World House Editions at The Print Fair | IFPDA |
4 November 2015 – 8 November 2015
03 October 2015
FOR IMMEDIATE RELEASE
World House Editions
The Print Fair | IFPDA | 2015
Donald Taglialatella is pleased to announce that his World House Editions imprint will participate for its third time in as many years at the 2015 edition of The Print Fair, sponsored by the International Fine Print Dealers Association. Unique among the world’s major art fairs for its focus on fine prints and editions from all periods, exhibiting dealers at The Print Fair are all members of the International Fine Print Dealers Association. The fair will take place at the Park Avenue Armory between 66th and 67th Streets in New York City and will open on Wednesday, 04 November from 6:30 to 9pm and will run through Sunday, 08 November. Hours can be found at www.ifpda.org/content/print-fair. The World House Editions stand is number 117.
On exhibit will be four new projects as well as nine earlier projects, all published by World House Editions. Of those four new projects, three of the artists will be exhibiting at The Print Fair for their first time. Additionally, Donald Taglialatella will host a performance related to one of the new projects on the opening night of the fair.
New York-based appropriation and performance artist Mike Bidlo (American, b.1953) will make his Print Fair debut and will be represented by three new editions, all printed by Anna-Marie Settine at the Robert Blackburn Printmaking Workshop in New York. Bidlo’s Not Manzoni prints signify his first major graphic project ever and his first time working with a publisher. The prints take the concept of appropriation and play with it a bit; what appear as the fingerprint images appropriated from Piero Manzoni’s only print portfolio, 8 Tavole di accertamento (1962), are in actuality Mike Bidlo’s ownfingerprints. As opposed to Bidlo appropriating Manzoni’s fingerprints, Manzoni’s artwork, Bidlo has cleverly appropriated Manzoni’s concept (and format), thus begging the question: Is the observer simply viewing the prints, taking for granted they are Manzoni’s fingerprints appropriated by Bidlo, or is the observer actually looking at them. For Manzoni, the fingerprint was the most minimal physical trace of the artist imaginable – one that symbolized the unmistakable identity of the person and the artist. Mike Bidlo has borrowed Manzoni’s concept of raising his fingerprint image to the level of art through the printing process but by utilizing his own fingerprint in the same format, Bidlo has wryly made it his own artistic postulation. This is the first project and first collaboration between Mike Bidlo and World House Editions. The artist’s work was recently included in Post Pop: East Meets West at the Saatchi Gallery, London as well as the Brooklyn Museum’s well-received show, Diverse Works. To coincide with the Not Manzoni print project, Mike Bidlo will re-enact Piero Manzoni’s Carta d’autenticità (1961-62) on the opening night of The Print Fair at the World House Editions stand. A separate press release for this performance is available.
Pre-eminent video and conceptual media artist Gary Hill (American, b.1951) will be represented by a set of four chromogenic C-prints produced in New York at Laumont Photographics. Deflection drawings (1-4) (2015) are the first editioned photographs by the artist and will be his first time exhibiting at The Print Fair. These works represent the first in an ongoing series of digital photographs by Gary Hill that were taken from a specialized CRT tube (cathode ray tube) that displays the output of an analog raster manipulation device, or scan processor (Rutt Etra Video Synthesizer). Particularly when combined with numerous additional waveform sources, the “paper” or “visual support” as such gives way to an extraordinary field of possibilities that occur in real time—a space in which one is in the moment that is being drawn. Rutt/Etra refers to the video synthesizer machine created by Steve Rutt and Bill Etra in 1971 and which is an analog raster manipulation device for image processing and real-time animation; it was essentially one of the first voltage-controlled video special effects systems. This is the first project and first collaboration between Gary Hill and World House Editions. The artist’s work is presently on view in Future Present at Schlauger / Laurenz Foundation in Basel, Switzerland (13 June 2015 – 31 January 2016), The Problem of God at K21 Ständehaus in Düsseldorf, Germany (26 September 2015 – 24 January 2016) and will be in the forthcoming Collected by Thea Westreich Wagner and Ethan Wagner at the Whitney Museum of American Art in New York (20 November 2015 – 06 March 2016).
Also on view will be a new and monumental mixed technique print by renowned French sculptor Bernar Venet (b.1941) that was executed in London at Thumbprint Studios under the supervision of Peter Kosowicz. This extremely large work entitled, Four Indeterminate Lines (late 2014, released 2015), is from the series of the same name. It is not only one of the artist’s largest prints, but it is arguably Venet’s best. Measuring 46 ¼ x 62 ¾ inches (117.47 x 159.38 cm) this significant work was executed utilizing the techniques of etching, polymer gravure, carborundum and photogravure with wiping and was printed from five copper plates in five shades of black, with color and with linseed oil. This is the third collaboration and eighth individual print edition between Bernar Venet and World House Editions. The artist is presently showing his monumental work, Disorder: 9 Uneven Angles (2015) at the Palazzo Cavalli-Franchetti in Venice, a parallel exhibition at the Venice Biennale. Additionally, a major installation of his sculpture, 84 Arcs / Désordre, is on view at the Jardins du Palais du Pharo, Marseille, France in collaboration with the City of Marseille and Lartprendlair is on display through December 2015.
The last of the new projects on view will be a c-print with collage by the sculptor, photographer and installation artist Lizzi Bougatsos (American, b.1974). Billy (2015) not only marks the first time the artist has worked with a publisher, but also this will be her first time exhibiting at The Print Fair. This new edition, which was produced with the assistance of Andre Ribuoli and Jennifer Mahlman at Ribuoli Digital in New York, is the first in the artist’s “Carpet Series” and consists of an appropriated advertisement which has been re-photographed and printed using the chromogenic C-print process and incorporates a collage of found industrial carpet. This is the first collaboration first project between Lizzi Bougatsos and World House Editions. The artist is will have a residency at Frontispiece in Hudson, New York, in November – December of 2015 and will have a solo exhibition at the James Fuentes Gallery in New York in January, 2016.
In addition to the aforementioned, earlier editions will also be on exhibit by: Rita Ackermann, (Hungarian/American, b.1968), Caetano de Almeida (Brazilian, b.1964), John Armleder (Swiss, b.1948), Mark Francis (Irish, b.1962), Nicky Hoberman (South African, b.1967), Ryan McGinness (American, b.1972), Graciela Sacco (Argentine, b.1956), Beverly Semmes (American, b.1958) and Josh Smith(American, b.1976).
World House Editions was launched in the summer of 1998 by Donald Taglialatella and is an active publisher of prints, portfolios, multiples, photographs and even video work by an eclectic group of international artists. World House Editions is strictly a publisher – not a printer – and collaborates closely with the artists it publishes while working with a select group of contract print workshops, photography labs and fabricators in the U.S. and Europe to help realize our projects. Based in a two-storey 1940s converted carriage house in the small town of Middlebury, Connecticut, we are open by appointment only. Projects by World House Editions have been acquired by and/or exhibited at such institutions as: The Museum of Modern Art, New York; The Louisiana Museum for Moderne Kunst, Humlebaek, Denmark; The Whitney Museum of American Art, New York; The British Museum, London; The Albright-Knox Art Gallery, Buffalo, New York; Musée d’Art Moderne et Contemporain, Geneva, Switzerland (MAMCO); The Everson Museum of Art, Syracuse, New York; The Hunterdon Art Museum, Clinton, New Jersey; The University of Massachusetts at Amherst; The Museum of Fine Arts, Houston; The Detroit Institute of Arts, Detroit, Michigan; The Cincinnati Art Museum, Cincinnati, Ohio; The New Britain Museum of American Art, New Britain, Connecticut; The Daimler Collection, Stuttgart, Germany; The Minneapolis Institute of Arts, Minneapolis, Minnesota; The William Benton Museum of Art, University of Connecticut, Storrs, Connecticut; The Mattatuck Museum, Waterbury, Connecticut; The Cabinet des Estampes, Geneva, Switzerland; The Grolier Club, New York; The Microsoft Art Collection, Redmond, Washington; Hochschule für Bilende Künste, Braunschweig, Germany; The Progressive Art Collection, Mayfair Village, Ohio; The Hallmark Cards Collection, Kansas City, Missouri, The Cleveland Clinic Art Program, Lyndhurst, Ohio; Le Musée des Beaux-Arts, Le Locle, Switzerland; The International Print Center New York, New York.
For further information contact Donald Taglialatella at email@example.com