{"title":"Objects","description":"\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003ePrints, paintings, sculptures, essentially everything that isn't books.\u003c\/span\u003e","products":[{"product_id":"anicka-yi-7-070-430k-of-digital-spit-a-memoir","title":"ANICKA YI \/ 7,070,430K of Digital Spit, a Memoir","description":"\u003cp\u003e\u003cmeta charset=\"UTF-8\"\u003e\u003cstrong\u003eAnicka Yi\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003e7,070,430K of Digital Spit, A Memoir  \u003c\/em\u003e2015\u003cbr\u003e24 x 20,5 cm, edition of 500\u003cbr\u003eKunsthalle Basel\u003c\/p\u003e\n\u003cp\u003eCondition: New \u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e7,070,430K of Digital Spit, a Memoir is the outcome of a renegade artistic gesture: Anicka Yi took the very first monograph on her oeuvre, the recently published 6,070,430K of Digital Spit, and reprinted its contents on handmade incense paper impregnated with an original fragrance devised by Yi in collaboration with the perfumer Barnabé Fillion, to embody the smell of forgetting.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis publication was produced for and is the centrepiece of Yi’s exhibition 7,070,430K of Digital Spit at Kunsthalle Basel, 2015.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eCollectors of 7,070,430K of Digital Spit, a Memoir are invited to literally “burn after reading,” thereby releasing the embedded fragrance even as they destroy the contents of this lavishly illustrated overview of Yi’s production. Now incorporating scent, chemical transformation, entropy, and combustion, this limited edition artwork-as-publication not only pictures but also actually performs the themes and operations that preoccupy Yi’s entire practice.\u003c\/span\u003e\u003c\/p\u003e","brand":"ANICKA YI","offers":[{"title":"Default Title","offer_id":44743938736409,"sku":"","price":350.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0732\/5024\/2841\/products\/anickayi_4.jpg?v=1680441171"},{"product_id":"copy-of-motohiro-hawakaya-untitled-28-2018-2021","title":"MOTOHIRO HAWAKAYA \/ Untitled #30","description":"\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eMotohiro Hawakaya\u003cbr\u003e\u003c\/strong\u003e\u003cem\u003eUntitled #28  \u003c\/em\u003e2018-2021\u003cbr\u003ePencil on paper\u003cbr\u003e15 x 10cm\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eAs featured in 'Axolotl Tank', Gary Panter, Motohiro Hayakawa, Susan Te Kahurangi King, Matt Lock, Lale Westvind, Rea Burton. Organized by Jess Johnson at Jack Hanley Gallery, March 25 - April 23, 2022.\u003cbr\u003e\u003c\/p\u003e\n\u003cspan\u003eBorn in Yamaguchi Prefecture, Japan, Hayakawi studied at the region’s Technical Institute before going on to work in illustration and comics. Major influences include the science fiction adventures and cartoons of his childhood, in particular Space Sheriff, a cult Japanese TV show aired in the early 80s. The US cartoonist and illustrator, Gary Panter, is also cited by Hayakawi, together with a range of musical inspirations, from pop to punk.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eUsing a mixture of different textures and techniques, fine lines, jelly-like forms and fluorescent colour, Hayakawa creates imagined scenes charged with energy and narrative flair. Since 2009, he has exhibited work in galleries across Tokyo, including at the Morishita Cultural Centre, and is a member of the Tokyo Illustrators’ Society. Hayakawa presented a solo show in Madrid in 2013 and his comic book LASERBEAM was released by the French publishing house Le Dernier Cri in the same year.\u003c\/span\u003e","brand":"MOTOHIRO HAWAKAYA","offers":[{"title":"Default Title","offer_id":44744124268825,"sku":"","price":350.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0732\/5024\/2841\/products\/4.jpg?v=1680442149"},{"product_id":"copy-of-motohiro-hawakaya-untitled-30-2018-2021","title":"MOTOHIRO HAWAKAYA \/ Untitled #11","description":"\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eMotohiro Hawakaya\u003cbr\u003e\u003c\/strong\u003e\u003cem\u003eUntitled #11  \u003c\/em\u003e2018-2021\u003cbr\u003ePencil on paper\u003cbr\u003e15 x 10cm\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eAs featured in 'Axolotl Tank', Gary Panter, Motohiro Hayakawa, Susan Te Kahurangi King, Matt Lock, Lale Westvind, Rea Burton. Organised by Jess Johnson at Jack Hanley Gallery, March 25 - April 23, 2022.\u003cbr\u003e\u003c\/p\u003e\n\u003cspan\u003eBorn in Yamaguchi Prefecture, Japan, Hayakawi studied at the region’s Technical Institute before working in illustration and comics. Major influences include the science fiction adventures and cartoons of his childhood, in particular Space Sheriff, a cult Japanese TV show aired in the early 80s. The US cartoonist and illustrator, Gary Panter, is also cited by Hayakawi, together with a range of musical inspirations, from pop to punk.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eUsing a mixture of different textures and techniques, fine lines, jelly-like forms and fluorescent colour, Hayakawa creates imagined scenes charged with energy and narrative flair. Since 2009, he has exhibited work in galleries across Tokyo, including at the Morishita Cultural Centre, and is a member of the Tokyo Illustrators’ Society. Hayakawa presented a solo show in Madrid in 2013 and his comic book LASERBEAM was released by the French publishing house Le Dernier Cri in the same year.\u003c\/span\u003e","brand":"MOTOHIRO HAWAKAYA","offers":[{"title":"Default Title","offer_id":44744150352153,"sku":"","price":350.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0732\/5024\/2841\/products\/3.jpg?v=1680442022"},{"product_id":"copy-of-motohiro-hawakaya-untitled-30-2018-2022","title":"MOTOHIRO HAWAKAYA \/ Untitled #12","description":"\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\n\u003cp class=\"p1\"\u003e\u003cstrong\u003eMotohiro Hawakaya\u003cbr\u003e\u003c\/strong\u003e\u003cem\u003eUntitled #12  \u003c\/em\u003e2018-2021\u003cbr\u003ePencil on paper\u003cbr\u003e15 x 10cm\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eAs featured in 'Axolotl Tank', Gary Panter, Motohiro Hayakawa, Susan Te Kahurangi King, Matt Lock, Lale Westvind, Rea Burton. Organised by Jess Johnson at Jack Hanley Gallery, March 25 - April 23, 2022.\u003cbr\u003e\u003c\/p\u003e\n\u003cspan\u003eBorn in Yamaguchi Prefecture, Japan, Hayakawi studied at the region’s Technical Institute before going on to work in illustration and comics. Major influences include the science fiction adventures and cartoons of his childhood, in particular Space Sheriff, a cult Japanese TV show aired in the early 80s. The US cartoonist and illustrator, Gary Panter, is also cited by Hayakawi, together with a range of musical inspirations, from pop to punk.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eUsing a mixture of different textures and techniques, fine lines, jelly-like forms and fluorescent colour, Hayakawa creates imagined scenes charged with energy and narrative flair. Since 2009, he has exhibited work in galleries across Tokyo, including at the Morishita Cultural Centre, and is a member of the Tokyo Illustrators’ Society. Hayakawa presented a solo show in Madrid in 2013 and his comic book LASERBEAM was released by the French publishing house Le Dernier Cri in the same year.\u003c\/span\u003e","brand":"MOTOHIRO HAWAKAYA","offers":[{"title":"Default Title","offer_id":44744157823257,"sku":"","price":350.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0732\/5024\/2841\/products\/Folio_007.jpg?v=1680442045"},{"product_id":"copy-of-motohiro-hawakaya-untitled-30-2018-2023","title":"MOTOHIRO HAWAKAYA \/ Untitled #24","description":"\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eMotohiro Hawakaya\u003cbr\u003e\u003c\/strong\u003e\u003cem\u003eUntitled #24  \u003c\/em\u003e2018-2021\u003cbr\u003ePencil on paper\u003cbr\u003e15 x 10cm\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eAs featured in 'Axolotl Tank', Gary Panter, Motohiro Hayakawa, Susan Te Kahurangi King, Matt Lock, Lale Westvind, Rea Burton. Organized by Jess Johnson at Jack Hanley Gallery, March 25 - April 23, 2022.\u003cbr\u003e\u003c\/p\u003e\n\u003cspan\u003eBorn in Yamaguchi Prefecture, Japan, Hayakawi studied at the region’s Technical Institute before going on to work in illustration and comics. Major influences include the science fiction adventures and cartoons of his childhood, in particular Space Sheriff, a cult Japanese TV show aired in the early 80s. The US cartoonist and illustrator, Gary Panter, is also cited by Hayakawi, together with a range of musical inspirations, from pop to punk.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eUsing a mixture of different textures and techniques, fine lines, jelly-like forms and fluorescent colour, Hayakawa creates imagined scenes charged with energy and narrative flair. Since 2009, he has exhibited work in galleries across Tokyo, including at the Morishita Cultural Centre, and is a member of the Tokyo Illustrators’ Society. Hayakawa presented a solo show in Madrid in 2013 and his comic book LASERBEAM was released by the French publishing house Le Dernier Cri in the same year.\u003c\/span\u003e","brand":"MOTOHIRO HAWAKAYA","offers":[{"title":"Default Title","offer_id":44744164278553,"sku":"","price":350.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0732\/5024\/2841\/products\/6.jpg?v=1680442103"},{"product_id":"william-wegman","title":"WILLIAM WEGMAN \/ Eyes","description":"\u003cp class=\"p1\"\u003e\u003cstrong\u003eWilliam Wegman\u003cbr\u003e\u003c\/strong\u003e\u003cem\u003eEyes  \u003c\/em\u003e2019\u003cbr\u003e500gm gloss,\u003cstrong\u003e \u003c\/strong\u003e84.1 x 118.9cm\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003eEdition of 100, unsigned\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eProduced on the occasion of Café Spit \u003cspan data-mce-fragment=\"1\"\u003efrom the original Polaroid, 'Eyes', 2005\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eWilliam Wegman was born in 1943 in Holyoke, Massachusetts. He received a B.F.A. in painting from the Massachusetts College of Art, Boston in 1965 and an M.F.A. in painting from the University of Illinois, Champagne-Urbana in 1967. From 1968 to 1970 he taught at the University of Wisconsin. In the fall of 1970 he moved to Southern California where he taught for one year at California State College, Long Beach. In 1971 He moved to Santa Monica. By the early 70s, Wegman’s work was being exhibited in museums and galleries internationally. In addition to solo shows with Sonnabend Gallery in Paris and New York, Situation Gallery in London and Konrad Fisher Gallery in Dusseldorf, his work was included in such seminal exhibitions as “When Attitudes Become Form,” and “Documenta V” and regularly featured in Interfunktionen, Artforum and Avalanche magazines.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eIt was while he was in Long Beach that Wegman got his dog, a Weimaraner who he named Man Ray, and began a long and fruitful collaboration. Man Ray, known in the art world and beyond for his endearing deadpan presence, became a central figure in Wegman’s photographs and videotapes. When Man Ray died in 1982 he was named “Man of the Year” by the Village Voice. It was not until 1986 that Wegman got a new dog, Fay Ray, and another collaboration began marked by Wegman’s extensive use of the Polaroid 20 x 24 camera. With the birth of Fay’s litter in 1989, Wegman’s cast of grew to include Fay’s offspring — Battina, Crooky and Chundo — and later, their offspring: Battina’s son Chip in 1995, Chip’s son Bobbin in 1999 and Candy and Bobbin’s daughter Penny in 2004. Out of Wegman’s involvement with this cast of characters grew a series of childrens’ books inspired by the dogs’ various acting abilities: Cinderella, Little Red Riding Hood, ABC, Mother Goose, Farm Days, My Town, Surprise Party and Chip Wants a Dog.  Wegman has also published a number of books for adults including Man’s Best Friend, Fashion Photographs, William Wegman 20 x 24, The New York Times Bestseller Puppies, Fay, William Wegman: Paintings and the upcoming Being Human, edited by William Ewing and published by Thames and Hudson fall 2017.\u003c\/p\u003e\n\u003cp\u003eWegman has created film and video works for Saturday Night Live and Nickelodeon and his video segments for Sesame Street have appeared regularly since 1989. In 1995, Wegman’s film The Hardly Boys was screened at the Sundance Film Festival. Wegman has been commissioned to create images for a wide range of projects including a fashion campaign for Acne, banners for the Metropolitan Opera and covers for numerous publications including The New Yorker and, most recently, Wallpaper. Wegman has appeared on The Tonight Show with Johnny Carson and with Jay Leno, The David Letterman Show and The Colbert Report.\u003c\/p\u003e\n\u003cp\u003eWilliam Wegman lives in New York and Maine where he continues to paint, draw, make videos and take photographs with his dogs Flo and Topper.\u003c\/p\u003e","brand":"WILLIAM WEGMAN","offers":[{"title":"Default Title","offer_id":44751430943001,"sku":"","price":250.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0732\/5024\/2841\/products\/Artwork_finalposter_a.jpg?v=1678797013"},{"product_id":"paul-mccarthy-trans-gum","title":"PAUL McCARTHY \/ TRANS Gum","description":"\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003ePaul McCarthy\u003cbr\u003e\u003c\/strong\u003e\u003cem\u003eTRANS Gum  \u003c\/em\u003e2001\u003cbr\u003eSilkscreen print on chewing gum\u003cbr\u003e25 x 21cm \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cmeta charset=\"utf-8\"\u003eThe work is sealed in plastic bag and framed behind acrylic measuring. \u003cmeta charset=\"utf-8\"\u003eMinor attenuation to chewing gum and media. \u003cmeta charset=\"utf-8\"\u003eTransferred media from lower edge of work to plastic wrapping. \u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\" mce-data-marked=\"1\"\u003eEdition: 30\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIncredibly rare single sheet of printed edible chewing gum with a reproduced drawing of a McCarthy evil Santa on it. These eat art object multiples turned out to be hugely fragile and many broke and cracked during transit or on the magazine shelves. This example is in overall good condition. 3cm break to upper right corner held in place by plastic wrapping that aligns well. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003ePaul McCarthy is widely considered to be one of the most influential and groundbreaking contemporary American artists. Born in 1945, and raised in Salt Lake City, Utah, he first established a multi-faceted artistic practice, which sought to break the limitations of painting by using unorthodox materials such as bodily fluids and food. He has since become known for visceral, often hauntingly humorous work in a variety of mediums—from performance, photography, film and video, to sculpture, drawing and painting.\u003c\/p\u003e\n\u003cp\u003eDuring the 1990s, he extended his practice into installations and stand-alone sculptural figures, utilising a range of materials such as fiberglass, silicone, animatronics and inflatable vinyl. Playing on popular illusions and cultural myths, fantasy and reality collide in a delirious yet poignant exploration of the subconscious, in works that simultaneously challenge the viewer’s phenomenological expectations.\u003c\/p\u003e\n\u003cp\u003eWhether absent or present, the human figure has been a constant in his work, either through the artist‘s own performances or the array of characters he creates to mix high and low culture, and provoke an analysis of our fundamental beliefs. These playfully oversized characters and objects critique the worlds from which they are drawn: Hollywood, politics, philosophy, science, art, literature, and television. McCarthy’s work, thus, locates the traumas lurking behind the stage set of the American Dream and identifies their counterparts in the art historical canon.\u003c\/p\u003e","brand":"PAUL McCARTHY","offers":[{"title":"Default Title","offer_id":44903874101529,"sku":"","price":1450.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0732\/5024\/2841\/products\/ScreenShot2023-04-04at19.48.46.png?v=1680612386"},{"product_id":"yoshifumi-hayashi","title":"YOSHIFUMI HAYASHI \/ Masse Gris-Noir","description":"\u003cp class=\"p1\"\u003e\u003cstrong\u003eYoshifumi Hayashi\u003cbr\u003e\u003c\/strong\u003e\u003cem\u003eMasse Gris-Noir  \u003cbr\u003e\u003c\/em\u003eL\u003cspan data-mce-fragment=\"1\"\u003eimited edition\/signed, \u003c\/span\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eYoshifumi Hayashi's \u003cbr\u003ePortfolio a set of 8 sheets (sheet size: 33.6 x 22.5cm), \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eOriginal black cloth binder (size: 37.5 x 28.0cm)\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003ePyramid\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eEdition: \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eEdition 35 of 180\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eCondition: Very good with minimal wear \u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eLimited edition portfolio in celebration of an exhibition of the works of Yoshifumi Hayashi, an artist who resides in France. A careful collection of the latest works of artist Yoshifumi Hayashi who continues his lonely pursuit of a world of sensual love through detailed pencil sketches.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eThe grotesque eroticism of Yoshifumi Hayashi’s smooth, graphite illustrations are surrealistic exhibitions of the artist’s deepest and darkest paranoias, fetishes, and obsessions. Legs, breasts, vulvas, and mouths are remixed into accumulative, abject organisms like that of a mutant Hans Bellmer mannequin.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eIn one illustration, a rat king cluster of plump, gesticulating legs project from a mass of intestinal, tubular matter that is reminiscent of both a vulva and a butchered animal carcass. In another, a pillar of disembodied breasts dripping with hyperrealistic beads of sweat tower up a leafy stalk like bulbs on a garlic branch ready to be plucked. Repeating themes include legs, intestines, modernist architectural interiors, and Magritte-esque landscapes.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eBorn in 1948, the artist moved to Paris at age 26 where he began to create pencil drawings through self-study. He has since developed a cult following.\u003c\/span\u003e\u003c\/p\u003e","brand":"YOSHIFUMI HAYASHI","offers":[{"title":"Default Title","offer_id":44904068448537,"sku":"","price":450.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0732\/5024\/2841\/files\/Folio_005.jpg?v=1684331276"},{"product_id":"william-wegman-1","title":"WILLIAM WEGMAN \/ The Dark Side","description":"\u003cp class=\"p1\"\u003e\u003cstrong\u003eWilliam Wegman\u003cbr\u003e\u003c\/strong\u003e\u003cem\u003eThe Dark Side  \u003c\/em\u003e2019\u003cbr\u003e500gm gloss,\u003cb\u003e \u003c\/b\u003e84.1 x 118.9cm\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003eEdition of 100, unsigned\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eProduced on the occasion of Café Spit from the original Polaroid, 'The Dark Side', 2008.   \u003c\/p\u003e\n\u003cp class=\"p2\"\u003eWilliam Wegman was born in 1943 in Holyoke, Massachusetts. He received a B.F.A. in painting from the Massachusetts College of Art, Boston in 1965 and an M.F.A. in painting from the University of Illinois, Champagne-Urbana in 1967. From 1968 to 1970 he taught at the University of Wisconsin. In the fall of 1970 he moved to Southern California where he taught for one year at California State College, Long Beach. In 1971 He moved to Santa Monica. By the early 70s, Wegman’s work was being exhibited in museums and galleries internationally. In addition to solo shows with Sonnabend Gallery in Paris and New York, Situation Gallery in London and Konrad Fisher Gallery in Dusseldorf, his work was included in such seminal exhibitions as “When Attitudes Become Form,” and “Documenta V” and regularly featured in Interfunktionen, Artforum and Avalanche magazines.\u003c\/p\u003e\n\u003cp class=\"p2\"\u003eIt was while he was in Long Beach that Wegman got his dog, a Weimaraner who he named Man Ray, and began a long and fruitful collaboration. Man Ray, known in the art world and beyond for his endearing deadpan presence, became a central figure in Wegman’s photographs and videotapes. When Man Ray died in 1982 he was named “Man of the Year” by the Village Voice. It was not until 1986 that Wegman got a new dog, Fay Ray, and another collaboration began marked by Wegman’s extensive use of the Polaroid 20 x 24 camera. With the birth of Fay’s litter in 1989, Wegman’s cast of grew to include Fay’s offspring — Battina, Crooky and Chundo — and later, their offspring: Battina’s son Chip in 1995, Chip’s son Bobbin in 1999 and Candy and Bobbin’s daughter Penny in 2004. Out of Wegman’s involvement with this cast of characters grew a series of childrens’ books inspired by the dogs’ various acting abilities: Cinderella, Little Red Riding Hood, ABC, Mother Goose, Farm Days, My Town, Surprise Party and Chip Wants a Dog.  Wegman has also published a number of books for adults including Man’s Best Friend, Fashion Photographs, William Wegman 20 x 24, The New York Times Bestseller Puppies, Fay, William Wegman: Paintings and the upcoming Being Human, edited by William Ewing and published by Thames and Hudson fall 2017.\u003c\/p\u003e\n\u003cp class=\"p2\"\u003eWegman has created film and video works for Saturday Night Live and Nickelodeon and his video segments for Sesame Street have appeared regularly since 1989. In 1995, Wegman’s film The Hardly Boys was screened at the Sundance Film Festival. Wegman has been commissioned to create images for a wide range of projects including a fashion campaign for Acne, banners for the Metropolitan Opera and covers for numerous publications including The New Yorker and, most recently, Wallpaper. Wegman has appeared on The Tonight Show with Johnny Carson and with Jay Leno, The David Letterman Show and The Colbert Report.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eWilliam Wegman lives in New York and Maine where he continues to paint, draw, make videos and take photographs with his dogs Flo and Topper.\u003c\/p\u003e","brand":"WILLIAM WEGMAN","offers":[{"title":"Default Title","offer_id":44949172453657,"sku":"","price":250.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0732\/5024\/2841\/products\/Artwork_finalposter_b.jpg?v=1681304259"},{"product_id":"martin-creed-work-no-101-for-pianoforte","title":"MARTIN CREED \/ Work no. 101 for pianoforte","description":"\u003cdl class=\"Box-sc-15se88d-0 Flex-cw39ct-0 bKPevV\" display=\"flex\"\u003e\n\u003cdt class=\"Box-sc-15se88d-0 Text-sc-18gcpao-0 hIpJGq JnnaH\" font-family=\"sans\" width=\"150\"\u003e\n\u003cp class=\"p1\"\u003e\u003cstrong\u003eMartin Creed \u003cbr\u003e\u003c\/strong\u003e\u003cem\u003eWork no. 101 for pianoforte  \u003c\/em\u003e1994 \u003cbr\u003ePrinted paper, 29 × 21cm.\u003c\/p\u003e\n\u003c\/dt\u003e\n\u003c\/dl\u003e\n\u003cdl class=\"Box-sc-15se88d-0 Flex-cw39ct-0 bKPevV\" display=\"flex\"\u003e\n\u003cdt class=\"Box-sc-15se88d-0 Text-sc-18gcpao-0 hIpJGq JnnaH\" font-family=\"sans\" width=\"150\"\u003eCondition: Excellent condition, artwork and protective tube show no wear or discolouration.\u003c\/dt\u003e\n\u003c\/dl\u003e\n\u003cp\u003eBetween 1993 and 1998, Matthew Higgs, artist, writer and current Director of White Columns, produced and distributed more than fifty works through his publishing project Imprint 93. An administrator at an advertising agency by day and influential curator by night, Higgs invited artists to create works of art that could fit inside an envelope to be distributed, unsolicited, by mail to an informal group of friends, artists, and curators. Financed by himself and printed on an office photocopier, Imprint 93 served as an ongoing curatorial project which did not necessitate a space, circumvented traditional art world structures, and offered a unique platform and network for artists to distribute their work.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eThe artists involved in Imprint 93 were often at the beginnings of their careers, working on the periphery of the then emerging ‘YBA’ movement. The exhibition features the work of Fiona Banner, Billy Childish, Martin Creed, Jeremy Deller, Peter Doig, Ceal Floyer, Stewart Home, Alan Kane, Hilary Lloyd, Paul Noble, Chris Ofili, Elizabeth Peyton, Bob and Roberta Smith, Jessica Voorsanger and Stephen Willats, among others. Imprint 93 was also closely linked to influential and emerging artist-centered initiatives such as London’s City Racing and Cabinet Gallery. \u003c\/p\u003e\n\u003cp\u003eHiggs, now director of White Columns in New York, is an artist, writer and pioneering curator. Having witnessed the phenomenal rise of young British artists in the early 1990s, he contacted those he knew and admired and invited them to make a work for his mail art project, Imprint 93.\u003c\/p\u003e","brand":"MARTIN CREED","offers":[{"title":"Default Title","offer_id":45065561014553,"sku":"","price":1450.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0732\/5024\/2841\/files\/257_1_artists_books_ephemera_from_an_important_private_collection_march_2023_martin_creed_work_no_101__rago_auction.jpg?v=1682399712"},{"product_id":"copy-of-martin-creed-work-no-101-for-pianoforte","title":"MARTIN CREED \/ Work no. 118","description":"\u003cp class=\"p1\"\u003e\u003cstrong\u003eMartin Creed \u003cbr\u003e\u003c\/strong\u003e\u003cem\u003eWork no. 118  \u003c\/em\u003e1995\u003cbr\u003ePrinted paper, \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e30 × 21cm\u003c\/span\u003e.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eCondition: \u003cspan data-mce-fragment=\"1\"\u003eOverall good condition, sheet has been folded twice. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eBetween 1993 and 1998, Matthew Higgs, artist, writer and current Director of White Columns, produced and distributed more than fifty works through his publishing project Imprint 93. An administrator at an advertising agency by day and influential curator by night, Higgs invited artists to create works of art that could fit inside an envelope to be distributed, unsolicited, by mail to an informal group of friends, artists, and curators. Financed by himself and printed on an office photocopier, Imprint 93 served as an ongoing curatorial project which did not necessitate a space, circumvented traditional art world structures, and offered a unique platform and network for artists to distribute their work.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eThe artists involved in Imprint 93 were often at the beginnings of their careers, working on the periphery of the then emerging ‘YBA’ movement. The exhibition features the work of Fiona Banner, Billy Childish, Martin Creed, Jeremy Deller, Peter Doig, Ceal Floyer, Stewart Home, Alan Kane, Hilary Lloyd, Paul Noble, Chris Ofili, Elizabeth Peyton, Bob and Roberta Smith, Jessica Voorsanger and Stephen Willats, among others. Imprint 93 was also closely linked to influential and emerging artist-centered initiatives such as London’s City Racing and Cabinet Gallery.\u003c\/p\u003e\n\u003cp\u003eHiggs, now director of\u003cspan\u003e White Columns \u003c\/span\u003ein New York, is an artist, writer and pioneering curator. Having witnessed the phenomenal rise of young British artists in the early 1990s, he contacted those he knew and admired and invited them to make a work for his mail art project, Imprint 93. \u003c\/p\u003e","brand":"MARTIN CREED","offers":[{"title":"Default Title","offer_id":45065570844953,"sku":"","price":1450.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0732\/5024\/2841\/files\/258_2_artists_books_ephemera_from_an_important_private_collection_march_2023_martin_creed_work_no_118__rago_auction.png?v=1682400202"},{"product_id":"allen-ruppersberg-als-cafe-lithograph","title":"ALLEN RUPPERSBERG \/ Al's Café lithograph","description":"\u003cp class=\"p1\"\u003e\u003cstrong\u003eAllen Ruppersberg\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eAl's Café  \u003c\/em\u003e1979 \u003cbr\u003e56 x 41cm, \u003cmeta charset=\"utf-8\"\u003elithograph on paper\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eCondition: Excellent with minimal wear\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e(Al's) \u003ci\u003eCafe\u003c\/i\u003e was intended to be a limited-run restaurant, staged once a week—Thursday nights from eight to eleven—in a rented location in downtown Los Angeles. It was to function socially as a meeting place for friends, members of the art world, and anyone else who wanted to drop by. In direct opposition to what one might have expected from a young artist at the time, the decor was familiar to the point of strangeness: hyperfamiliar, you might say today.\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eThe look was as crafted as a movie set, true to the period, though the period could have been anywhere from 1925 to 1969. Against all Minimalist, Post-Minimalist, and Conceptualist expectations, this cafe was not an idea as an idea as an idea; it was sumptuously filled with romantic detail, suggesting a cafe that had existed for a lifetime of years and was filled with Middle American memorabilia—posters, nature calendars, fishing paraphernalia, pinups, picture postcards, and autographed photos of movie stars and sports heroes. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eThe patterns of the tablecloths were everyday plaid, the counter and the tables and chairs were traditional. Odd bits of advertising novelties were everywhere, souvenirs of past events abounded, and the waitresses were beautiful. This was \u003ci\u003eAl's Cafe, \u003c\/i\u003ethe American cafe of all American cafes, looking as if it had been nurtured for forty years by a caring cafe-owner, filled with memories to be shared with generations of patrons. It was a place where any American would have felt at home. It was exorbitantly familiar. \u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eSince the 1960s, paintings, prints, photographs, sculptures, installations, and books have been among the media through which Allen Ruppersberg explores the intersection of art, literature, and life. Like those of Allan Kaprow, Ruppersberg’s projects are participatory, anticipating the ideas of Rirkrit Tiravanija, Carsten Höller, and other 1990s practitioners of Relational Aesthetics. Ruppersberg's installation The Never Ending Book Part 2\/Art and Therefore Ourselves (2009) was a selection of thousands of photocopied pages from the artist’s collection of books, which he installed in a theatrical environment of props and posters; the pages were stacked in boxes and free for viewers to take home and create their own unique “books”.\u003c\/p\u003e","brand":"ALLEN RUPPERSBERG","offers":[{"title":"Default Title","offer_id":45066309468441,"sku":"","price":1250.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0732\/5024\/2841\/files\/406_1_artists_books_ephemera_from_an_important_private_collection_march_2023_allen_ruppersberg_artists_books_and_ephemera__rago_auction.jpg?v=1682405076"},{"product_id":"allen-ruppersberg-matches","title":"ALLEN RUPPERSBERG \/ Al's Cafe matchbooks","description":"\u003cp\u003e\u003cstrong\u003eAllen Ruppersberg\u003cbr\u003e\u003c\/strong\u003e\u003cem\u003eAl's Café matchbooks  \u003c\/em\u003ec. 1979 \u003cbr\u003eMatchbooks with Al's café logo\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cmeta charset=\"utf-8\"\u003eCondition: Like new\u003c\/p\u003e\n\u003cp\u003e'(Al's) Café' was intended to be a limited-run restaurant, staged once a week—Thursday nights from eight to eleven—in a rented location in downtown Los Angeles. It was to function socially as a meeting place for friends, members of the art world, and anyone else who wanted to drop by. In direct opposition to what one might have expected from a young artist at the time, the decor was familiar to the point of strangeness: hyper-familiar, you might say today.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eThe look was as crafted as a movie set, true to the period, though the period could have been anywhere from 1925 to 1969. Against all Minimalist, Post-Minimalist, and Conceptualist expectations, this cafe was not an idea as an idea as an idea; it was sumptuously filled with romantic detail, suggesting a cafe that had existed for a lifetime of years and was filled with Middle American memorabilia—posters, nature calendars, fishing paraphernalia, pinups, picture postcards, and autographed photos of movie stars and sports heroes.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eThe patterns of the tablecloths were everyday plaid, the counter and the tables and chairs were traditional. Odd bits of advertising novelties were everywhere, souvenirs of past events abounded, and the waitresses were beautiful. This was '\u003ci\u003eAl's Cafe', \u003c\/i\u003ethe American cafe of all American cafes, looking as if it had been nurtured for forty years by a caring cafe-owner, filled with memories to be shared with generations of patrons. It was a place where any American would have felt at home. It was exorbitantly familiar. \u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eSince the 1960s, paintings, prints, photographs, sculptures, installations, and books have been among the media through which Allen Ruppersberg explores the intersection of art, literature, and life. Like those of Allan Kaprow, Ruppersberg’s projects are participatory, anticipating the ideas of Rirkrit Tiravanija, Carsten Höller, and other 1990s practitioners of Relational Aesthetics. Ruppersberg's installation The Never Ending Book Part 2\/Art and Therefore Ourselves (2009) was a selection of thousands of photocopied pages from the artist’s collection of books, which he installed in a theatrical environment of props and posters; the pages were stacked in boxes and free for viewers to take home and create their own unique “books”.\u003c\/p\u003e","brand":"ALLEN RUPPERSBERG","offers":[{"title":"Default Title","offer_id":45151274205465,"sku":"","price":165.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0732\/5024\/2841\/files\/406_2_artists_books_ephemera_from_an_important_private_collection_march_2023_allen_ruppersberg_artists_books_and_ephemera__rago_auction_1.png?v=1683115093"},{"product_id":"angela-bulloch-texte-zur-kunst","title":"ANGELA BULLOCH \/ Texte zur Kunst","description":"\u003cheader\u003e\n\u003cp class=\"p1\"\u003e\u003cstrong\u003eAngela Bulloch\u003cbr\u003e\u003c\/strong\u003e\u003cem\u003eTexte zur Kunst  \u003c\/em\u003e2001 \u003cbr\u003eNumbered 22 from the edition of 150+ 20 AP.\u003cspan data-mce-fragment=\"1\"\u003e 23 x 16.6cm, \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003emagazine\u003cbr\u003e\u003c\/span\u003eTexte zur Kunst, Berlin\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eCondition: Excellent \u003c\/p\u003e\n\u003c\/header\u003e\n\u003csection class=\"text\"\u003e\u003c\/section\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003e'Texte zur Kunst' is a bilingual internationally recognised art magazine that publishes contributions by leading writers on contemporary art and culture. Founded in Cologne in 1990 by Stefan Germer and Isabelle Graw, it has been based in Berlin since 2000. Alongside groundbreaking essays, the quarterly magazine offers interviews, roundtable discussions, and comprehensive reviews on art, film, music, fashion, art history, theory, and cultural politics.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e \u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eAdditionally, each issue release is accompanied by exclusive editions by internationally renowned artists, who generously support the magazine by producing unique works for the magazine. \u003cmeta charset=\"utf-8\"\u003eFor this edition of 'Texte zur Kunst', Angela Bulloch came up with an edition that refers concretely to our new issue: her \"Generic English Edition\" is an almost identical version of the paired issue but in a computer-generated English translation. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eAngela Bulloch was born 1966 in Rainy River, Ontario, Canada. She studied at Goldsmiths, University of London and currently lives and works in Berlin. In 1997, Bulloch was nominated for the Turner Prize and in 2005 for the Berlin-based Preis der Nationalgalerie für junge Kunst. In 2011, she received the Vattenfall Contemporary Art Prize, Berlin, as well as the Art Prize of the city of Wolfsburg.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eAngela Bulloch's work spans many media, manifesting her interest in systems, patterns and rules, as well as her preoccupation with the history of shapes and human interaction. The 'Pixel Boxes' have become her most familiar work: Initially fabricated in beech wood with a glass front screen, their softly changing and pulsing colours distill and abstract complex visual patterns into simple shifting monochromes. \u003c\/p\u003e","brand":"ANGELA BULLOCH","offers":[{"title":"Default Title","offer_id":45151337152793,"sku":"","price":450.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0732\/5024\/2841\/files\/2.png?v=1683199510"},{"product_id":"angela-bulloch-rules-series-edition","title":"ANGELA BULLOCH \/ Rules Series Edition","description":"\u003cp class=\"p1\"\u003e\u003cstrong\u003eAngela Bulloch\u003cbr\u003e\u003c\/strong\u003e\u003cem\u003eRules Series Edition  \u003c\/em\u003e1993\u003cbr\u003eSilk screened on plastic, slipcase, ten sheets, 29.5 x 21cm\u003cbr\u003eBrain Multiples, Santa Monica, CA\u003cbr\u003eEdition of 20\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eCondition: Excellent\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e'Rule Book'\u003cspan\u003e \u003c\/span\u003eis an extensive collection of guides, instructions, manuals and rules that have been amassed by Angela Bulloch. They are taken from sources as disparate as: parking restrictions, the Ten Commandments, the standing order of the House of Commons, hankie colour codes, Birkenstock care tips and the detoxification diet.\u003cbr\u003e\u003c\/p\u003e\n\u003cdiv class=\"p\" data-mce-fragment=\"1\"\u003e\n\u003cp\u003eBy displacing these rules from their social and political context Bulloch reveals their ‘man-made structure’ as well as a society that, in order to maintain a stable social structure, imposes regulations and controls on every conceivable form of activity. As such, the book forms an intriguing snapshot of society at the close of the twentieth century.\u003c\/p\u003e\n\u003cp\u003eAngela Bulloch was born 1966 in Rainy River, Ontario, in Canada. She studied at Goldsmiths, University of London. The artist lives and works in Berlin.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eIn 1997, Bulloch was nominated for the Turner Prize and in 2005, for the Berlin-based Preis der Nationalgalerie für junge Kunst. In 2011, she received the Vattenfall Contemporary Art Prize, Berlin, as well as the Art Prize of the city of Wolfsburg.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eAngela Bulloch's work spans many media, manifesting her interest in systems, patterns and rules, as well as her preoccupation with the history of shapes and human interaction. The 'Pixel Boxes' have become her most familiar work: Initially fabricated in beech wood with a glass front screen, their softly changing and pulsing colours distill and abstract complex visual patterns into simple shifting monochromes. \u003c\/p\u003e\n\u003c\/div\u003e","brand":"ANGELA BULLOCH","offers":[{"title":"Default Title","offer_id":45158239830297,"sku":"","price":650.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0732\/5024\/2841\/files\/243_3_artists_books_ephemera_from_an_important_private_collection_march_2023_angela_bulloch_artists_books_two__rago_auction.png?v=1683199471"},{"product_id":"matt-mullican-heaven","title":"MATT MULLICAN \/ Heaven","description":"\u003cp class=\"p1\"\u003e\u003cstrong\u003eMatt Mullican\u003cbr\u003e\u003c\/strong\u003e\u003cem\u003eHeaven \u003c\/em\u003e 2021\u003cbr\u003e\u003cspan\u003eEdition of 500\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003eChristine Burgin Publishing and Marc Selwyn Fine Art\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eDetails: \u003cmeta charset=\"utf-8\"\u003ePublished by the artist in connection with the exhibition \"Matt Mullican: Things Change in Heaven,\" Marc Selwyn Fine Art, Beverly Hills, 2021. \u003cmeta charset=\"utf-8\"\u003eAn accordion-fold book reproducing the 32-part work, Untitled (Things Change in Heaven), 2020. Text from an interview with the artist, Summer 2020. \u003c\/p\u003e\n\u003cp class=\"p1\"\u003eCondition: New \u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eDescription: THE SIGN FOR HEAVEN IS THE TARGET. 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These are the questions that Mullican has explored with his work, most notably with his works using hypnosis, since the mid 1970s.\u003cbr\u003e\u003c\/p\u003e","brand":"MATT MULLICAN","offers":[{"title":"Default Title","offer_id":45174944301337,"sku":"","price":185.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0732\/5024\/2841\/files\/heaven.jpg?v=1686027406"},{"product_id":"jonathan-monk-the-sound-of-laughter-isnt-necessarily-funny","title":"JONATHAN MONK \/ The Sound of Laughter Isn't Necessarily Funny","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp class=\"p1\"\u003e\u003cstrong\u003eJonathan Monk\u003cbr\u003e\u003c\/strong\u003e\u003cem\u003eThe Sound of Laughter Isn't Necessarily Funny  \u003c\/em\u003e2017\u003cbr\u003eFive panel booklet and cassette, 7 x 11cm\u003cbr\u003eIn Other Words, London\u003c\/p\u003e\n\u003cp\u003e'The Sound of Laughter Isn’t Necessarily Funny'\u003cspan data-mce-fragment=\"1\"\u003e is a catalogue in the form of a cassette tape by Jonathan Monk published after the show \u003cmeta charset=\"utf-8\"\u003e'The Sound of Laughter Isn’t Necessarily Funny' \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eheld in Monk’s home town of Leicester. The catalogue comprises a five panel concertina booklet printed in gold and black with jewel case and prison cassette. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eBritish artist Jonathan Monk regularly replays, recasts and re-examines seminal works of Conceptual and Minimal art by variously witty, ingenious and irreverent means. In Monk’s work there is always interplay between art history and autobiography, in this work the personal takes prominence. \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"JONATHAN MONK","offers":[{"title":"Default Title","offer_id":45177436406041,"sku":"","price":27.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0732\/5024\/2841\/files\/Monk_TheSoundOfLaughter_Tape_01-jpg.png?v=1683458638"},{"product_id":"jonathan-monk-a-collection-of-nine-kippenberger-editions-one-boetti-watch-a-cigarette-and-yellow","title":"JONATHAN MONK \/ A collection of nine Kippenberger editions, one Boetti watch, a cigarette and yellow","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp class=\"p1\"\u003e\u003cstrong\u003eJonathan Monk\u003cbr\u003e\u003c\/strong\u003e\u003cem\u003eA collection of nine Kippenberger editions\u003cmeta charset=\"utf-8\"\u003e, one Boetti watch, a cigarette and yellow  \u003c\/em\u003e2015 \u003cbr\u003eEdition of 750\u003cbr\u003e56 cards, 9.2 x 6.5cm\u003cbr\u003eInOtherWords, London\u003c\/p\u003e\n\u003cp\u003e\u003ci data-mce-fragment=\"1\"\u003eA collection of nine Kippenberger editions, one Boetti watch, a cigarette and yellow\u003c\/i\u003e\u003cspan data-mce-fragment=\"1\"\u003e is a deck of cards created in collaboration with artist Jonathan Monk. In a play on the imprint’s focus on developing collectable objects, Monk has appropriated this InOtherWords publication to showcase a collection of his own: editions and multiples created by artists Martin Kippenberger and Alighiero Boetti. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eAs an avid collector of multiples, Monk holds a special interest in the work of Martin Kippenberger. A controversial and innovative artist of the 1980s and 90s, Kippenberger is widely regarded as one of the most esteemed German artists of his generation. The faces of the playing cards show fragments of a composition of limited edition objects – ranging from small sculptures to ready-mades – collected and arranged by Monk.\u003c\/span\u003e\u003c\/p\u003e","brand":"JONATHAN MONK","offers":[{"title":"Default Title","offer_id":45177513050393,"sku":"","price":27.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0732\/5024\/2841\/files\/4_1296x_04f6b8dd-2cf2-44fb-91a1-8aaa93893a08.png?v=1683459893"},{"product_id":"allen-ruppersberg-als-grand-hotel","title":"ALLEN RUPPERSBERG \/ Al's Grand Hotel","description":"\u003cp\u003e\u003cstrong\u003eAllen Ruppersberg\u003cbr\u003e\u003c\/strong\u003e\u003cem\u003eAl's Grand Hotel  \u003c\/em\u003e1971\u003cbr\u003eOffset printed, black and white artist book\/catalogue for Al's Grand Hotel, 1971\u003cbr\u003e22.5 x 15cm, 18 pages\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eCondition: Excellent with minimal wear\u003c\/p\u003e\n\u003cp\u003eIn the spring of 1971, Allen Ruppersberg took over a two-story house located at 7175 Sunset Boulevard in Hollywood, and converted it into a fully-functioning hotel. For the 6 weeks that followed it was a site for gatherings, parties, performances and, of course, spending the night. The 7 rooms were functional installations, each one themed, the materials vernacular and the air casual. Purposefully temporary, the short-lived hotel remained in LA’s history a landmark and legend, highly representative both of Ruppersberg’ work and of the artist run initiatives in LA’s landscape: casual, temporary and changing, with an emphasis on experience and entrepreneurialism. \u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThis is the incredible artist book and document produced conjunction with Al's Grand Hotel, 1971. The publication indexes of the contents for sale in the various room - Lobby, The Jesus Room, The \"B\" Room, The Breakfast Room, The Al Room, The Ultra Violet Room, The Day Room, The Bridal Suite - of the building. Items for sale included the guest register, blue neon \"Al's Grand Hotel\" sign, a fifteen foot wooden cross, 126 issues of Life Magazine, seven life-sized photo cut-outs of Ruppersberg in various outfits, a three tier wedding cake, miscellaneous Grand Hotel office supplies and many other items from the Hotel's rooms. The catalogue notes the entire contents of the hotel could be purchased for $3,500.\u003cbr\u003e\u003c\/p\u003e","brand":"ALLEN RUPPERSBERG","offers":[{"title":"Default Title","offer_id":45432097177881,"sku":"","price":900.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0732\/5024\/2841\/files\/grandhotel.jpg?v=1686535976"},{"product_id":"copy-of-caterina-de-nicola-born-to-die","title":"WILL BENEDICT, HENNING BOHL, STEFFEN JØRGENSEN, DITTE SORIA \/ Civilization Slips Off like A Bathrobe","description":"\u003cp class=\"p1\"\u003e\u003cstrong\u003eWill Benedict, Henning Bohl, Steffen Jørgensen, Ditte Soria\u003cbr\u003e\u003c\/strong\u003e\u003cem\u003eCivilization Slips Off like A Bathrobe  \u003c\/em\u003e2019\u003cbr\u003e8 sheets, each 84.1 x 118.9cm, \u003cmeta charset=\"utf-8\"\u003e500gm gloss\u003cbr\u003e\u003cbr\u003eProduced on the occasion of Café Spit, Paris, 2019.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eEdition:\u003cspan class=\"Apple-converted-space\"\u003e \u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003eEdition of 100, unsigned.\u003c\/p\u003e","brand":"WILL BENEDICT, HENNING BOHL, STEFFEN JØRGENSEN, DITTE SORIA","offers":[{"title":"Default Title","offer_id":45433585959193,"sku":"","price":500.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0732\/5024\/2841\/files\/willbenedictposter_a_-1.jpg?v=1686560796"},{"product_id":"charles-burns-teenage-disease","title":"CHARLES BURNS \/ The Black Hole Teens","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cstrong\u003eCharles Burns\u003cbr\u003e\u003c\/strong\u003e\u003cem\u003eThe Black Hole Teens  \u003c\/em\u003e\u003cspan\u003e2011\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eScreenprint on Cyclus-offset, 350gr paper\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e50 x 35cm\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eThe Arts Factory, Paris\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eEdition: 75\/75\u003c\/span\u003e\u003c\/p\u003e","brand":"CHARLES BURNS","offers":[{"title":"Default Title","offer_id":45445399544089,"sku":"","price":1250.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0732\/5024\/2841\/files\/IMG_9038_818c6cef-aa54-4458-a011-e19a8c35f830.jpg?v=1686739386"},{"product_id":"copy-of-charles-burns-teenage-disease-2","title":"CHARLES BURNS \/ The Black Hole Teens","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eCharles Burns\u003cbr\u003e\u003c\/strong\u003e\u003cem\u003eThe Black Hole Teens  \u003c\/em\u003e2011\u003cbr\u003eScreenprint on Cyclus-offset, 350gr paper\u003cbr\u003e50 x 35cm\u003cbr\u003eThe Arts Factory, Paris\u003cbr\u003eEdition: 75\/75\u003c\/p\u003e","brand":"CHARLES BURNS","offers":[{"title":"Default Title","offer_id":45445423137049,"sku":"","price":1250.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0732\/5024\/2841\/files\/IMG_9044.jpg?v=1686699899"},{"product_id":"tom-of-finland-1999-calander","title":"TOM  OF FINLAND \/ 1999 Calander","description":"\u003cp\u003e\u003cstrong\u003eTom Of Finland\u003cbr\u003e\u003c\/strong\u003e\u003cem\u003e1999 Calendar  \u003c\/em\u003e1999\u003cbr\u003eVintage Tom of Finland 1999 wall calendar\u003cbr\u003e28 x 21cm\u003c\/p\u003e\n\u003cp\u003ePublisher: Tom Of Finland Foundation\u003c\/p\u003e\n\u003cp\u003eCondition: Some slight folding of corners and a slight crease on the back cover. Some of the images double up on certain months.\u003c\/p\u003e","brand":"TOM OF FINLAND","offers":[{"title":"Default Title","offer_id":45611384078617,"sku":"","price":90.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0732\/5024\/2841\/files\/Folio_008_5884ffef-23e7-4f75-94fb-70d720000518.jpg?v=1688380023"},{"product_id":"claes-oldenburg-mouse-museum-ray-gun-wing","title":"CLAES OLDENBURG \/ Mouse Museum, Ray Gun Wing","description":"\u003cp\u003e\u003cstrong\u003eClaes Oldenburg\u003cbr\u003e\u003c\/strong\u003e\u003cem\u003eMouse Museum, Ray Gun Wing  \u003c\/em\u003e1979\u003cbr\u003ePaperback housed in custom box\u003cbr\u003e136 pages, 30 x 22cm\u003cbr\u003eMuseum Ludwig; 1st Ed. edition (January 1, 1979)\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eCondition: Some small tears to the corner of the housing box. Catalogue in fine condition.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cmeta charset=\"utf-8\"\u003eWonderful strange and humorous, Oldenburg's obsession, well presented. This is the Museum Ludwig, Cologne 1979 1st edition, which is more rare than a later version in '81 (that was published for a later exhibition of the works).\u003c\/span\u003e\u003c\/p\u003e","brand":"CLAES OLDENBURG","offers":[{"title":"Default Title","offer_id":45611763728665,"sku":"","price":180.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0732\/5024\/2841\/files\/Folio_f5c250eb-defd-434b-85ed-9b3e45ca8fdb.jpg?v=1688383605"},{"product_id":"lawrence-weiner-as-often-as-not","title":"LAWRENCE WEINER \/ As Often As Not","description":"\u003cp\u003e\u003cstrong\u003eLawrence Weiner\u003cbr\u003e\u003c\/strong\u003e\u003cem\u003eAs Often As Not  \u003c\/em\u003e2017\u003cbr\u003eFibreglass serving tray, \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eDiameter: 30,5 cm\u003cbr\u003eFiberglass (Antique parchment) Silkscreen Printing (dishwasher safe)\u003cbr\u003eOpen edition\u003cbr\u003e\u003c\/span\u003eOne Star Press, Paris\u003c\/p\u003e\n\u003cp\u003eCondition: New\u003c\/p\u003e\n\u003cp\u003eIn 1930 fibreglass was invented, initially used for the purpose of thermal building insulation. Then in 1950 Charles and Ray Eames mass produced their iconic fiberglass chair with Herman Miller, Inc. In 1951, Camtray (now renamed as Cambro) began manufacturing fiberglass trays in Huntington Beach, CA. Many years later, in 2017, onestar press invited Lawrence Weiner to design an open edition serving tray produced by Cambro.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eLawrence Weiner used his trademark font and came up with the following text : AS OFTEN AS NOT. The artist then concluded: LET US GET SOME DRINKS ON THE TRAY!\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"first:mt-0 last:mb-0 relative my-20\"\u003eDuring its active years from 2000 to 2019, onestar press boasted a remarkable production line consisting of over 300 books, 300 multiples, and artists' films. The organisation's commitment to granting artists space, freedom, and flexibility in realising their creative concepts, along with its embrace of new technologies, fostered fruitful collaborations with international artists across a wide array of projects.\u003c\/p\u003e\n\u003cp class=\"first:mt-0 last:mb-0 relative my-20\"\u003eonestar press held a steadfast vision when it came to contemporary creation, maintaining a non-didactic and diversified approach. This vision manifested in their publication of artists from different generations, countries, and perspectives, effectively serving as a subjective \"encyclopedia\" that reflects our multifaceted civilisation.\u003c\/p\u003e","brand":"LAWRENCE WEINER","offers":[{"title":"Default Title","offer_id":45620568883481,"sku":"","price":225.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0732\/5024\/2841\/files\/LW.jpg?v=1691759623"},{"product_id":"rirkrit-tiravanija-fear-eats-the-soul","title":"RIRKRIT TIRAVANIJA \/ Fear Eats The Soul","description":"\u003cp\u003e\u003cstrong\u003eRirkrit Tiravanija\u003cbr\u003e\u003c\/strong\u003e\u003cem\u003eFear Eats The Soul  \u003c\/em\u003e2018\u003cbr\u003eFibreglass serving tray, 41.5 x 31cm \u003cbr\u003e\u003cspan data-mce-fragment=\"1\"\u003eFiberglass (Antique parchment) Silkscreen Printing (dishwasher safe)\u003cbr\u003eOpen edition\u003cbr\u003e\u003c\/span\u003eOne Star Press, Paris\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eCondition: New\u003c\/span\u003e\u003c\/p\u003e\n\u003cdiv class=\"mt-headerSM lg:mt-header pt-10\"\u003e\n\u003cdiv class=\"mb-beforeFooter\"\u003e\n\u003cdiv class=\"px-10 grid gap-5 gap-y-beforeFooter pt-edit lg:grid-cols-2\"\u003e\n\u003cdiv class=\"DESCRIPTION\"\u003e\n\u003cdiv\u003e\n\u003cdiv class=\"grid\"\u003e\n\u003cdiv class=\"portableText\"\u003e\n\u003cp class=\"first:mt-0 last:mb-0 relative my-20\"\u003eFollowing onestar press’ inaugural tray project by Lawrence Weiner, they are proud to present Rirkrit Tiravanija’s FEAR EATS THE SOUL.\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"first:mt-0 last:mb-0 relative my-20\"\u003eHere Tiravanija has appropriated his text from the title of Rainer Werner Fassbinder’s\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eAli: Fear Eats the Soul\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003ea film which still resonates today with its vibrant questions of race and class raised in 1970s Germany.\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"first:mt-0 last:mb-0 relative my-20\"\u003eThe 4-worded phrase used by Rirkrit literally “serves” as a cornerstone of his artistic practice, using appropriated language to underscore the exploration between art and food, and now perfectly encapsulated in a fiberglass tray produced by Cambro, Huntington Beach, CA U.S.A\u003c\/p\u003e\n\u003cp class=\"first:mt-0 last:mb-0 relative my-20\"\u003eDuring its active years from 2000 to 2019, onestar press boasted a remarkable production line consisting of over 300 books, 300 multiples, and artists' films. The organisation's commitment to granting artists space, freedom, and flexibility in realising their creative concepts, along with its embrace of new technologies, fostered fruitful collaborations with international artists across a wide array of projects.\u003c\/p\u003e\n\u003cp class=\"first:mt-0 last:mb-0 relative my-20\"\u003eonestar press held a steadfast vision when it came to contemporary creation, maintaining a non-didactic and diversified approach. This vision manifested in their publication of artists from different generations, countries, and perspectives, effectively serving as a subjective \"encyclopedia\" that reflects our multifaceted civilisation.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"RIRKRIT TIRAVANIJA","offers":[{"title":"Default Title","offer_id":45621114143001,"sku":"","price":235.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0732\/5024\/2841\/files\/RT.jpg?v=1692086578"},{"product_id":"william-wegman-video-works-1970-1999","title":"WILLIAM WEGMAN \/ Video Works 1970 - 1999","description":"\u003cp\u003e\u003cstrong\u003eWilliam Wegman\u003cbr\u003e\u003c\/strong\u003e\u003cem\u003eVideo Works 1970 - 1999  \u003c\/em\u003e2006\u003cbr\u003eDVD, \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e3 hours and 56 minutes\u003cbr\u003e19 x 14cm\u003cbr\u003e\u003c\/span\u003eArtPix, New York\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eCondition: New\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cmeta charset=\"utf-8\"\u003eThis is a commercially released two disc DVD compilation of over one hundred and fifty videos made by artist William Wegman between 1970 and 1999. \"From the earliest black and white reel-to-reel tapes to the most recent digital colour videos, these works were re-mastered and assembled by the artist exclusively for this collection in 2006. It is an exhaustive archive of the innovative, influential, and often hilarious performances of the artist both with and without his Weimaraner friend, Man Ray. Inspired by the oblique humour of the 1950s radio program Bob and Ray as much as by the atmosphere of experimentation in the art of the 1960s, Wegman created a crossover form of visual art that had almost no precedent and that received favourable critical notice from a wide audience of art lovers. Wegman and ARTPIX have re-introduced some of his earliest clips that have not previously been available on disc, as well as produced definitive versions of other segments through restoration of the original tapes. Included are Spit Sandwich (1970), Reels 1-7 (1970-77), Gray Hairs (1976) and Reels 8 and 9 (1997-99) for a total running time of 3 hours and 56 minutes. Memorable sequences included are \"Dog Duet\", \"Milk\/Floor\", \"Massage Chair\" and \"Stomach Song.\" Included with the discs is a reprint of Kim Levin's essay from 1982 for an exhibition at the Walker Art Center titled \"Wegman's Video: Funny Instead of Formal\" along with a definitive chronology of the complete videos\". A brand new, pristine unplayed example in the publisher's printed jacket with booklet, as issued. \u003c\/span\u003e\u003c\/p\u003e","brand":"WILLIAM WEGMAN","offers":[{"title":"Default Title","offer_id":45812182221081,"sku":"","price":85.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0732\/5024\/2841\/files\/51XJ5GWP47L.jpg?v=1689677710"},{"product_id":"william-wegman-the-hardly-boys","title":"WILLIAM WEGMAN \/ The Hardly Boys","description":"\u003cp\u003e\u003cstrong\u003eWilliam Wegman \u003cbr\u003e\u003c\/strong\u003e\u003cem\u003eThe Hardly Boys in Hardly Gold\u003c\/em\u003e  1995\u003cbr\u003eDVD, 30\u003cspan data-mce-fragment=\"1\"\u003e minutes\u003cbr\u003e19 x 14cm\u003cbr\u003e\u003c\/span\u003eWilliam Wegman\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eCondition: New\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eThe brilliant photographer directs a cast of detective dogs who appear surreally human. \u003cmeta charset=\"utf-8\"\u003ehis take on the detective book series \u003cem data-mce-fragment=\"1\"\u003eThe Hardy Boys\u003c\/em\u003e, which he loved as a kid in the 1950s. Who better to play detectives on film than hunting dogs? Along with striking frames and great production design, William Wegman impressively achieves a 30-minute film with an entirely dog cast who, as in his pictures, appear surreally human.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cmeta charset=\"utf-8\"\u003eThe Hardly family arrives at an inn in Maine to participate in leisure activities: golfing, fishing, and canoeing. The trip takes a puzzling turn when the daughters set off to solve the mysterious disappearance of their aunt Gladiola. Wegman further explains the concept: “The premise of \u003cem\u003eThe Hardly Boys\u003c\/em\u003e is that the dogs Crooky and Batty, not unlike Frank and Joe Hardy (the characters they parody), are amateur detectives sniffing out clues using their super dog powers to track down criminals. When these powers are called upon they lose their human elements, hands, uprightness, clothing and turn into dogs.\u003c\/span\u003e\u003c\/p\u003e","brand":"WILLIAM WEGMAN","offers":[{"title":"Default Title","offer_id":45812658307353,"sku":"","price":145.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0732\/5024\/2841\/files\/51xppTkg8NL._AC_UF894_1000_QL80__1.jpg?v=1689678858"},{"product_id":"art-language-part-of-an-american-portrait","title":"ART \u0026 LANGUAGE \/ Part of an American Portrait","description":"\u003cp\u003e\u003cstrong\u003eArt \u0026amp; Language\u003cbr\u003e\u003c\/strong\u003e\u003cem\u003ePart of an American Portrait  \u003c\/em\u003e2013\u003cbr\u003eP\u003cspan data-mce-fragment=\"1\"\u003eerforated offset lithograph print, 19 x 19cm. Edition of 100\u003cbr\u003e\u003c\/span\u003eRob Tufnell, UK\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eCondition: New\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e*Please note - these will ship mid October, 2023*\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e“Discovered by Albert Hofmann in 1938, mass manufactured for use in psychiatry by the pharmaceutical manufacturer Sandoz from 1947 and utilised by the CIA in the 1950s, Lysergic Acid Diethylamide, or LSD-25, was banned in 1967 after its widespread adoption by the counter culture.\u003c\/p\u003e\n\u003cp\u003eAn effective dose of this invisible, tasteless and odourless compound is 20-30 micrograms. Prior to the ban it had been supplied injected in solution, dripped onto sugar cubes like a vaccination against polio and, famously (by Ken Kesey’s Merry Pranksters), stirred into a bowl of Kool Aid. After LSD was banned the severity of being caught in possession, as with other narcotics, was determined by the weight of the prohibited substance found. For this reason and for other practical concerns in the early 1970s many illegal manufacturers opted to distribute doses using perforated sheets of relatively light weight, absorbent paper – so-called ‘blotter’ – that had been immersed in the chemical. These were labeled with increasingly elaborate designs some of which sat within each individual square whilst others spread over a number or even the whole sheet. Such sheets usually adopt the same format: divided into 900 ¼ inch squares.\u003c\/p\u003e\n\u003cp\u003eFor some the ingestion of such ¼ inch printed paper squares resulted in a significant right of passage that promised some level of profound insight (but instead simply disrupted a capacity for basic perception). However, these tiny paper squares became vehicles for an iconography or branding which, ironically, promoted clandestine activity. Rather than celebrating consumer society, they could be seen to have sought to undermine or circumnavigate it. They also recall (and occasionally quote) late Modernism, specifically: Conceptual art, Fluxus, Minimalism, Pop and Surrealism. The prints follow an invitation to the artists involved to design a sheet of ‘blotter’ (without the active ingredient of Lysergic Acid Diethylamide). The resulting designs have each been reproduced in editions of 100 offset lithographic prints. The works at once look back to the shamanic, drug-induced rituals of prehistory and to the signatory grid of Modernism.\" RT\u003c\/p\u003e","brand":"ART \u0026 LANGUAGE","offers":[{"title":"Default Title","offer_id":45960950153497,"sku":"","price":450.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0732\/5024\/2841\/files\/Blotter_07.jpg?v=1691756015"},{"product_id":"copy-of-art-language-part-of-an-american-portrait","title":"THOMAS BAYRLE \/ Fats Domino","description":"\u003cp\u003e\u003cstrong\u003eThomas Bayrle\u003cbr\u003e\u003c\/strong\u003e\u003cem\u003eFats Domino  \u003c\/em\u003e2014\u003cbr\u003eP\u003cspan data-mce-fragment=\"1\"\u003eerforated offset lithograph print, 19 x 19cm\u003cbr\u003eEdition of 100\u003cbr\u003e\u003c\/span\u003eRob Tufnell, UK\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eCondition: New\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e*Please note - these will ship mid October, 2023*\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e“Discovered by Albert Hofmann in 1938, mass manufactured for use in psychiatry by the pharmaceutical manufacturer Sandoz from 1947 and utilised by the CIA in the 1950s, Lysergic Acid Diethylamide, or LSD-25, was banned in 1967 after its widespread adoption by the counter culture.\u003c\/p\u003e\n\u003cp\u003eAn effective dose of this invisible, tasteless and odourless compound is 20-30 micrograms. Prior to the ban it had been supplied injected in solution, dripped onto sugar cubes like a vaccination against polio and, famously (by Ken Kesey’s Merry Pranksters), stirred into a bowl of Kool Aid. After LSD was banned the severity of being caught in possession, as with other narcotics, was determined by the weight of the prohibited substance found. For this reason and for other practical concerns in the early 1970s many illegal manufacturers opted to distribute doses using perforated sheets of relatively light weight, absorbent paper – so-called ‘blotter’ – that had been immersed in the chemical. These were labeled with increasingly elaborate designs some of which sat within each individual square whilst others spread over a number or even the whole sheet. Such sheets usually adopt the same format: divided into 900 ¼ inch squares.\u003c\/p\u003e\n\u003cp\u003eFor some the ingestion of such ¼ inch printed paper squares resulted in a significant right of passage that promised some level of profound insight (but instead simply disrupted a capacity for basic perception). However, these tiny paper squares became vehicles for an iconography or branding which, ironically, promoted clandestine activity. Rather than celebrating consumer society, they could be seen to have sought to undermine or circumnavigate it. They also recall (and occasionally quote) late Modernism, specifically: Conceptual art, Fluxus, Minimalism, Pop and Surrealism. The prints follow an invitation to the artists involved to design a sheet of ‘blotter’ (without the active ingredient of Lysergic Acid Diethylamide). The resulting designs have each been reproduced in editions of 100 offset lithographic prints. The works at once look back to the shamanic, drug-induced rituals of prehistory and to the signatory grid of Modernism.\" RT\u003c\/p\u003e","brand":"THOMAS BAYRLE","offers":[{"title":"Default Title","offer_id":45960972206361,"sku":"","price":450.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0732\/5024\/2841\/files\/Blotter_01.jpg?v=1691756171"},{"product_id":"copy-of-thomas-baryle-fats-domino","title":"HENNING BOHL \/ Untitled","description":"\u003cp\u003e\u003cstrong\u003eHenning Bohl\u003cbr\u003e\u003c\/strong\u003e\u003cem\u003eUntitled  \u003c\/em\u003e2014\u003cbr\u003eP\u003cspan data-mce-fragment=\"1\"\u003eerforated offset lithograph print, 19 x 19cm\u003cbr\u003e\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eEdition of 100\u003cbr\u003e\u003c\/span\u003eRob Tufnell, UK\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eCondition: New\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e*Please note - these will ship mid October, 2023*\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e“Discovered by Albert Hofmann in 1938, mass manufactured for use in psychiatry by the pharmaceutical manufacturer Sandoz from 1947 and utilised by the CIA in the 1950s, Lysergic Acid Diethylamide, or LSD-25, was banned in 1967 after its widespread adoption by the counter culture.\u003c\/p\u003e\n\u003cp\u003eAn effective dose of this invisible, tasteless and odourless compound is 20-30 micrograms. Prior to the ban it had been supplied injected in solution, dripped onto sugar cubes like a vaccination against polio and, famously (by Ken Kesey’s Merry Pranksters), stirred into a bowl of Kool Aid. After LSD was banned the severity of being caught in possession, as with other narcotics, was determined by the weight of the prohibited substance found. For this reason and for other practical concerns in the early 1970s many illegal manufacturers opted to distribute doses using perforated sheets of relatively light weight, absorbent paper – so-called ‘blotter’ – that had been immersed in the chemical. These were labeled with increasingly elaborate designs some of which sat within each individual square whilst others spread over a number or even the whole sheet. Such sheets usually adopt the same format: divided into 900 ¼ inch squares.\u003c\/p\u003e\n\u003cp\u003eFor some the ingestion of such ¼ inch printed paper squares resulted in a significant right of passage that promised some level of profound insight (but instead simply disrupted a capacity for basic perception). However, these tiny paper squares became vehicles for an iconography or branding which, ironically, promoted clandestine activity. Rather than celebrating consumer society, they could be seen to have sought to undermine or circumnavigate it. They also recall (and occasionally quote) late Modernism, specifically: Conceptual art, Fluxus, Minimalism, Pop and Surrealism. The prints follow an invitation to the artists involved to design a sheet of ‘blotter’ (without the active ingredient of Lysergic Acid Diethylamide). The resulting designs have each been reproduced in editions of 100 offset lithographic prints. The works at once look back to the shamanic, drug-induced rituals of prehistory and to the signatory grid of Modernism.\" RT\u003c\/p\u003e","brand":"HENNING BOHL","offers":[{"title":"Default Title","offer_id":45961001500953,"sku":"","price":450.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0732\/5024\/2841\/files\/Blotter_15.jpg?v=1691756257"},{"product_id":"copy-of-henning-bohl-untitled","title":"STEVEN CLAYDON \/ Black and Speckled","description":"\u003cp\u003e\u003cstrong\u003eSteven Claydon\u003cbr\u003e\u003c\/strong\u003e\u003cem\u003eBlack and Speckled  \u003c\/em\u003e2014\u003cbr\u003eP\u003cspan data-mce-fragment=\"1\"\u003eerforated offset lithograph print, 19 x 19cm\u003cbr\u003eEdition of 100\u003cbr\u003e\u003c\/span\u003eRob Tufnell, UK\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eCondition: New\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e*Please note - these will ship mid October, 2023*\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e“Discovered by Albert Hofmann in 1938, mass manufactured for use in psychiatry by the pharmaceutical manufacturer Sandoz from 1947 and utilised by the CIA in the 1950s, Lysergic Acid Diethylamide, or LSD-25, was banned in 1967 after its widespread adoption by the counter culture.\u003c\/p\u003e\n\u003cp\u003eAn effective dose of this invisible, tasteless and odourless compound is 20-30 micrograms. Prior to the ban it had been supplied injected in solution, dripped onto sugar cubes like a vaccination against polio and, famously (by Ken Kesey’s Merry Pranksters), stirred into a bowl of Kool Aid. After LSD was banned the severity of being caught in possession, as with other narcotics, was determined by the weight of the prohibited substance found. For this reason and for other practical concerns in the early 1970s many illegal manufacturers opted to distribute doses using perforated sheets of relatively light weight, absorbent paper – so-called ‘blotter’ – that had been immersed in the chemical. These were labeled with increasingly elaborate designs some of which sat within each individual square whilst others spread over a number or even the whole sheet. Such sheets usually adopt the same format: divided into 900 ¼ inch squares.\u003c\/p\u003e\n\u003cp\u003eFor some the ingestion of such ¼ inch printed paper squares resulted in a significant right of passage that promised some level of profound insight (but instead simply disrupted a capacity for basic perception). However, these tiny paper squares became vehicles for an iconography or branding which, ironically, promoted clandestine activity. Rather than celebrating consumer society, they could be seen to have sought to undermine or circumnavigate it. They also recall (and occasionally quote) late Modernism, specifically: Conceptual art, Fluxus, Minimalism, Pop and Surrealism. The prints follow an invitation to the artists involved to design a sheet of ‘blotter’ (without the active ingredient of Lysergic Acid Diethylamide). The resulting designs have each been reproduced in editions of 100 offset lithographic prints. The works at once look back to the shamanic, drug-induced rituals of prehistory and to the signatory grid of Modernism.\" RT\u003c\/p\u003e","brand":"STEVEN CLAYDON","offers":[{"title":"Default Title","offer_id":45961018081561,"sku":"","price":450.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0732\/5024\/2841\/files\/Blotter_09.jpg?v=1691756326"},{"product_id":"copy-of-steven-claydon-black-and-speckled","title":"JEREMY DELLER \/ Industry \u0026 Technology","description":"\u003cp\u003e\u003cstrong\u003eJeremy Deller\u003cbr\u003e\u003c\/strong\u003e\u003cem\u003eIndustry \u0026amp; Technology  \u003c\/em\u003e2013\u003cbr\u003eP\u003cspan data-mce-fragment=\"1\"\u003eerforated offset lithograph print, 19 x 19cm\u003cbr\u003eEdition of 100\u003cbr\u003e\u003c\/span\u003eRob Tufnell, UK\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eCondition: New\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e*Please note - these will ship mid October, 2023*\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e“Discovered by Albert Hofmann in 1938, mass manufactured for use in psychiatry by the pharmaceutical manufacturer Sandoz from 1947 and utilised by the CIA in the 1950s, Lysergic Acid Diethylamide, or LSD-25, was banned in 1967 after its widespread adoption by the counter culture.\u003c\/p\u003e\n\u003cp\u003eAn effective dose of this invisible, tasteless and odourless compound is 20-30 micrograms. Prior to the ban it had been supplied injected in solution, dripped onto sugar cubes like a vaccination against polio and, famously (by Ken Kesey’s Merry Pranksters), stirred into a bowl of Kool Aid. After LSD was banned the severity of being caught in possession, as with other narcotics, was determined by the weight of the prohibited substance found. For this reason and for other practical concerns in the early 1970s many illegal manufacturers opted to distribute doses using perforated sheets of relatively light weight, absorbent paper – so-called ‘blotter’ – that had been immersed in the chemical. These were labeled with increasingly elaborate designs some of which sat within each individual square whilst others spread over a number or even the whole sheet. Such sheets usually adopt the same format: divided into 900 ¼ inch squares.\u003c\/p\u003e\n\u003cp\u003eFor some the ingestion of such ¼ inch printed paper squares resulted in a significant right of passage that promised some level of profound insight (but instead simply disrupted a capacity for basic perception). However, these tiny paper squares became vehicles for an iconography or branding which, ironically, promoted clandestine activity. Rather than celebrating consumer society, they could be seen to have sought to undermine or circumnavigate it. They also recall (and occasionally quote) late Modernism, specifically: Conceptual art, Fluxus, Minimalism, Pop and Surrealism. The prints follow an invitation to the artists involved to design a sheet of ‘blotter’ (without the active ingredient of Lysergic Acid Diethylamide). The resulting designs have each been reproduced in editions of 100 offset lithographic prints. The works at once look back to the shamanic, drug-induced rituals of prehistory and to the signatory grid of Modernism.\" RT\u003c\/p\u003e","brand":"JEREMY DELLER","offers":[{"title":"Default Title","offer_id":45961067168025,"sku":"","price":450.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0732\/5024\/2841\/files\/Blotter_08.jpg?v=1691756402"},{"product_id":"copy-of-jeremy-deller-industry-technology","title":"JIM DRAIN \/ Shadow Pit","description":"\u003cp\u003e\u003cstrong\u003eJim Drain\u003cbr\u003e\u003c\/strong\u003e\u003cem\u003eShadow Pit  \u003c\/em\u003e2014\u003cbr\u003eP\u003cspan data-mce-fragment=\"1\"\u003eerforated offset lithograph print, 19 x 19cm\u003cbr\u003eEdition of 100\u003cbr\u003e\u003c\/span\u003eRob Tufnell, UK\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eCondition: New\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e*Please note - these will ship mid October, 2023*\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e“Discovered by Albert Hofmann in 1938, mass manufactured for use in psychiatry by the pharmaceutical manufacturer Sandoz from 1947 and utilised by the CIA in the 1950s, Lysergic Acid Diethylamide, or LSD-25, was banned in 1967 after its widespread adoption by the counter culture.\u003c\/p\u003e\n\u003cp\u003eAn effective dose of this invisible, tasteless and odourless compound is 20-30 micrograms. Prior to the ban it had been supplied injected in solution, dripped onto sugar cubes like a vaccination against polio and, famously (by Ken Kesey’s Merry Pranksters), stirred into a bowl of Kool Aid. After LSD was banned the severity of being caught in possession, as with other narcotics, was determined by the weight of the prohibited substance found. For this reason and for other practical concerns in the early 1970s many illegal manufacturers opted to distribute doses using perforated sheets of relatively light weight, absorbent paper – so-called ‘blotter’ – that had been immersed in the chemical. These were labeled with increasingly elaborate designs some of which sat within each individual square whilst others spread over a number or even the whole sheet. Such sheets usually adopt the same format: divided into 900 ¼ inch squares.\u003c\/p\u003e\n\u003cp\u003eFor some the ingestion of such ¼ inch printed paper squares resulted in a significant right of passage that promised some level of profound insight (but instead simply disrupted a capacity for basic perception). However, these tiny paper squares became vehicles for an iconography or branding which, ironically, promoted clandestine activity. Rather than celebrating consumer society, they could be seen to have sought to undermine or circumnavigate it. They also recall (and occasionally quote) late Modernism, specifically: Conceptual art, Fluxus, Minimalism, Pop and Surrealism. The prints follow an invitation to the artists involved to design a sheet of ‘blotter’ (without the active ingredient of Lysergic Acid Diethylamide). The resulting designs have each been reproduced in editions of 100 offset lithographic prints. The works at once look back to the shamanic, drug-induced rituals of prehistory and to the signatory grid of Modernism.\" RT\u003c\/p\u003e","brand":"JIM DRAIN","offers":[{"title":"Default Title","offer_id":45971712180505,"sku":"","price":450.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0732\/5024\/2841\/files\/Blotter_14.jpg?v=1691756628"},{"product_id":"copy-of-jim-drain-shadow-pit","title":"LIAM GILLICK \/ Libra Solidus Denarius","description":"\u003cp\u003e\u003cstrong\u003eLiam Gillick\u003cbr\u003e\u003c\/strong\u003e\u003cem\u003eLibra Solidus Denarius\u003c\/em\u003e  2013\u003cbr\u003eP\u003cspan data-mce-fragment=\"1\"\u003eerforated offset lithograph print, 19 x 19cm\u003cbr\u003e\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eEdition of 100\u003cbr\u003e\u003c\/span\u003eRob Tufnell, UK\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eCondition: New\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e*Please note - these will ship mid October, 2023*\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e“Discovered by Albert Hofmann in 1938, mass manufactured for use in psychiatry by the pharmaceutical manufacturer Sandoz from 1947 and utilised by the CIA in the 1950s, Lysergic Acid Diethylamide, or LSD-25, was banned in 1967 after its widespread adoption by the counter culture.\u003c\/p\u003e\n\u003cp\u003eAn effective dose of this invisible, tasteless and odourless compound is 20-30 micrograms. Prior to the ban it had been supplied injected in solution, dripped onto sugar cubes like a vaccination against polio and, famously (by Ken Kesey’s Merry Pranksters), stirred into a bowl of Kool Aid. After LSD was banned the severity of being caught in possession, as with other narcotics, was determined by the weight of the prohibited substance found. For this reason and for other practical concerns in the early 1970s many illegal manufacturers opted to distribute doses using perforated sheets of relatively light weight, absorbent paper – so-called ‘blotter’ – that had been immersed in the chemical. These were labeled with increasingly elaborate designs some of which sat within each individual square whilst others spread over a number or even the whole sheet. Such sheets usually adopt the same format: divided into 900 ¼ inch squares.\u003c\/p\u003e\n\u003cp\u003eFor some the ingestion of such ¼ inch printed paper squares resulted in a significant right of passage that promised some level of profound insight (but instead simply disrupted a capacity for basic perception). However, these tiny paper squares became vehicles for an iconography or branding which, ironically, promoted clandestine activity. Rather than celebrating consumer society, they could be seen to have sought to undermine or circumnavigate it. They also recall (and occasionally quote) late Modernism, specifically: Conceptual art, Fluxus, Minimalism, Pop and Surrealism. The prints follow an invitation to the artists involved to design a sheet of ‘blotter’ (without the active ingredient of Lysergic Acid Diethylamide). The resulting designs have each been reproduced in editions of 100 offset lithographic prints. The works at once look back to the shamanic, drug-induced rituals of prehistory and to the signatory grid of Modernism.\" RT\u003c\/p\u003e","brand":"LIAM GILLICK","offers":[{"title":"Default Title","offer_id":45971734200601,"sku":"","price":450.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0732\/5024\/2841\/files\/Blotter_11.jpg?v=1691756706"},{"product_id":"copy-of-liam-gillick-libra-solidus-denarius","title":"RODNEY GRAHAM \/ Tiny Tim Tabs","description":"\u003cp\u003e\u003cstrong\u003eRodney Graham\u003cbr\u003e\u003c\/strong\u003e\u003cem\u003eTiny Tim Tabs  \u003c\/em\u003e2014\u003cbr\u003eP\u003cspan data-mce-fragment=\"1\"\u003eerforated offset lithograph print, 19 x 19cm\u003cbr\u003eEdition of 100\u003cbr\u003e\u003c\/span\u003eRob Tufnell, UK\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eCondition: New\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e*Please note - these will ship mid October, 2023*\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e“Discovered by Albert Hofmann in 1938, mass manufactured for use in psychiatry by the pharmaceutical manufacturer Sandoz from 1947 and utilised by the CIA in the 1950s, Lysergic Acid Diethylamide, or LSD-25, was banned in 1967 after its widespread adoption by the counter culture.\u003c\/p\u003e\n\u003cp\u003eAn effective dose of this invisible, tasteless and odourless compound is 20-30 micrograms. Prior to the ban it had been supplied injected in solution, dripped onto sugar cubes like a vaccination against polio and, famously (by Ken Kesey’s Merry Pranksters), stirred into a bowl of Kool Aid. After LSD was banned the severity of being caught in possession, as with other narcotics, was determined by the weight of the prohibited substance found. For this reason and for other practical concerns in the early 1970s many illegal manufacturers opted to distribute doses using perforated sheets of relatively light weight, absorbent paper – so-called ‘blotter’ – that had been immersed in the chemical. These were labeled with increasingly elaborate designs some of which sat within each individual square whilst others spread over a number or even the whole sheet. Such sheets usually adopt the same format: divided into 900 ¼ inch squares.\u003c\/p\u003e\n\u003cp\u003eFor some the ingestion of such ¼ inch printed paper squares resulted in a significant right of passage that promised some level of profound insight (but instead simply disrupted a capacity for basic perception). However, these tiny paper squares became vehicles for an iconography or branding which, ironically, promoted clandestine activity. Rather than celebrating consumer society, they could be seen to have sought to undermine or circumnavigate it. They also recall (and occasionally quote) late Modernism, specifically: Conceptual art, Fluxus, Minimalism, Pop and Surrealism. The prints follow an invitation to the artists involved to design a sheet of ‘blotter’ (without the active ingredient of Lysergic Acid Diethylamide). The resulting designs have each been reproduced in editions of 100 offset lithographic prints. The works at once look back to the shamanic, drug-induced rituals of prehistory and to the signatory grid of Modernism.\" RT\u003c\/p\u003e","brand":"RODNEY GRAHAM","offers":[{"title":"Default Title","offer_id":45971758055705,"sku":"","price":450.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0732\/5024\/2841\/files\/Blotter_13.jpg?v=1691756785"},{"product_id":"copy-of-rodney-graham-tiny-tim-tabs","title":"CARSTEN HÖLLER \/ Untitled","description":"\u003cp\u003e\u003cstrong\u003eCarsten Höller\u003cbr\u003e\u003c\/strong\u003e\u003cem\u003eUntitled  \u003c\/em\u003e2015\u003cbr\u003eP\u003cspan data-mce-fragment=\"1\"\u003eerforated offset lithograph print \u003cbr\u003e\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e19 x 19cm\u003cbr\u003eEdition of 100\u003cbr\u003e\u003c\/span\u003eRob Tufnell, UK\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eCondition: New\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e*Please note - these will ship mid October, 2023*\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e“Discovered by Albert Hofmann in 1938, mass manufactured for use in psychiatry by the pharmaceutical manufacturer Sandoz from 1947 and utilised by the CIA in the 1950s, Lysergic Acid Diethylamide, or LSD-25, was banned in 1967 after its widespread adoption by the counter culture.\u003c\/p\u003e\n\u003cp\u003eAn effective dose of this invisible, tasteless and odourless compound is 20-30 micrograms. Prior to the ban it had been supplied injected in solution, dripped onto sugar cubes like a vaccination against polio and, famously (by Ken Kesey’s Merry Pranksters), stirred into a bowl of Kool Aid. After LSD was banned the severity of being caught in possession, as with other narcotics, was determined by the weight of the prohibited substance found. For this reason and for other practical concerns in the early 1970s many illegal manufacturers opted to distribute doses using perforated sheets of relatively light weight, absorbent paper – so-called ‘blotter’ – that had been immersed in the chemical. These were labeled with increasingly elaborate designs some of which sat within each individual square whilst others spread over a number or even the whole sheet. Such sheets usually adopt the same format: divided into 900 ¼ inch squares.\u003c\/p\u003e\n\u003cp\u003eFor some the ingestion of such ¼ inch printed paper squares resulted in a significant right of passage that promised some level of profound insight (but instead simply disrupted a capacity for basic perception). However, these tiny paper squares became vehicles for an iconography or branding which, ironically, promoted clandestine activity. Rather than celebrating consumer society, they could be seen to have sought to undermine or circumnavigate it. They also recall (and occasionally quote) late Modernism, specifically: Conceptual art, Fluxus, Minimalism, Pop and Surrealism. The prints follow an invitation to the artists involved to design a sheet of ‘blotter’ (without the active ingredient of Lysergic Acid Diethylamide). The resulting designs have each been reproduced in editions of 100 offset lithographic prints. The works at once look back to the shamanic, drug-induced rituals of prehistory and to the signatory grid of Modernism.\" RT\u003c\/p\u003e","brand":"CARSTEN HÖLLER","offers":[{"title":"Default Title","offer_id":45971784663321,"sku":"","price":450.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0732\/5024\/2841\/files\/Blotter_02.jpg?v=1691756824"},{"product_id":"copy-of-carsten-holler-untitled","title":"MARK LECKEY \/ Untitled","description":"\u003cp\u003e\u003cstrong\u003eMark Leckey\u003cbr\u003e\u003c\/strong\u003e\u003cem\u003eUntitled\u003c\/em\u003e  2014\u003cbr\u003eP\u003cspan data-mce-fragment=\"1\"\u003eerforated offset lithograph print, 19 x 19cm\u003cbr\u003eEdition of 100\u003cbr\u003e\u003c\/span\u003eRob Tufnell, UK\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eCondition: New\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e*Please note - these will ship mid October, 2023*\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e“Discovered by Albert Hofmann in 1938, mass manufactured for use in psychiatry by the pharmaceutical manufacturer Sandoz from 1947 and utilised by the CIA in the 1950s, Lysergic Acid Diethylamide, or LSD-25, was banned in 1967 after its widespread adoption by the counter culture.\u003c\/p\u003e\n\u003cp\u003eAn effective dose of this invisible, tasteless and odourless compound is 20-30 micrograms. Prior to the ban it had been supplied injected in solution, dripped onto sugar cubes like a vaccination against polio and, famously (by Ken Kesey’s Merry Pranksters), stirred into a bowl of Kool Aid. After LSD was banned the severity of being caught in possession, as with other narcotics, was determined by the weight of the prohibited substance found. For this reason and for other practical concerns in the early 1970s many illegal manufacturers opted to distribute doses using perforated sheets of relatively light weight, absorbent paper – so-called ‘blotter’ – that had been immersed in the chemical. These were labeled with increasingly elaborate designs some of which sat within each individual square whilst others spread over a number or even the whole sheet. Such sheets usually adopt the same format: divided into 900 ¼ inch squares.\u003c\/p\u003e\n\u003cp\u003eFor some the ingestion of such ¼ inch printed paper squares resulted in a significant right of passage that promised some level of profound insight (but instead simply disrupted a capacity for basic perception). However, these tiny paper squares became vehicles for an iconography or branding which, ironically, promoted clandestine activity. Rather than celebrating consumer society, they could be seen to have sought to undermine or circumnavigate it. They also recall (and occasionally quote) late Modernism, specifically: Conceptual art, Fluxus, Minimalism, Pop and Surrealism. The prints follow an invitation to the artists involved to design a sheet of ‘blotter’ (without the active ingredient of Lysergic Acid Diethylamide). The resulting designs have each been reproduced in editions of 100 offset lithographic prints. The works at once look back to the shamanic, drug-induced rituals of prehistory and to the signatory grid of Modernism.\" RT\u003c\/p\u003e","brand":"MARK LECKEY","offers":[{"title":"Default Title","offer_id":45971952501017,"sku":"","price":450.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0732\/5024\/2841\/files\/Blotter_16.jpg?v=1691756910"},{"product_id":"copy-of-mark-leckey-untitled","title":"CHRIS MARTIN \/ Untitled","description":"\u003cp\u003e\u003cstrong\u003eChris Martin\u003cbr\u003e\u003c\/strong\u003e\u003cem\u003eUntitled  \u003c\/em\u003e2015\u003cbr\u003eP\u003cspan data-mce-fragment=\"1\"\u003eerforated offset lithograph print, 19 x 19cm\u003cbr\u003eEdition of 100\u003cbr\u003e\u003c\/span\u003eRob Tufnell, UK\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eCondition: New\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e*Please note - these will ship mid October, 2023*\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e“Discovered by Albert Hofmann in 1938, mass manufactured for use in psychiatry by the pharmaceutical manufacturer Sandoz from 1947 and utilised by the CIA in the 1950s, Lysergic Acid Diethylamide, or LSD-25, was banned in 1967 after its widespread adoption by the counter culture.\u003c\/p\u003e\n\u003cp\u003eAn effective dose of this invisible, tasteless and odourless compound is 20-30 micrograms. Prior to the ban it had been supplied injected in solution, dripped onto sugar cubes like a vaccination against polio and, famously (by Ken Kesey’s Merry Pranksters), stirred into a bowl of Kool Aid. After LSD was banned the severity of being caught in possession, as with other narcotics, was determined by the weight of the prohibited substance found. For this reason and for other practical concerns in the early 1970s many illegal manufacturers opted to distribute doses using perforated sheets of relatively light weight, absorbent paper – so-called ‘blotter’ – that had been immersed in the chemical. These were labeled with increasingly elaborate designs some of which sat within each individual square whilst others spread over a number or even the whole sheet. Such sheets usually adopt the same format: divided into 900 ¼ inch squares.\u003c\/p\u003e\n\u003cp\u003eFor some the ingestion of such ¼ inch printed paper squares resulted in a significant right of passage that promised some level of profound insight (but instead simply disrupted a capacity for basic perception). However, these tiny paper squares became vehicles for an iconography or branding which, ironically, promoted clandestine activity. Rather than celebrating consumer society, they could be seen to have sought to undermine or circumnavigate it. They also recall (and occasionally quote) late Modernism, specifically: Conceptual art, Fluxus, Minimalism, Pop and Surrealism. The prints follow an invitation to the artists involved to design a sheet of ‘blotter’ (without the active ingredient of Lysergic Acid Diethylamide). The resulting designs have each been reproduced in editions of 100 offset lithographic prints. The works at once look back to the shamanic, drug-induced rituals of prehistory and to the signatory grid of Modernism.\" RT\u003c\/p\u003e","brand":"CHRIS MARTIN","offers":[{"title":"Default Title","offer_id":45971963347225,"sku":"","price":450.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0732\/5024\/2841\/files\/Blotter_19.jpg?v=1691756950"},{"product_id":"copy-of-chris-martin-untitled","title":"ALEKSANDRA MIR \/ Mandala (USA Medium)","description":"\u003cp\u003e\u003cstrong\u003eAleksandra Mir\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eMandala (USA Medium)\u003c\/em\u003e  2013\u003cbr\u003eP\u003cspan data-mce-fragment=\"1\"\u003eerforated offset lithograph print, 19 x 19cm\u003cbr\u003e\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eEdition of 100\u003cbr\u003e\u003c\/span\u003eRob Tufnell, UK\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eCondition: New\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e*Please note - these will ship mid October, 2023*\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e“Discovered by Albert Hofmann in 1938, mass manufactured for use in psychiatry by the pharmaceutical manufacturer Sandoz from 1947 and utilised by the CIA in the 1950s, Lysergic Acid Diethylamide, or LSD-25, was banned in 1967 after its widespread adoption by the counter culture.\u003c\/p\u003e\n\u003cp\u003eAn effective dose of this invisible, tasteless and odourless compound is 20-30 micrograms. Prior to the ban it had been supplied injected in solution, dripped onto sugar cubes like a vaccination against polio and, famously (by Ken Kesey’s Merry Pranksters), stirred into a bowl of Kool Aid. After LSD was banned the severity of being caught in possession, as with other narcotics, was determined by the weight of the prohibited substance found. For this reason and for other practical concerns in the early 1970s many illegal manufacturers opted to distribute doses using perforated sheets of relatively light weight, absorbent paper – so-called ‘blotter’ – that had been immersed in the chemical. These were labeled with increasingly elaborate designs some of which sat within each individual square whilst others spread over a number or even the whole sheet. Such sheets usually adopt the same format: divided into 900 ¼ inch squares.\u003c\/p\u003e\n\u003cp\u003eFor some the ingestion of such ¼ inch printed paper squares resulted in a significant right of passage that promised some level of profound insight (but instead simply disrupted a capacity for basic perception). However, these tiny paper squares became vehicles for an iconography or branding which, ironically, promoted clandestine activity. Rather than celebrating consumer society, they could be seen to have sought to undermine or circumnavigate it. They also recall (and occasionally quote) late Modernism, specifically: Conceptual art, Fluxus, Minimalism, Pop and Surrealism. The prints follow an invitation to the artists involved to design a sheet of ‘blotter’ (without the active ingredient of Lysergic Acid Diethylamide). The resulting designs have each been reproduced in editions of 100 offset lithographic prints. The works at once look back to the shamanic, drug-induced rituals of prehistory and to the signatory grid of Modernism.\" RT\u003c\/p\u003e","brand":"ALEKSANDRA MIR","offers":[{"title":"Default Title","offer_id":45971971375385,"sku":"","price":450.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0732\/5024\/2841\/files\/Blotter_12.jpg?v=1691757002"},{"product_id":"copy-of-aleksandra-mir-mandala-usa-medium","title":"MATT MULLICAN \/ Untitled","description":"\u003cp\u003e\u003cstrong\u003eMatt Mullican\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eUntitled  \u003c\/em\u003e2015\u003cbr\u003eP\u003cspan data-mce-fragment=\"1\"\u003eerforated offset lithograph print, 19 x 19cm\u003cbr\u003e\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eEdition of 100\u003cbr\u003e\u003c\/span\u003eRob Tufnell, UK\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eCondition: New\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e*Please note - these will ship mid October, 2023*\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e“Discovered by Albert Hofmann in 1938, mass manufactured for use in psychiatry by the pharmaceutical manufacturer Sandoz from 1947 and utilised by the CIA in the 1950s, Lysergic Acid Diethylamide, or LSD-25, was banned in 1967 after its widespread adoption by the counter culture.\u003c\/p\u003e\n\u003cp\u003eAn effective dose of this invisible, tasteless and odourless compound is 20-30 micrograms. Prior to the ban it had been supplied injected in solution, dripped onto sugar cubes like a vaccination against polio and, famously (by Ken Kesey’s Merry Pranksters), stirred into a bowl of Kool Aid. After LSD was banned the severity of being caught in possession, as with other narcotics, was determined by the weight of the prohibited substance found. For this reason and for other practical concerns in the early 1970s many illegal manufacturers opted to distribute doses using perforated sheets of relatively light weight, absorbent paper – so-called ‘blotter’ – that had been immersed in the chemical. These were labeled with increasingly elaborate designs some of which sat within each individual square whilst others spread over a number or even the whole sheet. Such sheets usually adopt the same format: divided into 900 ¼ inch squares.\u003c\/p\u003e\n\u003cp\u003eFor some the ingestion of such ¼ inch printed paper squares resulted in a significant right of passage that promised some level of profound insight (but instead simply disrupted a capacity for basic perception). However, these tiny paper squares became vehicles for an iconography or branding which, ironically, promoted clandestine activity. Rather than celebrating consumer society, they could be seen to have sought to undermine or circumnavigate it. They also recall (and occasionally quote) late Modernism, specifically: Conceptual art, Fluxus, Minimalism, Pop and Surrealism. The prints follow an invitation to the artists involved to design a sheet of ‘blotter’ (without the active ingredient of Lysergic Acid Diethylamide). The resulting designs have each been reproduced in editions of 100 offset lithographic prints. The works at once look back to the shamanic, drug-induced rituals of prehistory and to the signatory grid of Modernism.\" RT\u003c\/p\u003e","brand":"MATT MULLICAN","offers":[{"title":"Default Title","offer_id":45971982156057,"sku":"","price":450.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0732\/5024\/2841\/files\/Blotter_03.jpg?v=1691757083"},{"product_id":"copy-of-matt-mullican-untitled","title":"LAURA OWENS \/ Untitled","description":"\u003cp\u003e\u003cstrong\u003eLaura Owens\u003cbr\u003e\u003c\/strong\u003e\u003cem\u003eUntitled  \u003c\/em\u003e2014\u003cbr\u003eP\u003cspan data-mce-fragment=\"1\"\u003eerforated offset lithograph print, 19 x 19cm\u003cbr\u003e\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eEdition of 100\u003cbr\u003e\u003c\/span\u003eRob Tufnell, UK\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eCondition: New\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e*Please note - these will ship mid October, 2023*\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e“Discovered by Albert Hofmann in 1938, mass manufactured for use in psychiatry by the pharmaceutical manufacturer Sandoz from 1947 and utilised by the CIA in the 1950s, Lysergic Acid Diethylamide, or LSD-25, was banned in 1967 after its widespread adoption by the counter culture.\u003c\/p\u003e\n\u003cp\u003eAn effective dose of this invisible, tasteless and odourless compound is 20-30 micrograms. Prior to the ban it had been supplied injected in solution, dripped onto sugar cubes like a vaccination against polio and, famously (by Ken Kesey’s Merry Pranksters), stirred into a bowl of Kool Aid. After LSD was banned the severity of being caught in possession, as with other narcotics, was determined by the weight of the prohibited substance found. For this reason and for other practical concerns in the early 1970s many illegal manufacturers opted to distribute doses using perforated sheets of relatively light weight, absorbent paper – so-called ‘blotter’ – that had been immersed in the chemical. These were labeled with increasingly elaborate designs some of which sat within each individual square whilst others spread over a number or even the whole sheet. Such sheets usually adopt the same format: divided into 900 ¼ inch squares.\u003c\/p\u003e\n\u003cp\u003eFor some the ingestion of such ¼ inch printed paper squares resulted in a significant right of passage that promised some level of profound insight (but instead simply disrupted a capacity for basic perception). However, these tiny paper squares became vehicles for an iconography or branding which, ironically, promoted clandestine activity. Rather than celebrating consumer society, they could be seen to have sought to undermine or circumnavigate it. They also recall (and occasionally quote) late Modernism, specifically: Conceptual art, Fluxus, Minimalism, Pop and Surrealism. The prints follow an invitation to the artists involved to design a sheet of ‘blotter’ (without the active ingredient of Lysergic Acid Diethylamide). The resulting designs have each been reproduced in editions of 100 offset lithographic prints. The works at once look back to the shamanic, drug-induced rituals of prehistory and to the signatory grid of Modernism.\" RT\u003c\/p\u003e","brand":"LAURA OWENS","offers":[{"title":"Default Title","offer_id":45971996049689,"sku":"","price":850.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0732\/5024\/2841\/files\/Blotter_10.jpg?v=1691757176"},{"product_id":"copy-of-laura-owens-untitled","title":"TAL R \/ Deaf Institute","description":"\u003cp\u003e\u003cstrong\u003eTal R\u003cbr\u003e\u003c\/strong\u003e\u003cem\u003eDeaf Institute  \u003c\/em\u003e2014\u003cbr\u003eP\u003cspan data-mce-fragment=\"1\"\u003eerforated offset lithograph print, 19 x 19cm\u003cbr\u003eEdition of 100\u003cbr\u003e\u003c\/span\u003eRob Tufnell, UK\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eCondition: New\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e*Please note - these will ship mid October, 2023*\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e“Discovered by Albert Hofmann in 1938, mass manufactured for use in psychiatry by the pharmaceutical manufacturer Sandoz from 1947 and utilised by the CIA in the 1950s, Lysergic Acid Diethylamide, or LSD-25, was banned in 1967 after its widespread adoption by the counter culture.\u003c\/p\u003e\n\u003cp\u003eAn effective dose of this invisible, tasteless and odourless compound is 20-30 micrograms. Prior to the ban it had been supplied injected in solution, dripped onto sugar cubes like a vaccination against polio and, famously (by Ken Kesey’s Merry Pranksters), stirred into a bowl of Kool Aid. After LSD was banned the severity of being caught in possession, as with other narcotics, was determined by the weight of the prohibited substance found. For this reason and for other practical concerns in the early 1970s many illegal manufacturers opted to distribute doses using perforated sheets of relatively light weight, absorbent paper – so-called ‘blotter’ – that had been immersed in the chemical. These were labeled with increasingly elaborate designs some of which sat within each individual square whilst others spread over a number or even the whole sheet. Such sheets usually adopt the same format: divided into 900 ¼ inch squares.\u003c\/p\u003e\n\u003cp\u003eFor some the ingestion of such ¼ inch printed paper squares resulted in a significant right of passage that promised some level of profound insight (but instead simply disrupted a capacity for basic perception). However, these tiny paper squares became vehicles for an iconography or branding which, ironically, promoted clandestine activity. Rather than celebrating consumer society, they could be seen to have sought to undermine or circumnavigate it. They also recall (and occasionally quote) late Modernism, specifically: Conceptual art, Fluxus, Minimalism, Pop and Surrealism. The prints follow an invitation to the artists involved to design a sheet of ‘blotter’ (without the active ingredient of Lysergic Acid Diethylamide). The resulting designs have each been reproduced in editions of 100 offset lithographic prints. The works at once look back to the shamanic, drug-induced rituals of prehistory and to the signatory grid of Modernism.\" RT\u003c\/p\u003e","brand":"TAL R","offers":[{"title":"Default Title","offer_id":45972007518489,"sku":"","price":450.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0732\/5024\/2841\/files\/Blotter_05.jpg?v=1691757254"},{"product_id":"copy-of-tal-r-deaf-institute","title":"DAVID SHRIGLEY \/ Strive for Excellence","description":"\u003cp\u003e\u003cstrong\u003eDavid Shrigley\u003cbr\u003e\u003c\/strong\u003e\u003cem\u003eStrive for Excellence\u003c\/em\u003e  2013\u003cbr\u003eP\u003cspan data-mce-fragment=\"1\"\u003eerforated offset lithograph print, 19 x 19cm\u003cbr\u003eEdition of 100\u003cbr\u003e\u003c\/span\u003eRob Tufnell, UK\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eCondition: New\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e*Please note - these will ship mid October, 2023*\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e“Discovered by Albert Hofmann in 1938, mass manufactured for use in psychiatry by the pharmaceutical manufacturer Sandoz from 1947 and utilised by the CIA in the 1950s, Lysergic Acid Diethylamide, or LSD-25, was banned in 1967 after its widespread adoption by the counter culture.\u003c\/p\u003e\n\u003cp\u003eAn effective dose of this invisible, tasteless and odourless compound is 20-30 micrograms. Prior to the ban it had been supplied injected in solution, dripped onto sugar cubes like a vaccination against polio and, famously (by Ken Kesey’s Merry Pranksters), stirred into a bowl of Kool Aid. After LSD was banned the severity of being caught in possession, as with other narcotics, was determined by the weight of the prohibited substance found. For this reason and for other practical concerns in the early 1970s many illegal manufacturers opted to distribute doses using perforated sheets of relatively light weight, absorbent paper – so-called ‘blotter’ – that had been immersed in the chemical. These were labeled with increasingly elaborate designs some of which sat within each individual square whilst others spread over a number or even the whole sheet. Such sheets usually adopt the same format: divided into 900 ¼ inch squares.\u003c\/p\u003e\n\u003cp\u003eFor some the ingestion of such ¼ inch printed paper squares resulted in a significant right of passage that promised some level of profound insight (but instead simply disrupted a capacity for basic perception). However, these tiny paper squares became vehicles for an iconography or branding which, ironically, promoted clandestine activity. Rather than celebrating consumer society, they could be seen to have sought to undermine or circumnavigate it. They also recall (and occasionally quote) late Modernism, specifically: Conceptual art, Fluxus, Minimalism, Pop and Surrealism. The prints follow an invitation to the artists involved to design a sheet of ‘blotter’ (without the active ingredient of Lysergic Acid Diethylamide). The resulting designs have each been reproduced in editions of 100 offset lithographic prints. The works at once look back to the shamanic, drug-induced rituals of prehistory and to the signatory grid of Modernism.\" RT\u003c\/p\u003e","brand":"DAVID SHRIGLEY","offers":[{"title":"Default Title","offer_id":45972066140441,"sku":"","price":1250.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0732\/5024\/2841\/files\/Blotter_17.jpg?v=1691757300"},{"product_id":"copy-of-david-shrigley-strive-for-excellence-1","title":"PHILIP TAAFFE \/ Untitled","description":"\u003cp\u003e\u003cstrong\u003ePhilip Taaffe\u003cbr\u003e\u003c\/strong\u003e\u003cem\u003eUntitled  \u003c\/em\u003e2014\u003cbr\u003eP\u003cspan data-mce-fragment=\"1\"\u003eerforated offset lithograph print, 19 x 19cm\u003cbr\u003eEdition of 100\u003cbr\u003e\u003c\/span\u003eRob Tufnell, UK\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eCondition: New\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e*Please note - these will ship mid October, 2023*\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e“Discovered by Albert Hofmann in 1938, mass manufactured for use in psychiatry by the pharmaceutical manufacturer Sandoz from 1947 and utilised by the CIA in the 1950s, Lysergic Acid Diethylamide, or LSD-25, was banned in 1967 after its widespread adoption by the counter culture.\u003c\/p\u003e\n\u003cp\u003eAn effective dose of this invisible, tasteless and odourless compound is 20-30 micrograms. Prior to the ban it had been supplied injected in solution, dripped onto sugar cubes like a vaccination against polio and, famously (by Ken Kesey’s Merry Pranksters), stirred into a bowl of Kool Aid. After LSD was banned the severity of being caught in possession, as with other narcotics, was determined by the weight of the prohibited substance found. For this reason and for other practical concerns in the early 1970s many illegal manufacturers opted to distribute doses using perforated sheets of relatively light weight, absorbent paper – so-called ‘blotter’ – that had been immersed in the chemical. These were labeled with increasingly elaborate designs some of which sat within each individual square whilst others spread over a number or even the whole sheet. Such sheets usually adopt the same format: divided into 900 ¼ inch squares.\u003c\/p\u003e\n\u003cp\u003eFor some the ingestion of such ¼ inch printed paper squares resulted in a significant right of passage that promised some level of profound insight (but instead simply disrupted a capacity for basic perception). However, these tiny paper squares became vehicles for an iconography or branding which, ironically, promoted clandestine activity. Rather than celebrating consumer society, they could be seen to have sought to undermine or circumnavigate it. They also recall (and occasionally quote) late Modernism, specifically: Conceptual art, Fluxus, Minimalism, Pop and Surrealism. The prints follow an invitation to the artists involved to design a sheet of ‘blotter’ (without the active ingredient of Lysergic Acid Diethylamide). The resulting designs have each been reproduced in editions of 100 offset lithographic prints. The works at once look back to the shamanic, drug-induced rituals of prehistory and to the signatory grid of Modernism.\" RT\u003c\/p\u003e","brand":"PHILIP TAAFFE","offers":[{"title":"Default Title","offer_id":45972203897113,"sku":"","price":450.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0732\/5024\/2841\/files\/Blotter_04.jpg?v=1691757375"},{"product_id":"copy-of-philip-taaffe-untitled","title":"MUNGO THOMSON \/ Negative Space (STScI-PRC1999-14d)","description":"\u003cp\u003e\u003cstrong\u003eMungo Thomson\u003cbr\u003e\u003c\/strong\u003e\u003cem\u003eNegative Space (STScI-PRC1999-14d)  \u003c\/em\u003e2013\u003cbr\u003eP\u003cspan data-mce-fragment=\"1\"\u003eerforated offset lithograph print, 19 x 19cm\u003cbr\u003eEdition of 100\u003cbr\u003e\u003c\/span\u003eRob Tufnell, UK\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eCondition: New\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e*Please note - these will ship mid October, 2023*\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e“Discovered by Albert Hofmann in 1938, mass manufactured for use in psychiatry by the pharmaceutical manufacturer Sandoz from 1947 and utilised by the CIA in the 1950s, Lysergic Acid Diethylamide, or LSD-25, was banned in 1967 after its widespread adoption by the counter culture.\u003c\/p\u003e\n\u003cp\u003eAn effective dose of this invisible, tasteless and odourless compound is 20-30 micrograms. Prior to the ban it had been supplied injected in solution, dripped onto sugar cubes like a vaccination against polio and, famously (by Ken Kesey’s Merry Pranksters), stirred into a bowl of Kool Aid. After LSD was banned the severity of being caught in possession, as with other narcotics, was determined by the weight of the prohibited substance found. For this reason and for other practical concerns in the early 1970s many illegal manufacturers opted to distribute doses using perforated sheets of relatively light weight, absorbent paper – so-called ‘blotter’ – that had been immersed in the chemical. These were labeled with increasingly elaborate designs some of which sat within each individual square whilst others spread over a number or even the whole sheet. Such sheets usually adopt the same format: divided into 900 ¼ inch squares.\u003c\/p\u003e\n\u003cp\u003eFor some the ingestion of such ¼ inch printed paper squares resulted in a significant right of passage that promised some level of profound insight (but instead simply disrupted a capacity for basic perception). However, these tiny paper squares became vehicles for an iconography or branding which, ironically, promoted clandestine activity. Rather than celebrating consumer society, they could be seen to have sought to undermine or circumnavigate it. They also recall (and occasionally quote) late Modernism, specifically: Conceptual art, Fluxus, Minimalism, Pop and Surrealism. The prints follow an invitation to the artists involved to design a sheet of ‘blotter’ (without the active ingredient of Lysergic Acid Diethylamide). The resulting designs have each been reproduced in editions of 100 offset lithographic prints. The works at once look back to the shamanic, drug-induced rituals of prehistory and to the signatory grid of Modernism.\" RT\u003c\/p\u003e","brand":"MUNGO THOMSON","offers":[{"title":"Default Title","offer_id":45972280279321,"sku":"","price":450.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0732\/5024\/2841\/files\/Blotter_06.jpg?v=1691757445"},{"product_id":"copy-of-mungo-thomson-negative-space-stsci-prc1999-14d","title":"PAE WHITE \/ Untitled","description":"\u003cp\u003e\u003cstrong\u003ePae White\u003cbr\u003e\u003c\/strong\u003e\u003cem\u003eUntitled  \u003c\/em\u003e2013\u003cbr\u003eP\u003cspan data-mce-fragment=\"1\"\u003eerforated offset lithograph print, 19 x 19cm\u003cbr\u003eEdition of 100\u003cbr\u003e\u003c\/span\u003eRob Tufnell, UK\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eCondition: New\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e*Please note - these will ship mid October, 2023*\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e“Discovered by Albert Hofmann in 1938, mass manufactured for use in psychiatry by the pharmaceutical manufacturer Sandoz from 1947 and utilised by the CIA in the 1950s, Lysergic Acid Diethylamide, or LSD-25, was banned in 1967 after its widespread adoption by the counter culture.\u003c\/p\u003e\n\u003cp\u003eAn effective dose of this invisible, tasteless and odourless compound is 20-30 micrograms. Prior to the ban it had been supplied injected in solution, dripped onto sugar cubes like a vaccination against polio and, famously (by Ken Kesey’s Merry Pranksters), stirred into a bowl of Kool Aid. After LSD was banned the severity of being caught in possession, as with other narcotics, was determined by the weight of the prohibited substance found. For this reason and for other practical concerns in the early 1970s many illegal manufacturers opted to distribute doses using perforated sheets of relatively light weight, absorbent paper – so-called ‘blotter’ – that had been immersed in the chemical. These were labeled with increasingly elaborate designs some of which sat within each individual square whilst others spread over a number or even the whole sheet. Such sheets usually adopt the same format: divided into 900 ¼ inch squares.\u003c\/p\u003e\n\u003cp\u003eFor some the ingestion of such ¼ inch printed paper squares resulted in a significant right of passage that promised some level of profound insight (but instead simply disrupted a capacity for basic perception). However, these tiny paper squares became vehicles for an iconography or branding which, ironically, promoted clandestine activity. Rather than celebrating consumer society, they could be seen to have sought to undermine or circumnavigate it. They also recall (and occasionally quote) late Modernism, specifically: Conceptual art, Fluxus, Minimalism, Pop and Surrealism. The prints follow an invitation to the artists involved to design a sheet of ‘blotter’ (without the active ingredient of Lysergic Acid Diethylamide). The resulting designs have each been reproduced in editions of 100 offset lithographic prints. The works at once look back to the shamanic, drug-induced rituals of prehistory and to the signatory grid of Modernism.\" RT\u003c\/p\u003e","brand":"PAE WHITE","offers":[{"title":"Default Title","offer_id":45972331856153,"sku":"","price":650.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0732\/5024\/2841\/files\/Blotter_18.jpg?v=1691757513"},{"product_id":"copy-of-pae-white-untitled","title":"RICHARD WRIGHT \/ Untitled","description":"\u003cp\u003e\u003cstrong\u003eRichard Wright\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eUntitled  \u003c\/em\u003e2013\u003cbr\u003eP\u003cspan data-mce-fragment=\"1\"\u003eerforated offset lithograph print, 19 x 19cm\u003cbr\u003eEdition of 100\u003cbr\u003e\u003c\/span\u003eRob Tufnell, UK\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eCondition: New\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e*Please note - these will ship mid October, 2023*\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e“Discovered by Albert Hofmann in 1938, mass manufactured for use in psychiatry by the pharmaceutical manufacturer Sandoz from 1947 and utilised by the CIA in the 1950s, Lysergic Acid Diethylamide, or LSD-25, was banned in 1967 after its widespread adoption by the counter culture.\u003c\/p\u003e\n\u003cp\u003eAn effective dose of this invisible, tasteless and odourless compound is 20-30 micrograms. Prior to the ban it had been supplied injected in solution, dripped onto sugar cubes like a vaccination against polio and, famously (by Ken Kesey’s Merry Pranksters), stirred into a bowl of Kool Aid. After LSD was banned the severity of being caught in possession, as with other narcotics, was determined by the weight of the prohibited substance found. For this reason and for other practical concerns in the early 1970s many illegal manufacturers opted to distribute doses using perforated sheets of relatively light weight, absorbent paper – so-called ‘blotter’ – that had been immersed in the chemical. These were labeled with increasingly elaborate designs some of which sat within each individual square whilst others spread over a number or even the whole sheet. Such sheets usually adopt the same format: divided into 900 ¼ inch squares.\u003c\/p\u003e\n\u003cp\u003eFor some the ingestion of such ¼ inch printed paper squares resulted in a significant right of passage that promised some level of profound insight (but instead simply disrupted a capacity for basic perception). However, these tiny paper squares became vehicles for an iconography or branding which, ironically, promoted clandestine activity. Rather than celebrating consumer society, they could be seen to have sought to undermine or circumnavigate it. They also recall (and occasionally quote) late Modernism, specifically: Conceptual art, Fluxus, Minimalism, Pop and Surrealism. The prints follow an invitation to the artists involved to design a sheet of ‘blotter’ (without the active ingredient of Lysergic Acid Diethylamide). The resulting designs have each been reproduced in editions of 100 offset lithographic prints. The works at once look back to the shamanic, drug-induced rituals of prehistory and to the signatory grid of Modernism.\" RT\u003c\/p\u003e","brand":"RICHARD WRIGHT","offers":[{"title":"Default Title","offer_id":45972431667481,"sku":"","price":850.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0732\/5024\/2841\/files\/Blotter_20.jpg?v=1691757584"},{"product_id":"piero-manzoni-artists-shit","title":"PIERO MANZONI \/ Artist's Shit","description":"\u003cp\u003e\u003cstrong\u003ePiero Manzoni\u003cbr\u003e\u003c\/strong\u003e\u003cem\u003eArtist's Shit  \u003c\/em\u003e2013\u003cbr\u003eTin can and printed paper\u003cbr\u003e7.6 cm\u003cbr\u003eEdition 74\/9000\u003c\/p\u003e","brand":"PIERO MANZONI","offers":[{"title":"Default Title","offer_id":46729284190489,"sku":"","price":650.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0732\/5024\/2841\/files\/13226395_fullsize.jpg?v=1694225547"},{"product_id":"sylvie-fleury-vital-perfection","title":"SYLVIE FLEURY \/ Vital Perfection","description":"\u003cp\u003e\u003cstrong\u003eSylvie Fleury\u003cbr\u003e\u003c\/strong\u003e\u003cem\u003eVital Perfection  \u003c\/em\u003e1993\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eprinted cardboard, faux fur\u003c\/span\u003e\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e10 × 28 × 17 cm\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003eEdition Hervé Mikaeloff, Paris\u003cbr\u003e\u003c\/span\u003eEdition: 42\/100\u003c\/p\u003e\n\u003cp\u003eCondition: Good, some fading to box lid and some lightning to corners.\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eSigned and numbered to paper label to underside of lid ‘Sylvie Fleury 42\/100’. 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