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“The epoch of the picture postcard is, apparently, upon us. Like some waif suddenly rescued from the obscurity in a 19th century melodrama, the postcard has been elevated to a new status. It has been claimed as heir to the art of the present age. And, so — presto! — we have “Artists’ Postcards,” an exhibition that enlists the talents of such luminaries of the current scene as John Cage and Robert Motherwell, Lee Krasner and Donald Barthelme, Saul Steinberg and John Ashbery... a remarkable demonstration of diverse talents working to order on an unusual assignment.”

Hilton Kramer

The New York Times, November 25, 1977

Kula Beach, Bali 1977

Victoria Barr

Kula Beach, Bali 1977

Balloon Frame

Andrew P. Macnair

Balloon Frame

From the Melon Collection

Christopher Hewat

From the Melon Collection

Henry James, Chiefs

Donald Barthelme

Henry James, Chiefs

Pier. Provincetown, Mass.

Donald Windham

Pier. Provincetown, Mass.

Big cow painted

Claus Hole

Genue Bos

Postcard, man and woman beetween fyling leafs

Edward Gorey

Urna Parcarum

Gonzalo Fonseca

Urna Parcarum

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The success of “Artists’ Postcards” comes from its combination of two apparently contradictory ideas — cheap art and good art—with the intention of making “nice objects” that could circulate to a wide audience….The choice of format was also appropriate since artists have always been fond of postcards for their dry iconic images and pop iconography; and in this show, the postcard form provided plenty of opportunity for visual wit and clever satire.

“Perhaps the most important aspect of Artists' Postcards was the close relationship between image and reproduction… Artists' Postcards made a few essential choices designed to close the gap between original artwork and its reproduction. The images were made exactly the same size as the finished postcard, so there was a one-to-one correspondence between original and duplicate; images were designed specifically to be reproduced, so the intent was present in their conception; and the printing process itself was adjusted to harmonize with the artist’s needs. The experiment used six different printers and many different paper stocks.”

Kay Larson

Associate Editor, ARTnews

Politicks, April 11, 1978

July

Helen Miranda Wilson

July

The Temple of Zeus, Athens

Hitch Lyman

The Temple of Zeus, Athens

The Brown or Western Gate on the River Brue

James S. Rossant

The Brown or Western Gate on the River Brue

Morning

James Stevenson

Morning

Green Cup - La Vita

Janet Stayton

Green Cup - La Vita

Self Portrait, 1977

Jim Dine

Self Portrait, 1977

Yellow Butterfly

Joe Brainard

Yellow Butterfly

Forty-five Drawings by Thoreau

John Cage

Forty-five Drawings by Thoreau

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Many of the artists have played with the traditional appearance of the postcard: its scenic imagery, its nostalgia, its prurience. For autograph hounds there are cards by Robert Motherwell, Jim Dine, and Joe Brainard. For oddment hounds, there are cards by Edward Gorey and Robert Wilson. For plain old card and/or art buffs, there are manifold delights.

Peter Frank

The Village Voice

January 9, 1978

Four by Six, Three by Eight

John Morning

Four by Six, Three by Eight

Wildlife in Southwestern Desert

Lee Krasner

Wildlife in Southwestern Desert

Card with red string

Lenore Tawney

Lady with whistle

Marilyn Hamann

A Lady of the Night Leading the Bull

Maureen McCabe

A Lady of the Night Leading the Bull

Pre and Post Card

Michael Graves

Pre and Post Card

Michael Langenstein

Two in time

Ricordi, 1977

Paul Linfante

Ricordi, 1977

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Artists’ Postcards is a non-profit making organization set up solely to publish distinguished, limited edition, quality printed works by contemporary artists. As you can imagine, the variety of taste, style and technique is huge and within the set there should be something to please almost everybody. Most of the postcard makers are young artists, but some are well-known in other spheres — people like the writer Tom Wolfe and the cartoonist Ed Koren. All of the postcards have been immensely carefully reproduced with close co-operation between the artists and the printers. They achieve perfectly their aim of bringing small works of art to the man in the street for the price of two tickets to the theatre and of communicating art to us all by the means of the form specially designed to communicate.

Lucia van der Post

The Financial Times, London

April 7, 1979

The Chateau at Maintenon

Richard Benson

The Chateau at Maintenon

Still Life, Fruit

Robert M. Kulicke

Still Life, Fruit

Pentagon

Robert Morris

Pentagon

Figure on the beach #2

Robert Reid

Figure on the beach #2

East Side Sunset

Saul Steinberg

East Side Sunset