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International Fine Print Dealers Association (IFPDA), Fine Art Print Fair (online only) 2020

October 7, 2020 – November 1, 2020

Works In Exhibition

+ Within + [linear + bisecting four colored rectangles in a + formation]

Robert Mangold + Within + [linear + bisecting four colored rectangles in a + formation] 1981 Screenprint on museum board with cut edge

Image size irregular:  7 15/16 x 10 15/16 inches  (20.2 x 27.8 cm)
Paper size:  16 1/2 x 16 1/2 inches  (41.9 x 41.9 cm)
Edition of 50
Signed, numbered, titled and dated along lower edge in graphite
(Inventory #28680)

The Hydraulic Door Check

Richard Artschwager The Hydraulic Door Check 2002 Lithograph on paper with deckled edge

Image size approx.: 8 1/2 x 15 inches (21.6 x 38.1 cm)
Paper size: 17 1/4 x 23 3/4 inches (43.8 x 60.3 cm)
Edition of 55, 15 AP
Signed lower right and numbered lower right in ink
(Inventory #30888)

River

Kiki Smith River 2019 Monoprint with hand-applied pencil, ink, and watercolor stamp on Losiny Prague paper

Image/paper size: 11 1/2 x 8 inches (29.2 x 20.3 cm)
Signed and dated lower right in graphite
(Inventory #31166)

Leaning on Air

William Kentridge Leaning on Air 2019 Woodcut on two sheets of Kiakata, mounted to a backing sheet of Arches, Cover White paper

Image size:  8 1/2 x 27 3/8 inches  (21.7 x 69.5 cm)
Paper size:  11 1/2 x 30 inches  (29.5 x 76.5 cm)
Edition of 18
Signed and numbered
(Inventory #31585)

Turquoise Mirrorpiece

Robert Barry Turquoise Mirrorpiece 2020 Enameled and etched glass

Edition of 15
30 x 30 inches  (76.2 x 76.2 cm)
Signed and numbered
(Inventory #31687)

Palimpsest

Kay Rosen Palimpsest 1991/2020 Matte latex paint on wall

Dimensions variable
Edition of 12
Signed on accompanying certificate
(Inventory #31747)

The tenuousness and slippage which occurs in language parallel the fragility and uncertainty inherent in political systems of power. In “Palimpsest” a sacrosanct list of popes and kings, whose nine predecessors enjoyed authority determined, validated, and endorsed by a history of their namesakes, is thrown into confusion by the final ambiguous function of the single letter “X”. “X” changes this history from unquestionable ancestry to unknown ancestry. Historical predicability is threatened by the implications of a letter.

1863

Fred Wilson 1863 2006 Archival inkjet with glassine overlay

Image/paper size: 19 1/4 x 27 1/8 inches (48.9 x 68.9 cm)
Frame size: 26 1/4 x 34 inches (66.7 x 86.4 cm)
Edition of 35
Signed and dated lower right, numbered lower left in graphite
(Inventory #31821)

For “1863”, Fred Wilson digitally reproduced a lithograph illustrating the encampment of the Sixth Regiment Infantry, Massachusetts Volunteer Militia, in Suffolk, Virginia during the Civil War. The 1863 lithograph was a type made to depict the many camps that were set up for the different regiments. The prints were as created for soldiers and their families at home. The depicted Sixth Regiment was the first unit in the Union Army to suffer fatal casualties during the Civil War. The majority of the regiment’s time in 1863, when not on expeditions, was spent digging trenches and clearing trees in front of the defensive lines around Suffolk. The hard labor had a detrimental effect on the general morale of the Union troops stationed there. This was exacerbated by antagonistic feelings between the civilians of occupied Suffolk and the enlisted men of the Sixth Massachusetts who were fighting to abolish slavery. With all this known, it is even more important to recognize that Wilson’s work consists of not only a digital reproduction of this image, but that Wilson laid a sheet of translucent glassine on top of the reproduction, so as to blur the details. The lower left corner of the glassine contains a cut hole, to allow a viewer to see one specific element of the image underneath: a Black woman at the fringe, hanging up laundry to dry. Through his ‘manipulation’ of the historical image, Wilson reveals, even within a white unit of the Union army who was fighting for the abolition of slavery, the almost invisibility of the laundress, and more pointedly, the invisibility of women and Black people and their work in the history of the Civil War, and ultimately the USA.

View Larger Image 1863

Money Creates Taste from Truisms, 1977-79

Jenny Holzer Money Creates Taste from Truisms, 1977-79 2004 Glass paperweight multiple engraved with the words "Money Creates Taste"

Edition of 90, 10 AP
3 x 3 inches  (7.6 x 7.6 cm)
Accompanied with a certificate of authenticity signed by the artist
(Inventory #31848)

View Larger Image Money Creates Taste from Truisms, 1977-79

The Four Sides of the Tower for the Community Activities Center, Davenport, Iowa, Plate #04

Sol LeWitt The Four Sides of the Tower for the Community Activities Center, Davenport, Iowa, Plate #04 1983 Silkscreen

Edition of 30
Image/paper size: 25 1/2 x 32 inches (64.8 x 81.3 cm)
Signed and numbered lower right in graphite
(Inventory #32010)
Krakow 1983.07d

Wives and Mistresses

Kiki Smith Wives and Mistresses 2019 Bronze and white sapphires, in a unique variation

1 x 2 7/8 x 1 inches (2.5 x 7.3 x 2.5 cm)
Engraved KS 2019 on bottom
(Inventory #31824)

View Larger Image Wives and Mistresses

Untitled

Brice Marden Untitled 1973 Etching on Rives BFK paper

Edition of 50
Image size: 27 3/8 x 19 1/4 inches (69.5 x 48.9 cm)
Paper size: 39 7/8 x 29 3/8 inches (101.3 x 74.6 cm)
Frame size: 49 3/4 x 39 inches (126.4 x 99.1 cm)
Signed and dated lower right, numbered lower left in graphite
(Inventory #31493)

View Larger Image Untitled

Rusty Signs – Dead End 1

Ed Ruscha Rusty Signs – Dead End 1 2014 Mixografia print on handmade paper

Edition of 50
Image/paper size: 24 x 24 inches (61 x 61 cm)
Signed and dated lower right, numbered lower left
(Inventory #31140)

View Larger Image Rusty Signs – Dead End 1

Flexible and Stainless

Sylvia Plimack Mangold Flexible and Stainless 1975 Lithograph from one plate and three stones in black (twice), transparent gray, and light opaque yellow

Edition of 50
Signed lower right, titled lower center and numbered lower left
Image size: 10 5/8 x 15 inches  (27.3 x 38.2 cm)
Paper size: 21 x 29 3/8 inches  (53.5 x 74.5 cm)
(Inventory #31078)

 

 

Double Show Window

Christo Double Show Window 1972 The complete set of two multiples, comprised of Plexiglas painted with green paint, in the artist's original aluminum frames

Edition of 65
35 1/8 x 24 x 3 inches each (89.2 x 61 x 7.6 cm each)
One signed and dated, both numbered ’38/65′ in graphite on the interior of the frame
(Inventory #30456)

View Larger Image Double Show Window

Oh, #I and #II

Liliana Porter Oh, #I and #II 2002 Woodcut, with litho chine colle, on Somerset satin white

Edition of 25
Image/paper size: 30 x 22 inches each (76.2 x 56 cm each)
Overall size: 30 x 44 inches (76.2 x 111.8 cm)
Signed, numbered and titled in graphite
(Inventory #29694)