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.
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.
TR EricssonMARCEL DUCHAMP (CUE BALL), 2019
TR 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.
"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
Wim Janssens x TR EricssonI hope you don't get lonesome, 2019
The “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.
The final tracks are also available via download, which offers the full 21 song original ballad for 15 euros.
Ella Littwitz31°50'12.8"N 35°32'47.0"E
Editioned 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.
Emmanuel Van der Auwera
In similar style, in 2019 Harlan Levey Projects produced the first editioned multiple VideoSculpture of Emmanuel Van der Auwera, which was used to finance the publication of his first monograph: “A Certain Amount of Clarity.” This multiple is a smaller version of his 2017 work "VideoSculpture XII (Shudder)," which was acquired by the Kanal -Centre Pompidou.
PRINTS & EDITIONS
Willehad EilersWayne Horse: A Day in the Park
Advances in access to photography and printing have seen the editioning of prints become common practice. Willehad Eilers studied both at The Rijksakedemie and through his long running participation to various skateboarding, music and street art related cultures. Like many artists of his generation, he distributed works on clothing, album covers, in public spaces, and for a while mined resources from his own Youtube channel. Over the past decade he has regularly produced artist books and prints. For his most recent print, A Day at the Park, the artist used an image of football hooligans rioting in a park. Interested in the way that celebratory scenes can have compositions akin to historical paintings of battles or how simple brawls can assemble themselves as if they are modelling after classical masterpieces, Eilers is drawn to these crowd scenes which can easily be distorted through the act of blind drawing - only looking at the source imagery and not at the canvas or paper which his artistic instrument is connected with. Cast on a light green background, the colour of his own football team tints the brawl, linking the dissemination of the print to the dissemination of merchandise.
Emmanuel Van der AuweraNINE FLORIDA STORIES, 2020
Emmanuel Van der Auwera's new editioned photo series "Nine Florida Stories," is less a part of practice than something like a "milestone edition, released on the occasion of the first major publication dedicated to his work. He shot these images while in Miami, researching and capturing material for his film diptych "The Death of K9 Cigo" & The Sky is on Fire.” After returning to Brussels and processing his new material, he chose to print these four photographs in a large format and hang them in his studio, where they served as inspiration as he completed the two films, and also as lights in the horizon gently nudging the artist towards future works.
Publications themselves are a form of multiple. Wanting to be as widely distributed as popular literature, artist books, catalogues, and zines became great vehicles to diffuse images and ideas to a huge audience, with the potential of large print runs. This was accompanied by a desire to be as independent as possible in the design and dissemination of the books, allowing the artist to liberate themselves from publishers and printers.
Handmade books, zines and catalogues have been part of Marcin Dudek's practice since his time at art school, making either unique works or limited runs. His book Akumulatory (edition of 50) is a seminal work in which the artist assembles images of DIY gyms found in housing estates across Poland. This book not only inspired works such as Akumulator (2013-2018) and Swiatofit (2019), but brought him towards the line of research he has continued for the 8 years following.
Amelie BouvierPickering's Harem
Amélie Bouvier's publication "Pickering's Harem" is a slightly larger edition of 200 copies. Unlike "Akumulatory," which launched a work that took over five years to complete, "Pickering's Harem" acts as a catalogue for a body of work that has been disseminated around Europe and North America. It unites the suite of drawings and adds context by way of an introduction written by curator Allyson Unzicker.
"Amélie Bouvier’s series titled Pickering’s Harem ( 2017 – 2019 ) is a suite of forty-five ink drawings on paper to represent the groundbreaking number of women who worked for Pickering at the Harvard Observatory. Embodying their method of observing the stars, Bouvier researches astronomical archives based on their discoveries to create her drawings. In this empathetic process, Bouvier often uses similar tools and materials such as a magnifying glass to intuitively source images and texts to formulate her compositions."