Ann ShaferThere is a holiday song with a lyric, “It’s the most wonderful time of the year,” that runs through my mind every October during New York Print Week. Encompassing three major print fairs—the IFPDA Print Fair, the Editions and Artists Books fair, and the Satellite Fair—there is a cornucopia of wonderful prints to see. There is, of course, also a lot of attendant programming, dinners, and socializing. Oh, and we always try to hit various galleries and museum exhibitions. It’s a super busy week, exhausting and energizing, and it’s so fun to catch up with all the artists, printers, and publishers we’ve gotten to know over the years.
Because of the pandemic, New York Print Week 2020 is occurring virtually. While the IFPDA has really stepped up to the plate with a month’s worth of daily virtual artist talks and studio tours, and each fair has set up online viewing rooms, there is nothing like being there in person. I will always believe that one must see works of art in person to really absorb them accurately. As a curator on the hunt for contemporary (ish) works on paper, New York Print Week is one-stop shopping. At the IFPDA fair alone there are usually ninety vendors. I thought it would be fun to pick out favorite works from each fair. The caveat being, of course, that seeing the works in person might change my mind. Here’s a group from the IFPDA Print Fair in no particular order. Derrick Adams Self Portrait on Float, 2019 Woodblock, gold leaf, collage 40 × 40 in (101.6 × 101.6 cm) Tandem Press Richard Long Speed of the Sound of Loneliness, 2014 A two panel carborundum relief, both panels printed in Black/Ultramarine Blue ink mix 47 3/4 × 152 3/4 in (121.3 × 388 cm) Jonathan Novak Contemporary Art William Kentridge Telephone Lady, 2000 Linoleum cut 85 × 47 in (215.9 × 119.4 cm) Gallery Neptune & Brown Shahzia Sikander Portrait of the Artist, 2016 One in a suite of four etchings 27 × 21 in (68.6 × 53.3 cm) Pace Prints Jacob Hashimoto Tracing the Ever-fragile Balance of Dreamless Silence: This Unruly Forest, These Imaginings, and the Final Exhalation, 2019 Mixografia print on handmade paper 34 1/2 × 61 1/2 in (87.6 × 156.2 cm) Mixografia Peter Milton Interiors VI: The Train from Munich, 1991 Resist-ground etching and engraving, 20 × 35 5/8 in (50.8 × 90.5 cm) The Old Print Shop Walton Ford Benjamin's Emblem, 2000 Etching 44 3/16 × 30 3/8 in (112.2 × 77.2 cm) Susan Sheehan Gallery Richard Diebenkorn High Green, Version I, 1992 Color spit bite and soap ground aquatints with soft ground and hard ground etching and drypoint 52 × 33 in (132.1 × 83.8 cm) Crown Point Press Tom Marioni Drawing a Line, 2012 Drypoint with plate tarnish printed in sepia and black 54 × 16 in (137.2 × 40.6 cm) Crown Point Press Tauba Auerbach Mesh Moire I-VI, 2012 Suite of six color softground etchings on Somerset white paper 86 × 98 in (218.4 × 248.9 cm) Carolina Nitsch Contemporary Art Charles Gaines Numbers and Trees, Tiergarten Series 3: Tree #1, April, 2018 Color aquatint and spitbite aquatint with printed acrylic box. 41 1/4 × 32 × 3 1/2 in (104.8 × 81.3 × 8.9 cm) Paulson Fontaine Press
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Ann's art blogA small corner of the interwebs to share thoughts on objects I acquired for the Baltimore Museum of Art's collection, research I've done on Stanley William Hayter and Atelier 17, experiments in intaglio printmaking, and the Baltimore Contemporary Print Fair. Archives
February 2023
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