Certificate of Authenticity

With Twilight, a series of 40 elaborately-staged photographs taken between 1998 and 2002, Gregory Crewdson arrived at the epic, filmic approach which has come to define his instantly recognisable images.25 years on, three images from the series have been reprised as limited edition prints – available to order individually or as a triptych with a 10% discount.Twilight explores liminal moments in small town America. Everyday settings become paranormal as night draws and bizarre details arise. Intentionally ambiguous, each photograph resembles a climatic film noir still while eluding any concrete plot, place or character.In the second print, a woman gazes out to the street from a drab and empty living room. She shares the space with minimal furnishings including a lamp – still wrapped in cellophane – and an ominous black hook. On the window hovers a perfect circle, drawn in dust."Perfect circles have been an ongoing motif. They have a certain visual quality that works well in pictures, but I also like them in terms of what they signify in our lives and the ways we think. The woman in this picture has drawn a circle on the window that separates her interior space from a larger world that she peers out toward."

With Twilight, a series of 40 elaborately-staged photographs taken between 1998 and 2002, Gregory Crewdson arrived at the epic, filmic approach which has come to define his instantly recognisable images.25 years on, three images from the series have been reprised as limited edition prints – available to order individually or as a triptych with a 10% discount.Twilight explores liminal moments in small town America. Everyday settings become paranormal as night draws and bizarre details arise. Intentionally ambiguous, each photograph resembles a climatic film noir still while eluding any concrete plot, place or character.The first print sets a car – driver dazed, door and boot wide open – in the middle of a quiet residential street. An eerie glow emanates from a shed surrounded by bushes. Lit, curtainless windows suggest onlookers, even if none can be seen.“I’m revisiting this picture on the 25th Anniversary of Twilight because, as my first street scene of this kind, it has become very important in my iconography and visual language. Its significance in the context of my larger body of work is very striking in retrospect.”

With Twilight, a series of 40 elaborately-staged photographs taken between 1998 and 2002, Gregory Crewdson arrived at the epic, filmic approach which has come to define his instantly recognisable images.25 years on, three images from the series have been reprised as limited edition prints – available to order individually or as a triptych with a 10% discount.Twilight explores liminal moments in small town America. Everyday settings become paranormal as night draws and bizarre details arise. Intentionally ambiguous, each photograph resembles a climatic film noir still while eluding any concrete plot, place or character.In the final print, a narrow beam of light invades an otherwise-innocuous corner. The spot where it lands – home to a wooden signpost and a broken fence – wriggles beneath its newfound significance.“I like the way that something as simple as a ray of light can change a landscape from ordinary to mysterious or uncanny. Light becomes a narrative code. Here, the ray of light offers a sense of something larger than us – expansive, or transcendent. There are moths in the picture, which are a motif that runs through my work. In this case, I took real moths that I photographed for a previous series and composited them into the light.”

Hand-finished, 28-layer silkscreens from a Bay Area legend.Our first collaboration with Barry McGee is a greatest hits style montage of his life in San Francisco. From disgruntled looking Everyman heads – an allegory for the city’s ‘invisible’ homeless population – to acronyms for the graffiti crews he tags with, the untitled print rewards those familiar with the artist's expansive and experimental practice. Abstract geometries fill the gaps, providing “areas to rest the eye” and loading the print with McGee's distinct aesthetic code.Once printed, McGee will add unique details to each print with spray paint and gouache. Illustrative additions introduce familiar faces from his esoteric library of references and symbols, while unplanned dots and lines in grey nod to the graffiti he still sprays today. Testing the process at Brothers Marshall in Malibu, faces, animals and acronyms were added to the right hand side of the print. For the edition itself, expect more of the same and (knowing Barry) a few surprises too. “I will be interacting with each print in a different way. I try to keep that element of unpredictability when composing work.”The underlying artworks – 14 colour silkscreens printed in 28 sharp-edged layers – have been created in close collaboration with expert printmakers at Make-Ready in London.

CryptoPunks assemble en-masse for a time-limited print.From cult status and covetable characteristics to bidding wars and celebrity acquisitions, every Punk has its own story. Together, they represent a paradigm shift in the history of digital art.All 10,000 Punks, assembled in a perfect square, make up the edition – finished with a silkscreen varnish seal and accompanied by a hot pink certificate of authenticity.Own a Punk? Punk On-Chain offers the chance to transform it into a 1-of-1, multi-layered print.

Mai (Afterlife) after Sir Joshua Reynolds' Portrait of Mai (Omai), 1776 and Frederick Douglass, 1850 are a pair of time limited editions launched in support of the National Portrait Gallery in London. Re-opening in June 2023, the Gallery's diversified collection focuses on presenting an inclusive and dynamic picture of the people who have contributed to the rich history of the United Kingdom.Checkout from this page to order both prints in one shipment. For details of each artwork, visit their individual pages.

Meet Park, a new addition to the monochrome world of LUV. In LY’s greyscale paintings, dogs represent unconditional love – and holding onto what’s precious. Flowers, meanwhile, nod to the cut blooms that her daughter likes to display around their home. An edition of hand-painted resin sculptures draws the two together. LUV’s dog waits patiently, flower in mouth, for its owner’s affection.LUV’S DOG “PARK” was created to coincide with a pop-up in London. Read the journal and discover more opportunities to collect.Each artwork is accompanied by an exclusive showcard – signed by LY – placing LUV amidst images by London-based photographer, Freya Najade.

LUV has found a four-legged friend.LY chronicles life in Tokyo through the exploits of her enduring muse, LUV. Domestic motifs in recent works signal a shift in LY’s own life after becoming a mother. LUV’s dog, for example, represents unconditional love – and holding onto what’s precious. Each sculpture is made from a combination of cast bronze and resin, then carefully hand-painted in LY’s signature shades of grey. “LUV often stands still and looks ahead – thinking about where to go next, and holding onto the precious things that they found on their journey so far.”LIVING WITH LUV was created to coincide with a pop-up of the same name in London. Read the journal and discover more opportunities to collect.

Perched on a rooftop, LUV looks to the future. LY channels memories of her youth in Tokyo into the imagined exploits of her enigmatic subject, LUV. Fast food, skateboards and moments in nature all feature prominently. A new edition of two-part sculptures places a seemingly giant LUV on the roof of a burger shop – a surreal twist on an existential moment. “LUV often stands still and looks ahead – thinking about where to go next, and holding onto the precious things that they found on their journey so far.”LUV’S BURGERS was created to coincide with a pop-up in London. Read the journal and discover more opportunities to collect.

483,422 stitches compose an otherworldly landscape by Marina Perez Simāo. With her first textile work Perez Simāo explores the liminal zone between abstraction and figuration, reimagining an archetypal sunset as a series of fluid yet sharp-edged shapes. The edition translates the formal language of her lyrical oil paintings, inspired by the undulating landscapes of Brazil, into an embroidered tapestry in 24 colours. From thread to framing, each element of the artwork is crafted and assembled in Lyon – a historic cradle for artisanal French textiles.Proceeds from the collaboration will support the work of Gallery Climate Coalition and ClientEarth.

Middle Finger in Black belongs to a trio of artworks by Ai Weiwei which combine innovative printing methods with pillars of freedom upheld throughout his practice.A radial composition references the obscene gesture – a raised middle finger – which defines Ai’s seminal series, Study of Perspective. Begun in 1995, the series asserts the importance of our collective freedom to form, hold and express individual beliefs. For the artist, the power of a simple gesture like this is that anyone can make it. The edition is printed on a silkscreen press and finished with an intricate layer of white gold leaf, applied by hand to dazzling effect. In a new juncture for Study of Perspective, we’ve also collaborated with Ai to make his middle finger available to all – inviting any and everyone to share their own perspective on power. Add yours to the archive now.Then, go behind the scenes at Make-Ready in London as Ai reflects on the profundities of printmaking and its lineage within his practice.

Collect a silkscreen rendition of Ai Weiwei’s emblematic gesture of defiance.Middle Finger in Red will be available to order for 24 hours only on Thursday 30 March. The radial composition – created specially for the edition and printed in two layers – references the raised middle finger which defines Ai’s seminal series, Study of Perspective. Begun in 1995, the series asserts the importance of our collective freedom to form, hold and express individual beliefs. For almost 20 years Ai has reprised Study of Perspective at sites of power worldwide, prompting a tide of recreations by members of the public. To him, the power of a simple gesture is that anyone can make it. The 24 hour edition marks the opening of a landmark exhibition of new and archival works by Ai Weiwei at the Design Museum in London – the first in a series of five limited edition artworks conceived in tandem with the show. Proceeds will support the museum’s future. In a new juncture for Study of Perspective, we’ve also collaborated with Ai to make his middle finger available to all – inviting any and everyone to share their own perspective on power. Add yours to the archive now.

Free Speech belongs to a trio of artworks by Ai Weiwei which combine innovative printing methods with pillars of freedom upheld throughout his practice.The edition encompasses rife global friction between free expression and censorship. Birds with open beaks – a nod to Twitter – hover above a symmetrical arrangement of razor wire, printed in 11 distinct layers on a silkscreen press. Glossy, vibrant colours contrast a matte black underprint, while a series of varnish highlights and phosphorescent details anoint the composition with depth and drama.Stylistically, the work is an ode to papercut artworks made by the artist’s father – a renowned poet persecuted by the Chinese government – during his childhood. Ai's interest in paper cutting also stems from its historic status as a domestic pursuit, rather than a viable artistic medium. Go behind the scenes at Make-Ready in London as Ai reflects on the profundities of printmaking, and its lineage within his practice.

Human Flow belongs to a trio of artworks by Ai Weiwei which combine innovative printing methods with pillars of freedom upheld throughout his practice.Figures in motion, laden with bags, move in an endless circle at the centre of the print. Razor wire surrounds them. CCTV cameras look on ominously. Ai reflects on the importance of a person’s liberty to move, and the forms of persecution that may lead them to do so. Opaque layers of white and yellow ink are applied to a mirrored aluminium substrate – subsuming onlooker and artwork in the reflective surface.“If there is one refugee, we are all refugees. It's not that you're potentially a refugee, or potentially involved. We are involved. We are refugees. This idea is not easy to establish, so I tried to make it beautiful. You can see the image, but you can also see yourself in the reflection.”Go behind the scenes at Make-Ready in London as Ai reflects on the profundities of printmaking, and its lineage within his practice.

For 48 hours only, print your CryptoPunk.From experimental beginnings at blockchain genesis to immeasurable influence, vaulting prices and a slew of referential successors, CryptoPunks have come a long way since their debut in 2017.We’re collaborating with Yuga Labs to offer Punk owners worldwide the chance to bring their NFTs into the physical world as 1-of-1, multi-layered UV pigment prints.On Thursday 26 October, connect your wallet and print your punk.In tandem, discover 10,000 On-Chain – a companion print edition, accessible to all, featuring each and every Punk in perfect grid formation.Please refer to the registry to view which of the CryptoPunks NFTs have already been printed. Each NFT can be printed just once, making every print unique.

To benefit the Los Angeles County Museum of Art, silkscreen print Too Darn Hot combines a landmark moment for Tom Sachs’ practice with his continued investigations of the past, present and future of authentication.“The thing about faith is that it's for the faithful. It only works if you believe in it.”The acquisition of Too Darn Hot – a ‘frankenrocket’ from Sachs’ trailblazing Rocket Factory project – by the Los Angeles County Museum of Art (LACMA) underscored the museum’s position as one of the most progressive in the world with regard to the intersections of art and technology. To support the future of this position, 40% of proceeds from the Sachs’ first Avant Arte edition will be donated to LACMA.Each 13-colour silkscreen print includes a group of mechanisms conceived by the artist to establish its authenticity, and as integral parts of the artwork. A debossed design includes information from the launch of Sachs’ physical Too Darn Hot rocket at LACMA in 2021. A rubber stamp in its centre denotes the print’s specific number within the overall edition. A QR code printed in UV ink connects each print with the original Too Darn Hot NFT metadata on the blockchain. On the print’s reverse is a tamper-proof holographic sticker, placed alongside a QR code sticker that links to a unique token on the blockchain – an NFT – which serves as a certificate of authenticity for the print it connects with. A second, printed certificate of authenticity shipped with each print also links directly to this NFT. The exact edition size will be determined by the number of prints ordered in the 24 hour release window. When this window ends, artworks will be printed, authenticated and shipped worldwide free of charge.

Gisela McDaniel redresses portraiture traditions with luminous paintings that foreground overlooked voices and provide sites for collective healing.Are you watching?, a self portrait, layers an archival pigment print with 4 silkscreen layers and raised varnish details. Drawing on techniques and materials used throughout the artist’s practice, each print will be embellished by hand with shells, beads and neon pink acrylic paint.

“When I’m doing self portraiture, it’s a moment to check in with myself. Sometimes I’m also able to talk about things that I wouldn’t with somebody else’s painting – I have a little more leeway to tell my own story.”Similarly to the artist’s original canvases, each print is accompanied by an audio work – in this case accessed via a QR code printed on the accompanying certificate of authenticity.Inner Visions
McDaniel’s prints will be released alongside hand-finished editions by Khari Turner and Patrick Quarm in the third instalment of curator Larry Ossei-Mensah’s series, Inner Visions.“For this launch, I was drawn to artists that push past a painting being ‘just a picture.’ The use of audio in Gisela’s work makes it impossible to overlook the depth and nuance of her sitters’ stories. Her edition is a self portrait, so in this case the story is her own.” - Larry Ossei-Mensah