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135Journals: You Should Go to the International Print Fair. Here’s Why.

5 Nov

IMG_2180.jpg(Note: Linocut above by  the author, who graciously gave herself permission to use it.)

 

If you have the twenty bucks, and you live within a 20, no 50 mile radius of the Big Apple, and you have a few hours free, you would be insane not to gird your loins and race to the The International Art Fair at the New York Armory at 643 Park Avenue at 67th Street either today, November 5, (until 8:00) or tomorrow, November 6, 2016 (until 6:00) .http://www.ifpda.org/content/print-fair

Why, you ask. What is this “Print Fair” (or more properly, “The International Art Fair Presenting Historic Masterworks, 20th Century Icons and Innovative Contemporary Projects” and why should I care?

The Print Fair, friend, is an exhibition of works on paper by some—probably most—of the greatest artists the world has known, curated and displayed for sale by vendors from around the world. It is a chance to get up close to gorgeous artworks that range from hundreds of dollars up to $160,000 or more. Just wandering around, you will pass by historical treasures such as original copies of William Blake’s Songs of Innocence and Experience, works by Durer and Cranach the Elder and other Old Masters. There are also works by Picasso, Monet, and searingly emotional portraits by Edvard Munch. For those who favor more political and the moving, timeless, political woodcuts of the not-well-enough super-brilliant African-American national treasure Elizabeth Catlett, and the mocking pop art of Andy Warhol. It is hard to express the variety of what you can see here.

Here are a few  highlights from the fair:

Japanese woodcuts by the 19th century master of the Ukiyo-e “pictures of the floating world” School, Utagawa Hirashige. This school of art showed lovely, exotic and haunting scenes of beautiful women, theater, flowers—lovely and ephemeral things that haunt the Japanese esthetic spirit. These prints are amazing for their detail, but also for their incredible use of color and pattern. The subtle shadings of blues are so iridescent that I, a printing novice, cannot even fathom how they are done.

Another surprise for me was the kinetic, expressive artists of the Grosvener school, such as Sybil Andrews and Claude Flight. These artists worked in London in the  1930s, using linocuts brilliantly to express movement and pattern which gave their pieces of everyday scenes (kids running, a motorcar driving, people at a coffee bar)  a fierce futuristic energy reminiscent both of jazz and machines.

Karl Schrag was a painfully beautiful and heartfelt artist whose work depicted the horror of living through World War II in Germany. His work had recently been acquired by the Susan Teller Gallery. http://www.susantellergallery.com.

In fact, noticing what individual collectors chose to collect and talking to gallery owners was one of the great pleasures of being at the fair. After all, these people have dedicated themselves to spending their lives with these artworks. These people are often passionate artists of observation in their own right.  I mention the Susan Teller Gallery because I particularly enjoyed their collection. It  specializes in American works from the 1920s through the 1950s. in addition to Karl Schrag and my much beloved Elizabeth Catlett, many artists whose works just hit me in the gut, among them artists I’d never heard of before, but whose works I really liked, including Betty Waldo Parish, Victor deWilde, and Ansei Yashima.

One Dublin dealer opened up a box containing an extremely expensive and valuable artwork consisting of pages that contained large gold leaf circles to share them with me. I am ashamed to say that I was so stunned by his kindness and the beauty of the work that I forgot both his name and the piece—that I felt as if I were enveloped in magic. He did not have to share this with me, because I obvious did not have 20 billion dollars to buy it, but he could just tell I adored it and he did, too. Afterwards, I told him, “Thank you, I will never forget this experience.” And I will not. It’s stabbing me in the heart that I can’t remember his name. I certainly remember his kind face and his gentle hands, holding the paper so reverently. Sometimes, it feels as if two people just breathe together, seeing something beautiful.  That’s all and that’s everything. Because someone was passionate and made something with care, and other people are alive enough to see it. It’s powerful enough to cut right into your heart. That was one of those moments that make you remember how time tesseracts.

Gettin’ corny now, so I’ll move on. Let’s just say that I would definitely say that I wish I could  give this nice man a  shout out because he could sell anything, and I would buy that damn book if I had 20 billion bucks for sure!

Of course, it would not be an art show without a bit of entertaining bullshit about which to grumble in a misanthropic fashion. There was an artwork that consisted of a high heeled shoe on a stand. Maybe I missed something. And there was a Damien Hirst picture of dots. If Damien Hirst wants to arm wrestle me and tell me why his damned pictures of dots are worth ca$h, I’m game. I like abstract art, and I still say those damned dots are nonsense. This is the reason why your relatives make fun of you when you take them to MOMA. “Right, here’s a corn beef sandwich and you want to call it Icarus Seven.” “No, Mom, it’s actually the guard’s corn beef sandwich.” hahaha.

To return to why you should see the Print Show–now–it is worth going simply because this show brings together works that are rarely seen, because these pieces are for sale, and won’t necessarily end up in museums, but in hands of private collectors. This is your chance to see them. And they are all printworks of one genre, which helps to focus the mind and help you to see a new side of many prominent artists. But even more importantly, there is something profound about experiencing both the individual lines of the artists up close and about being so very close to the paper itself. It feels different and more real to see the actual paper with the actual indentations that was once handled by a real artist.

As a student of printmaking,  I was absolutely astonished by the incredible range of possibilities that different artists brought to paper. Printmaking is difficult, technical, and expensive. There are any number of ways it can go wrong and very few it can go right. Every time a piece of paper is run through a press, the ink can be too thick or too thin, leaving the paper blotchy or empty. It is so hard for it to come out right. So each print is a miracle. Seeing how many of these incredibly delicate miracles still exist today is a breathtaking delight.

 

 

 

 

 

 

 

 

 

 

 

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