I.C. EDITIONSSELECTED PRINTS AND MULTIPLES
Susan Inglett Gallery and I.C. Editions present this viewing room in honor of New York Print Week and the Editions | Artists' Book Fair's online edition, 14 - 28 October 2020. E|AB was founded in November 1998 by Susan Inglett in partnership with Brooke Alexander Editions and Printed Matter, the Fair is now presented by the Lower East Side Printshop, a non-profit organization. Our viewing room explores a selection of artist prints and multiples produced by I.C. Editions from 1991 to 2012. The wide range of both established and mid-career artists showcases the breadth of and inventive approaches to the artists' edition across diverse media.
I.C. Editions, Inc. was established by Inglett in 1991 to publish the work of both young and mid-career artists, focusing on artists new to the medium while introducing printmaking to a larger audience. To date, she has published prints and multiples by a wide range of artists: Barbara Bloom, The Bruce High Quality Foundation, Bruce Conner, Diamond / Lewitt / Weiner, Marcel Dzama, Anna Gaskell, Barbara Kruger, Annette Lemieux, Allan McCollum, Paul Noble, Robyn O'Neil, Claes Oldenburg, Catherine Opie, Raymond Pettibon, Rona Pondick, Richard Prince, Erika Rothenberg, Allen Ruppersberg, Dana Schutz, Simone Shubuck, Aaron Spangler, Jessica Stockholder, Philip Taaffe, Fred Tomaselli, Terry Winters, and Andrea Zittel.
In 1994, Susan Inglett Gallery was originally founded to exhibit these publications as well as the unique work of emerging and established artists. Related activities in the gallery have ranged from print demonstrations and lectures, to early realizations of the Editions | Artists’ Book Fair, to exhibitions of the artist’s editions within the larger context of their unique work. Inglett has also been responsible for the organization of several exhibitions seen locally and nationally focusing on the print and multiple medium.
Barbara BloomA Birthday Party for Everything
BARBARA BLOOM, A Birthday Party for Everything (1999) includes the essential ingredients for a picture perfect party in a convenient carrying case.
No occasion would be complete without party hats and horns, plates, cups, napkins, and favors including puzzles, frisbees, wooden tops, yo-yos, kaleidoscopes, pinwheels, fans, bubbles, candy, and balloons. The artist makes this party her own and ours by festooning each surface with images ranging from the sub-atomic to the universal, from molecular structures to bodily systems to street maps to cityscapes to world views to the moon.
A Birthday Party for Everything is quite simply a celebration of life.
A Birthday Party for Everything can be found in the collections of the Art Gallery of Ontario, Toronto; Art Institute of Chicago, Chicago; Colorado University Art Museum, Boulder; Cooper-Hewitt Museum, NYC; Museum of Modern Art, NYC; and the Walker Art Center, Minneapolis.
Bruce ConnerTake Two, D.H.O.M.S., Volume I
BRUCE CONNER, TAKE TWO, D.H.O.M.S., VOLUME I (1973/2001) is a portfolio of eight etchings printed by Kay Bradner in San Francisco on Magniani Pescia paper in an edition of 12 with 4 Artist’s Proofs, published by I.C. Editions, NYC.
Beginning about 1959, Bruce Conner began to secretly piece together paper collages using 19th century wood engravings which he had collected or accumulated. His working method was not unlike that used to make the film and assemblage for which he had become well known. Taking advantage of the public’s ignorance of this new and seemingly disparate body of work, Conner decided to attribute the collages to yet another artist, Dennis Hopper. The unwillingness of a dealer to exhibit the work under another’s name and the unwillingness of the artist to reveal his identity, led to their relative obscurity.
It was not until the late Sixties when Kathan Brown invited Conner to work at Crown Point Press that the wood engraving collages were resurrected. Conner returned the collages to their original printed state, producing twenty six etchings bound in three black leather volumes and titled collectively THE DENNIS HOPPER ONE MAN SHOW VOLUMES I - III. Acting simultaneously as artwork and as foil for a larger conceptual project, this series is considered by many to be among Conner’s major works.
With the completion of Volume III in 1973, Conner with the printer, Kay Bradner, went back and re-worked the negatives of Volume I using the experience garnered over the course of the project. New plates were made at the time and are being editioned today as TAKE TWO, D.H.O.M.S, VOLUME I so that the images might be appreciated as the artist intended.
TAKE TWO, D.H.O.M.S., VOLUME I can be found in the collection of the Fogg Art Museum, Cambridge and the Metropolitan Museum of Art, NYC.
Marcel Dzamathe avant-guard army
MARCEL DZAMA, casualties and hypocrites; the movement; scheme of the circles of battle; the avant-guard army; citizens of regimentation (2004) was published as a portfolio of five screenprints with hand-coloring printed by Patrick Neufeld at the Martha Street Studio, Manitoba Printmakers Association on Rising Stonehenge Natural paper in an edition of 26 with 4 Artist’s Proofs, published by I.C. Editions, NYC. One sheet from this portfolio, the avant-garde army, is available for purchase.
Marching single file across a wide-open manila field, the army of Marcel Dzama prevails once again. Man, woman, child and/or beast, people this merry band of misfits.
Missionaries that they are, Dzama’s soldiers travel without portfolio, free to serve at the whim of their respective master. Obediently, these hybrid creatures act out the fantasies, frustrations, victories of our daily lives and nocturnal reveries.
This portfolio, Dzama’s first, is in the collection of the Museum of Modern Art, NYC and the New York Public Library, NYC.
ANNA GASKELL, Atonement (2007) is a portfolio of nine etchings with chine colle printed by John Greco at Josephine Press, Santa Monica on Arches cover white and Handmade Gampi Natural paper in an edition of 10 with 4 Artist’s Proofs, published by I.C. Editions, NYC.
A figure struggles, her body morphing ineluctably between unruly animal and contrite child. Her entrapment resonates with the minotaur of Jorge Luis Borges' The House of Asterion, imprisoned behind unlocked doors surrounded by ample empty space. Her penance parallels that of Carlo Collodi's puppet Pinocchio, whose physical transformation to beast of burden follows that fateful trip to Pleasure Island. The punishment hardly fits the crime, yet the woman embraces the penalty in the hopes of atonement.
Annette Lemieux, Stolen Faces, 1991
ANNETTE LEMIEUXStolen Faces
ANNETTE LEMIEUX, Stolen Faces (1991) is a portfolio of three lithographs printed by Trestle Editions, New York in an edition of 26 with 5 Artist's Proofs published by I.C. Editions, NYC. The left and right panel of the triptych each measures 30 1/4 x 22 in. and center panel 30 1/4 x 44 in.
For this portfolio, Lemieux has chosen a multi-racial battalion of soldiers as her subject matter. By employing the pixilated dot, the artist comments not only on the ability of war to render all men equal in the face of battle, but on the rather facile attempts by our government and the media to protect the innocent.
The side panels mirror one another in color and black and white. The center panel is generated from the pixilated circles of the left and right hand panels.
Stolen Faces can be found in the collections of the Cleveland Museum, Cleveland; Grinnell College, Grinnell; Krannert Art Museum, University of Illinois at Urbana-Champaign; Milwaukee Art Museum; the Staatsgalerie Stuttgart; the Museum of Contemporary Art, Honolulu; the Museum of Modern Art, NYC; the Museum of Fine Art, Boston; the New School for Social Research, NYC; the Queensland Art Gallery, South Brisbane; the Washington University Gallery of Art, St. Louis; and the Whitney Museum of American Art, NYC.
The portfolio has been featured in exhibitions including More than One Photography, Museum of Modern Art, NYC, 1992; Multiplicity, traveling exhibition originating at Thea Westreich, NYC, 1992; Press On, Susan Inglett Gallery, NYC, 1994; Recent Acquisitions, Milwaukee Art Museum, Milwaukee, 1994; Recent Acquisitions, Museum of Fine Arts, Boston, 1995; Art with Conscience, Newark Art Museum, Newark, 1995; Thinking Print, Museum of Modern Art, NYC, 1996; Photoimage: Printmaking 60s to 90s, Museum of Fine Arts, Boston, 1998; and Counter Monuments and Memory, Museum of Modern Art, NYC, 2000.
CATHERINE OPIE, O (1999) is a portfolio of seven photogravure printed at Burnet Editions, NYC on Durer etching paper in an edition of 26 with 6 Artist’s Proofs, published by I.C. Editions. The O portfolio represents Opie’s first use of photogravure, a female response to Robert Mapplethorpe’s controversial X portfolio. The work was realized exclusively for this project using details of images taken over the course of the year during casual studio shoots with friends. Photogravure was chosen to soften already subtle images and for its history of use by Mapplethorpe.
The seven sheets are housed in a black cloth box with the letter O debossed on the cover.
The O portfolio is in the collection of the Allen Memorial Art Museum, Oberlin; Des Moines Art Center, Des Moines; Grinnell College, Grinnell; Hammer Museum, University of California, Los Angeles; University of Connecticut Benton Museum of Art, Storrs; the Los Angeles County Museum of Art, the New York Public Library and Wellesley College Davis Museum, Wellesley.
ERICA ROTHENBERG, Greetings (1993) is a boxed set of five "all-occasion" cards screenprinted by Robert Blanton at Brand X Editions, NYC in an edition of 125 with 20 Artist's Proofs, published by I.C. Editions, NYC. Each card folds to 8.5 x 6 in. and is printed in up to 16 colors.
Images in this portfolio represent a wide range of the artist's socio-political and cultural observations. The project can be maintained as a multiple within the greeting card box or as prints in an installation.
Greetings can be found in the collections of the Art Institute of Chicago; Allen Memorial Art Museum at Oberlin College; Getty Center Library, Santa Monica; Jewish Museum, San Francisco; Milwaukee Art Museum; Museum of Women in the Arts, Washington, D.C.; New School for Social Research, NYC; New York Public Library, NYC; Toledo Museum of Art; University of California, Los Angeles; Virginia Commonwealth University, Richmond; and the Whitney Museum of American Art, NYC.
DANA SCHUTZ, Backstroke (2012) is a three color woodblock with one color photo-litho printed on Coventry paper by Rob Swainston, Brooklyn in an original Edition of 200 with 25 Artist's Proofs, published by I.C. Editions, to benefit the Editions | Artists’ Book Fair 2012. 175 pieces from the editions were destroyed in Hurricane Sandy, 25 pieces survived.
The presciently titled Backstroke was published to benefit the 2012 Editions | Artists' Book Fair, postponed due to the effects of what was considered the largest storm system to ever hit the Atlantic Coast. A story of redemption and renewal, the Fair was rescheduled to run 23 to 27 January 2013. Proceeds from the sale of the print ensured the realization of this memorable event and celebration, the 15th anniversary of the Editions | Artists' Book Fair.
Aaron SpanglerSculpture Park
AARON SPANGLER, Sculpture Park (2006) is a woodcut and first print from the artist printed by Maurice Sanchez of Derriere l’Etoile Studios, NYC. Work is printed in silver ink on Arches cover black in an edition of 26 with 4 Artists' Proofs, published by I.C. Editions, NYC.
A seasoned wood carver, this project represents Aaron Spangler’s first print and woodcut. As noted by Ken Johnson in the New York Times, Spangler “uses his extraordinary technique to elaborate profusely detailed, darkly comic visions of rural Post-apocalyptic ruin...he leaves things a bit rough [creating] a magical tension between the raw material and the epic fantasy." Spangler’s Sculpture Park is no less a rough place. Here, a scrap heap of earlier iconography, burned out cars, downed power lines, and discarded tires, shares ground with Constructivist assemblage, Memorial statuary, and weed infested Horn of Plenty. This Sculpture Park seems located somewhere between memorial garden down on its luck and backyard shrine on the way up.
Jessica StockholderWith Your Salad
JESSICA STOCKHOLDER, With your Salad (2005), in an edition of 30 with 5 Artist’s Proofs, published by I.C. Editions, NYC. The multiple was conceived by the artist using various found materials with original plastic resin addition fabricated by Sculpture House Casting, NYC. Final production by Ian Cooper, Brooklyn.
Jessica Stockholder is trained as both sculptor and painter, each discipline is well represented in With your Salad. Red plastic cooler, brushed aluminum wall sconce, neon green extension cord and artistic folly meet in a riot of color, texture, and light. While Stockholder credits a surrealist’s game of chance as the starting point for her work, she proceeds to masterfully weave an inspired web of flotsam and jetsam which she personalizes with a plastic splash of Tropicana Cabana and Lime Green. In the artist’s hands, the commonplace acquires heightened stature while the exotic gains parity with the ordinary. One man’s junk is another’s man’s treasure.
With your Salad can be found in the collection of the Rhode Island School of Design, Providence and the University Art Museum at Colorado State University, Boulder.
Philip TaaffeMolossus, Cernunno, and Acerodont
PHILIP TAAFFE, Molossus, Cernunno, and Acerodont (2007) is a portfolio of three Archival inkjet prints printed by Jean-Yves Noblet, Brooklyn. The portfolio was printed on Somerset paper in an edition of 35 with 8 Artist’s Proofs, published by I.C. Editions, NYC.
Foreign cultures and traditions have frequently found a place in the work of Philip Taaffe. Recent paintings take their cue from the ancient craft of paper marbling while works on paper look to the art of paste paper. Paste paper is a form of decorative paper making which originated in the 16th Century. Brushing colored paste onto wet paper, artisans created designs using found objects and special tools. Taaffe has generously produced three sumptuous examples of this ancient craft, which have been editioned for this occasion.
The work can be found in the collection of the Baltimore Museum of Art.
FRED TOMASELLI, Bloom (2011) is a screenprint from the artist printed by Kayrock Screenprinting, Brooklyn over an archival inkjet print by Carrie Waldman of Hudson, New York. Work is in an edition of 200 with 13 Artist's Proofs, published by I.C. Editions and Brooke Alexander Editions, NYC to benefit the Editions | Artists’ Book Fair 2011.
Fred Tomaselli begins this foray into the nature of nature and its intersection with the psyche and the cosmos with leaves from his own garden. The pattern laid down creates a base for radiating rings of color, which burst forth full bloom from each individual pad. The result is lush and hypnotic, a ready-made mandala for modern man.
Terry Winters, Location Plan, 2001
TERRY WINTERSLocation Plan
TERRY WINTER’s Location Plan (2000), a single color screenprint in an edition of 100 with 10 Artist’s Proofs, published by I.C. Editions, NYC and printed at Brand X, NYC. The print is signed and dated (2000) in the lower left. The paper is Clearprint fade-out cotton vellum blue/white graph paper hand-torn to 29 x 42 in.
Location Plan is related to a series of drawings included in the artists’ exhibition at the Kunsthalle Basel. Inspired by advanced imaging technologies from information mapping systems to spatial renderings, the drawings explore a dialogue between order and disorder. In the print Winters combines thirty unique images in a grid or storyboard which seems to serve as a key to his current investigations. Moving from one image to the next, through ever-shifting relationships, a sense of flux develops suggesting weather patterns, emotional states, urban dynamics. A similar configuration of these drawn images was used in a 30 x 60 ft. backdrop in a collaboration with choreographer Trisha Brown and composer Dave Douglas.
Location Plan can be found in the collections of the Addison Gallery, Andover; Metropolitan Museum of Art, NYC; Museum of Modern Art, NYC; New York Public Library, NYC; University of Michigan Museum of Art, Ann Arbor; and the Vanderbilt Fine Arts Gallery, Nashville.