When asking an artist why they make art, the response is rarely that they wish to create an elite object that can only be viewed and acquired by a small group of people. Even artworks in public institutions can only be experienced by those who live nearby, or those who are privileged enough to travel to see them. As the primary goal of art making is often to communicate, to spread ideas, and to open a dialogue, editions and multiples appeared as an ideal solution to widely distribute artworks to a large public. Often using industrial means of production, these prints, etchings or objects could be cheaply produced and disseminated. While traditional forms of editions (two dimensional artworks in multiple examples), appeared with the invention of printmaking in the fifteenth century and proliferated during the following centuries, the artist’s multiple exploded during the 1900s. Duchamp’s Rotoreliefs (1935, edition of 500), were perhaps the first artist’s multiple. The word is now most used to designate sculptural objects in a small number of examples, or editioned multiples which are often reproduced in hundreds of copies, as was the case with Duchamp’s. The practice was fully embraced in the 1960’s then again in the 80s, 90s and early part of the century when sales of skateboards, toys, gifs, urls, videos and applications continued the long running tradition.
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Multiples, prints, and publications offered by the gallery have different origin stories.
Click on the image of each work for more information.
Featured works on this page are frequently updated. The full inventory of currently offered items can be found at the bottom of the page.
MULTIPLES
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TR Ericsson
MARCEL DUCHAMP (CUE BALL), 2019TR Ericsson has long enjoyed the challenge of producing multiples in his work, creating images and objects that he sees as “artist’s artworks” - works that can be acquired for reasonable sums and given or sold to a large amount of people who have both personal and artistic relationships with the artist or his practice. Since the 90s, he has regularly produced small editions of multiples, prints and independent publications that punctuate his practice and research. A longtime friend of Francis Nauman, and avid student of art history, philosophy and literature, Ericsson was once a competitive pool player. His most recent multiple was created for the final exhibition in Nauman’s NY gallery last year, a show that was fittingly dedicated to Marcel Duchamp.
250 € (shipping not included)
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"Marcel Duchamp (Cue Ball), a 2-inch diameter cast polyester resin sculpture by TR Ericsson, is a near perfect metaphor for the seminal influence of Marcel Duchamp on the development of contemporary art. "
Clayton Press, Forbes.com, Feb 3rd, 2020
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Wim Janssens x TR Ericsson
I hope you don't get lonesome, 2019The “artist’s artwork” often gets dragged towards other meanings, like the cross-genre work of Belgian musician Wim Janssens who was inspired by Ericsson’s practice. After the two met in 2015, Janssens began writing ballads based on letters from the artist’s personal archive and conversations between the two as their friendship developed. The gallery offers a limited edition (10 + 1AP) vinyl of early recordings of these tracks, which Janssens reworked over the course of four years. It includes original cover art by TR Ericsson. This edition also comes with a limited edition book (24 pages, perfect bound, digital offset), which is written by Harlan Levey and gives background and additional context.
2.500 € (shipping not included)
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Ella Littwitz
31°50'12.8"N 35°32'47.0"EEditioned multiples have also been used as a way to fundraise, both by individual artists and by institutions. Selling a special edition produced by the exhibited artist has become a way for nonprofits to fill the gap that is left by inadequate public funding. This allows supporters of the artist's work to acquire a work for far more affordable prices, and to allow the artist to do the best exhibition possible. This is the case for Ella Littwitz' upcoming exhibition at CCA Tel Aviv, for which the artist has casted one of the buoys which constitutes the national border between Jordan and Israel. The patina on the sculptures was created by evaporating water of the baptizing site on the Jordan river. Engraved in the bronze are the coordinates of its original location.
1.800 € (shipping not included)
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PRINTS & EDITIONS
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PUBLICATIONS
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