{"title":"All works","description":"","products":[{"product_id":"john","title":"John","description":"\u003cp\u003e\u003cem\u003eFrom a group of five lithographs published by Public Art Fund. This work depicts the young John F. 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First proposed in 1949 by CK Bliss, a Chernivtsi-born Holocaust survivor who emigrated to Sydney in 1947.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\"\u003eAs McNaught writes, “\u003cem\u003eEmerging out of the turmoil of the 20\u003csup\u003eth\u003c\/sup\u003e century, Bliss was presented as a ‘world writing for one world’. This motto supported its primary use case: it was imagined as an aid for international communication and collaboration, and so, in a general sense, towards peace\u003c\/em\u003e.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\"\u003eAlthough Bliss was considered by its maker to be a revolutionary invention, one of the apparent, humble uses for Bliss was its trans-lingual application for signage. McNaught honours this by inscribing his translations on engraved traffolyte (a plastic material commonly used for signage). His words, however, a cribbed from various sources, are not straightforward directives. McNaught advises that, to become fluent in Bliss, “\u003cem\u003eyou can only fall in love with it, the way you fall in love with a person: nonfluently, partially, with some degree of creative misunderstanding.\u003c\/em\u003e”\u003c\/span\u003e\u003c\/p\u003e","brand":"Rowan McNaught","offers":[{"title":"Default Title","offer_id":50385389256997,"sku":"","price":190.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0932\/2250\/2693\/files\/EmptyName19.jpg?v=1744410606"},{"product_id":"la-familia-del-marino-the-sailors-family","title":"La familia del marino (The sailor's family)","description":"\u003cp\u003e\u003cem\u003eFrom the Catalan Series.\u003c\/em\u003e\u003c\/p\u003e","brand":"Heather Bolton","offers":[{"title":"Default Title","offer_id":50385390862629,"sku":"","price":800.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0932\/2250\/2693\/files\/EmptyName29.jpg?v=1744410738"},{"product_id":"words-echo-thus-in-your-mind","title":"Words echo thus in your mind.","description":"","brand":"Keeper Print Room","offers":[{"title":"Default Title","offer_id":50385398989093,"sku":"","price":450.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0932\/2250\/2693\/files\/EmptyName4.jpg?v=1744411373"},{"product_id":"birthday-party","title":"Birthday Party","description":"","brand":"Heather Bolton","offers":[{"title":"Default Title","offer_id":50385399742757,"sku":"","price":4500.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0932\/2250\/2693\/files\/Hodgkin_BirthdayParty.jpg?v=1744411630"},{"product_id":"untitled","title":"Untitled","description":"\u003cp class=\"MsoNormal\"\u003e\u003cem\u003e\u003cspan lang=\"EN-AU\" style=\"font-size: 11.0pt;\"\u003eSince 2023, Darcey Bella Arnold and Simon McGlinn sustained a collaborative drawing practice. Living and working together as partners, Arnold and McGlinn developed a continued, dialogic approach to drawing, whereby McGlinn initiates each composition using biro and\/or collage elements, to which Arnold responds with pencil and Letraset. \u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cem\u003e\u003cspan lang=\"EN-AU\" style=\"font-size: 11.0pt;\"\u003eThis reciprocal process has evolved into a quotidian artistic exchange, marked by an intuitive sensitivity to composition, surface and mark-making. Embedded in each work with layered references and a shared visual language that oscillates between the spontaneous and the deliberate. Through this co-authored methodology, the artists explore the possibilities of drawing as both conversation and convergence.\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e","brand":"Keeper Print Room","offers":[{"title":"Default Title","offer_id":50385403412773,"sku":"","price":900.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0932\/2250\/2693\/files\/McGlinn_Arnold.jpg?v=1744411857"},{"product_id":"civic-virtue-all-over-the-floor","title":"Civic Virtue All Over the Floor","description":"","brand":"Heather Bolton","offers":[{"title":"Default Title","offer_id":50448058089765,"sku":"","price":3000.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0932\/2250\/2693\/files\/Kitaj_CivicVirtue.jpg?v=1745458149"},{"product_id":"bacon-i","title":"Bacon I","description":"\u003cp\u003e\u003cem\u003eA portrait of Francis Bacon, close friend of the artist. This image is based on Kitaj's oil sketch \u003c\/em\u003eStudy (Francis Bacon)\u003cem\u003e, 1968 (Private collection, New York). See Jennifer Ramkalawon, \u003c\/em\u003eKitaj Prints: A Catalogue Raisonné \u003cem\u003e(London: The British Museum, 2013), pge. 233.\u003c\/em\u003e\u003c\/p\u003e","brand":"Heather Bolton","offers":[{"title":"Default Title","offer_id":50448204333349,"sku":"","price":3300.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0932\/2250\/2693\/files\/Kitaj_Bacon1.jpg?v=1745467822"},{"product_id":"charles-olson","title":"Charles Olson","description":"\u003cp\u003e\u003cem\u003eFrom the series First Series: Some Poets\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eStamped verso with Kelpra Studio stamp and artwork number: '7114'\u003c\/em\u003e\u003c\/p\u003e","brand":"Heather Bolton","offers":[{"title":"Default Title","offer_id":50448283238693,"sku":"","price":3000.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0932\/2250\/2693\/files\/Kitaj_CharlesOlson.jpg?v=1745467803"},{"product_id":"ctric-news-topi","title":"Ctric News Topi","description":"","brand":"Heather Bolton","offers":[{"title":"Default Title","offer_id":50448286679333,"sku":"","price":3300.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0932\/2250\/2693\/files\/Kitaj_CtricNewsTopi.jpg?v=1745467779"},{"product_id":"heart","title":"Heart","description":"\u003cp\u003e\u003cem\u003eFrom the series Mahler Becomes Politics, Beisbol\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eStamped verso with Kelpra Studio stamp and artwork number: '6605'.\u003c\/em\u003e\u003c\/p\u003e","brand":"Heather Bolton","offers":[{"title":"Default Title","offer_id":50448288383269,"sku":"","price":2500.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0932\/2250\/2693\/files\/Kitaj_Heart.jpg?v=1745467713"},{"product_id":"revolt-on-the-clyde-hugh-mcdiarmid","title":"Revolt on the Clyde (Hugh McDiarmid)","description":"\u003cp\u003e\u003cem\u003eFrom the series First Series: Some Poets.\u003cbr\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eStamped verso with Kelpra Studio stamp and artwork number: '6725'.\u003c\/em\u003e\u003c\/p\u003e","brand":"Heather Bolton","offers":[{"title":"Default Title","offer_id":50448370630949,"sku":"","price":3000.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0932\/2250\/2693\/files\/Kitaj_HughMcDiarmid.jpg?v=1745469061"},{"product_id":"setpiece-1","title":"Setpiece 1","description":"\u003cp\u003e\u003cem\u003eFrom the series Struggle in the West: The Bombing of London.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eStamped verso with Kelpra Studio stamp and artwork number: '7116'. Inscribed verso, 'for H.B.'\u003c\/em\u003e\u003c\/p\u003e","brand":"Heather Bolton","offers":[{"title":"Default Title","offer_id":50448383672613,"sku":"","price":2000.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0932\/2250\/2693\/files\/Kitaj_RevoltontheClyde.jpg?v=1745470378"},{"product_id":"setpiece-3","title":"Setpiece 3","description":"\u003cp\u003e\u003cem\u003eFrom the series Struggle in the West: The Bombing of London.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eStamped verso with Kelpra Studio stamp and artwork number: '7117'.\u003c\/em\u003e\u003c\/p\u003e","brand":"Heather Bolton","offers":[{"title":"Default Title","offer_id":50448436429093,"sku":"","price":2000.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0932\/2250\/2693\/files\/Kitaj_Setpiece3.jpg?v=1745473311"},{"product_id":"punyanita","title":"Punyanita","description":"\u003cdiv class=\"woocommerce-tabs wc-tabs-wrapper\"\u003e\n\u003cdiv class=\"nm-product-tabs-col\"\u003e\n\u003cdiv class=\"woocommerce-Tabs-panel woocommerce-Tabs-panel--description panel wc-tab\" id=\"tab-description\" role=\"tabpanel\" aria-labelledby=\"tab-title-description\"\u003e\n\u003cdiv class=\"nm-row\"\u003e\n\u003cdiv class=\"col-xs-12\"\u003e\n\u003cdiv class=\"nm-tabs-panel-inner entry-content\"\u003e\n\u003cp\u003eThis screenprint depicts country far to the south of Balgo, in the Great Sandy Desert. This country is centred around a tjurrnu, or soakwater called Punyanita. This is also good country for collecting certain bush foods. In particular ngralukutu, (bush coconut), kantilli (bush raisin) and munyun (a seed used for making flour for damper) are found here.\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","brand":"Warlayirti Artists Aboriginal Corporation","offers":[{"title":"Default Title","offer_id":50448475291941,"sku":"","price":880.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0932\/2250\/2693\/files\/EmptyName33_db4f6ccd-79e5-414f-aff2-3e74e75e0494.jpg?v=1745475708"},{"product_id":"star-betelgeuse-robert-duncan","title":"Star Betelgeuse\/Robert Duncan","description":"\u003cp\u003e\u003cem\u003eFrom the series First Series: Some Poets.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThe American poet Robert Duncan was a close friend of R.B. Kitaj. Kitaj sent Chris Prater detailed instructions for this print: \"Please do the Robert Duncan first - I should like proofs of that as soon as possible\". Later, he wrote, \"we are all thrilled with the Duncan proofs.\" See Jennifer Ramkalawon, \u003c\/em\u003eKitaj Prints: A Catalogue Raisonné \u003cem\u003e(London: The British Museum, 2013), pge. 235.\u003c\/em\u003e\u003c\/p\u003e","brand":"Heather Bolton","offers":[{"title":"Default Title","offer_id":50448477520165,"sku":"","price":3000.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0932\/2250\/2693\/files\/Kitaj_RobertDuncan.jpg?v=1745498659"},{"product_id":"notes","title":"Notes","description":"\u003cp\u003e\u003cem\u003eStamped verso with Kelpra Studio stamp and artwork number: '7604'.\u003c\/em\u003e\u003c\/p\u003e","brand":"Heather Bolton","offers":[{"title":"Default Title","offer_id":50448661578021,"sku":"","price":3000.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0932\/2250\/2693\/files\/Kitaj_Notes.jpg?v=1745498637"},{"product_id":"the-romance-of-the-civil-service","title":"The Romance of the Civil Service","description":"\u003cp\u003e\u003cem\u003eStamped verso with Kelpra Studio stamp and artwork number: '6776'.\u003c\/em\u003e\u003c\/p\u003e","brand":"Heather Bolton","offers":[{"title":"Default Title","offer_id":50448696639781,"sku":"","price":3300.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0932\/2250\/2693\/files\/Kitaj_RomanceoftheCivilService.jpg?v=1745498680"},{"product_id":"hommage-au-manche","title":"Hommage au Manche","description":"","brand":"Heather Bolton","offers":[{"title":"Default Title","offer_id":50456410030373,"sku":"","price":1200.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0932\/2250\/2693\/files\/EmptyName30.jpg?v=1745815198"},{"product_id":"mod-2","title":"Mod 2","description":"\u003ch2 class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-US;\" lang=\"EN-US\"\u003eJannis Kounellis was a central figure in the \u003ci\u003earte povera\u003c\/i\u003e movement, a collection of \u003cspan lang=\"EN-AU\"\u003eItaly's most important and influential post-war artists.\u003c\/span\u003e\u003cspan style=\"mso-ansi-language: EN-US;\" lang=\"EN-AU\"\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-US;\" lang=\"EN-US\"\u003e\u003cem\u003e“In the sixties they called me an artist because they did not know how to define a heap of coal. But I am a painter, and I defend my initiation in painting.” \u003c\/em\u003e-\u003cspan style=\"mso-spacerun: yes;\"\u003e  \u003c\/span\u003eJannis Kounellis, 1993\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-US;\" lang=\"EN-US\"\u003ePaired back to recall Kounellis’ base attraction to aggregates, the \u003ci\u003eMod\u003c\/i\u003e lithographic series is a succinct presentation of this iconic artist’s intuitions.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-US;\" lang=\"EN-US\"\u003e“\u003c\/span\u003e\u003cspan lang=\"EN-AU\"\u003eStarting in 1966, Kounellis—who, like Mario Merz and Pistoletto, was already known as a painter—began working with a large number of nonartistic materials, such as birds, cotton, cacti, flames, coffee, hair, coal, and wool. These materials, although natural per se, we presented in a form that evoked human action and industry: the coal and cotton were piled, the wool was woven onto wooden poles or ropes, the hair was braided, the coffee was ground. Moreover, these material were combined with a rigid, metallic, often horizontal structure that served as a framework, such as a bed, steel panel, or steel dolly.” - Corrina Criticos, ‘Reading Arte Povera’, \u003cem\u003eZero to infinity arte povera, 1962-1972\u003c\/em\u003e, ed. Richard Flood \u0026amp; Frances Morris (Walker Art Center \u0026amp; Tate Modern, 2001), pp. 78-80\u003c\/span\u003e\u003c\/p\u003e","brand":"Heather Bolton","offers":[{"title":"Default Title","offer_id":50456413012261,"sku":"","price":1800.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0932\/2250\/2693\/files\/EmptyName25.jpg?v=1745815229"},{"product_id":"mod-3","title":"Mod 3","description":"\u003ch2 class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-US;\" lang=\"EN-US\"\u003eJannis Kounellis was a central figure in the \u003ci\u003earte povera\u003c\/i\u003e movement, a collection of \u003cspan lang=\"EN-AU\"\u003eItaly's most important and influential post-war artists.\u003c\/span\u003e\u003cspan style=\"mso-ansi-language: EN-US;\" lang=\"EN-AU\"\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-US;\" lang=\"EN-US\"\u003e\u003cem\u003e“In the sixties they called me an artist because they did not know how to define a heap of coal. But I am a painter, and I defend my initiation in painting.” \u003c\/em\u003e-\u003cspan style=\"mso-spacerun: yes;\"\u003e  \u003c\/span\u003eJannis Kounellis, 1993\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-US;\" lang=\"EN-US\"\u003ePaired back to recall Kounellis’ base attraction to aggregates, the \u003ci\u003eMod\u003c\/i\u003e lithographic series is a succinct presentation of this iconic artist’s intuitions.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-US;\" lang=\"EN-US\"\u003e“\u003c\/span\u003e\u003cspan lang=\"EN-AU\"\u003eStarting in 1966, Kounellis—who, like Mario Merz and Pistoletto, was already known as a painter—began working with a large number of nonartistic materials, such as birds, cotton, cacti, flames, coffee, hair, coal, and wool. These materials, although natural per se, we presented in a form that evoked human action and industry: the coal and cotton were piled, the wool was woven onto wooden poles or ropes, the hair was braided, the coffee was ground. Moreover, these material were combined with a rigid, metallic, often horizontal structure that served as a framework, such as a bed, steel panel, or steel dolly.” - Corrina Criticos, ‘Reading Arte Povera’, \u003cem\u003eZero to infinity arte povera, 1962-1972\u003c\/em\u003e, ed. Richard Flood \u0026amp; Frances Morris (Walker Art Center \u0026amp; Tate Modern, 2001), pp. 78-80\u003c\/span\u003e\u003c\/p\u003e","brand":"Heather Bolton","offers":[{"title":"Default Title","offer_id":50456413077797,"sku":null,"price":1800.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0932\/2250\/2693\/files\/EmptyName26.jpg?v=1745815254"},{"product_id":"mod-4","title":"Mod 4","description":"\u003ch2 class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-US;\" lang=\"EN-US\"\u003eJannis Kounellis was a central figure in the \u003ci\u003earte povera\u003c\/i\u003e movement, a collection of \u003cspan lang=\"EN-AU\"\u003eItaly's most important and influential post-war artists.\u003c\/span\u003e\u003cspan style=\"mso-ansi-language: EN-US;\" lang=\"EN-AU\"\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-US;\" lang=\"EN-US\"\u003e\u003cem\u003e“In the sixties they called me an artist because they did not know how to define a heap of coal. But I am a painter, and I defend my initiation in painting.” \u003c\/em\u003e-\u003cspan style=\"mso-spacerun: yes;\"\u003e  \u003c\/span\u003eJannis Kounellis, 1993\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-US;\" lang=\"EN-US\"\u003ePaired back to recall Kounellis’ base attraction to aggregates, the \u003ci\u003eMod\u003c\/i\u003e lithographic series is a succinct presentation of this iconic artist’s intuitions.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-US;\" lang=\"EN-US\"\u003e“\u003c\/span\u003e\u003cspan lang=\"EN-AU\"\u003eStarting in 1966, Kounellis—who, like Mario Merz and Pistoletto, was already known as a painter—began working with a large number of nonartistic materials, such as birds, cotton, cacti, flames, coffee, hair, coal, and wool. These materials, although natural per se, we presented in a form that evoked human action and industry: the coal and cotton were piled, the wool was woven onto wooden poles or ropes, the hair was braided, the coffee was ground. Moreover, these material were combined with a rigid, metallic, often horizontal structure that served as a framework, such as a bed, steel panel, or steel dolly.” - Corrina Criticos, ‘Reading Arte Povera’, \u003cem\u003eZero to infinity arte povera, 1962-1972\u003c\/em\u003e, ed. 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