wojnarowicz. The present cover is perhaps the rarest of these variants in the trade.\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis set belonged, at one time, to the SoHo Center Library at The New Museum. Originally founded by the art collector and fashion designer Larry Aldrich in 1973, the SoHo Center for Visual Arts was a non-profit gallery at 110 Prince Street. Adjacent to the gallery was the free, open-to-the-public SoHo Center Library; it initially comprised only Aldrich’s own collection, and Bernard Karpel was tasked with its the development. Karpel had just retired from his position as Chief Librarian at MoMA, and was eager to work on the project: “This is a library made for looking ... It’s to fill the needs of the most underprivileged man in the standard art library—the artist, who’s really in rebellion against the fact that most libraries obliterate from consciousness that whole world of vision, tactile sensations and sensory circumstances the artist deals with” (\u003cem\u003eThe New York Times\u003c\/em\u003e). Also staffed by artists, the library was a significant and well-used resource in the neighborhood.\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eWhen Aldrich closed the Center on Prince Street in 1985, he donated the library in its entirety to The New Museum. There, it developed further as a reference and special collections library: by the beginning of the 1990s it maintained over 200 periodicals, 12,000 volumes. A remarkable, seminal library of post-war art, it was then one of the only major collections dedicated to its study.\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIn 2005, The New Museum transferred the core of the collection to NYU’s Libraries. The present copies, with their accompanying library stamps for the SoHo Center at The New Museum, are not recorded in NYU’s holdings and were presumably lost or deaccessioned prior to the transfer of the collection.\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eComplete sets are exceedingly rare\u003c\/strong\u003e. OCLC locates \u003c\/span\u003e\u003cspan\u003eonly one complete run held institutionally, being Joel Rose’s own copies\u003c\/span\u003e\u003cspan\u003e, housed within the greater Between C and D Archive at NYU’s Fales Library. We can locate one additional complete run at the New York Public Library, not accounted for by OCLC. No complete sets have appeared in the standard auction records; smaller groups have only appeared at auction three times.\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eProvenance: The SoHo Center Library, The New Museum (printed library stamp to the bags of #3-17, some with additional library stamp to text). Issues 1, 2, and 18 without labels or stamps.\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eReferences: cf. NYU Fales Library and Special Collections, The \u003cem\u003eBetween C and D Archive\u003c\/em\u003e, MSS.084; Bernard Karpel, quoted in Grace Glueck, “Artists’ Library of Visual Resources Opened in Soho Storefront Center,” \u003cem\u003eThe New York Times\u003c\/em\u003e, February 19, 1974.\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eStock #1093\u003c\/p\u003e","brand":"Heavenacid","offers":[{"title":"Default Title","offer_id":47721203597396,"sku":"1093","price":14500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0675\/4811\/9124\/files\/1093.jpg?v=1790096377"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0675\/4811\/9124\/collections\/LES_Cover_ILLUS.png?v=1790096994","url":"https:\/\/heavenacid.com\/collections\/a-complete-run-of-between-c-and-d.oembed","provider":"Heavenacid","version":"1.0","type":"link"}