Pace Prints Sign Up Information

Pace Prints is pleased to present a series of new monoprints and etchings by Nigel Cooke at its 521 West 26th Street location.  This is Cooke’s first exhibition with the gallery, and the artist’s first body of work in the monoprint medium.  The exhibition will be on view February 1—March 7, 2020, and an opening reception will be held Friday January 31, 6–8pm.

Nigel Cooke is known for his large-scale paintings that drift between the figurative world and the abstract. His subject matter is drawn from intimate personal memories, art history, and the natural landscape.  In this new body of work, Cooke takes images and themes from his paintings, and gives them up to chance. Embracing the immediacy of the monoprint process, he paints directly onto a metal plate that is then run through the press. Unlike traditional painting, this technique of printing reverses all imagery, leaving the artist with less control. Cooke relies on his intuition, gives himself over to the separation of intention from result, and embraces the surprises that come out in the process. The build-up of multiple passes through the press produces what Cooke refers to as an “X-ray effect,” showing the process of how an image comes into being and exposing visible corrections and revisions.

Viewing the prints as “remixes” of his paintings, Cooke uses this layering to further investigate the human relationship to nature and to blend aspects of life that do not typically go together. He places a bodily mass within a grid of natural structures; humanoid figures facing animals are forced to confront their narcissism of projecting onto nature.

This juxtaposition is seen in Cap de Barbaria, where figure upon figure becomes a nucleus of chaotic line. Arms and legs condense, forming a subject that is no longer discernably human. This mass of entanglement thrashes between foreground and background, in a setting that, from the work’s title, holds a likeness to the rocky and desolate terrain of the Balearic Islands in the Spanish archipelago.

The figure at odds with its landscape is seen again in Beasts of Burden, a set of two soft-ground etchings with pochoir.  Cooke views this pair of etchings as a concretized version of what he learned through the monoprint process; etched on a copper plate, this image becomes fixed, no longer subject to the liquid behavior of ink. This time, the figures are not only confronting nature, but also each other. Facing one another, masked male and female forms become alienated from their distinct humanness.  Pushing and pulling against their landscape of eyes, animals, cigarettes and branches, the figures remain the dominant beasts of the image.
 

 

Header Image

Cap de Barbaria (2019)
Monotype · 48 ¾ x 42 ¼ inches


 

Below

Beasts of Burden (2019)
Set of two soft-ground etchings with pochoir · 36 ¾ x 31 ¾ inches, each · edition of 20


 

Tel. 212 629 6100
Tue–Fri, 10–6 | Sat, 11–6

Through February 22

Pace Prints is pleased to announce the release of our first print edition by Robin F. Williams. Earth Prayer is an etching with rainbow roll and pochoir, in an edition of 50. Created in celebration of Earth Day, proceeds benefit Environmental Defense Fund. Earth Prayer is Pace Prints’ first exclusive Online Release and will be available exclusively on paceprints.com on Earth Day, April 22, 2020, at 11:00 am EDT.

Further details and updates to follow. Please follow @paceprints on Instagram and look out for our emails.

 

Powerlessness is a common feeling in the face of climate change. Upon learning this year is the 50th anniversary of Earth Day, and that humans have struggled for a half-century to make meaningful change, I felt defeated. I wanted to make a work that embodied this grief, but also expressed the will to change.

We have the choice to shift our intentions toward addressing this dire threat. The current pandemic is a harrowing reminder of just how connected we are. There is no avoiding a crisis that affects the entire planet. This edition is called Earth Prayer. If you purchase a print, you may choose how committed you are to this cause. I hope you choose to answer this call to action like your house is on fire, because it is.

 

– Robin F. Williams
 

 

Above

Detail of Earth Prayer (2020)
Aquatint and soft ground etching, relief, pochoir
Edition of 50

Pace Prints is pleased to present an exhibition which spans nearly fifty years of printmaking by Robert Mangold. Many of the editions on view were created by Mangold since 1993 in Pace Prints’ printshops. In addition, the artist selected prints from 1973 to 2010 that will elaborate on the breadth of his printmaking career. Historically, Mangold has used color as a structural element and this exhibition highlights monochromatic works from early screenprints to recent color aquatints published by Pace Prints. This exhibition runs concurrently with Robert Mangold: Paintings 2017-2019, on view at Pace Gallery (540 West 25th Street) through November 14. Pace Prints encourages visitors to contact the gallery in advance at (212) 421-3237 to schedule their viewing and review social distancing guidelines.

An online exhibition, Robert Mangold: Prints, 1973–2015, with original interview and video content is on view concurrently on paceprints.com.

Robert Mangold’s practice has commonly been to create drawings first, followed by printmaking and painting. Occasionally the prints and drawings will evolve simultaneously. This process allows the artist to elaborate on ideas put forth in a drawing (or series of drawings) in different media. In the 1970s, the artist often used screenprinting to share his images. Experimentation with other printmaking techniques led Mangold to focus on etchings and woodcuts from the 1980s forward. A drypoint etched line could shift from fine to textured, mimicking graphite. Woodblocks and aquatint etchings both offered subtle gradation in color and shifts in texture within the images. Mangold came to enjoy the woodcut process so much, he hand-carved woodblocks annually to create small prints as gifts to friends.

In addition to a selection of the thirty-one etchings and woodcuts created by Robert Mangold with Pace Prints since 1993, this exhibition will feature five screenprints from the 1970s, two from the 1980s, and five etchings from the 1990s. The five aquatints with etchings entitled The Attic Series II (VI-X), 1990-91, are an iconic set of five polygonal shapes in rich, saturated color. Each if the five asymmetrical images have an interior black line, that appears to push out toward the edge of the shape. Mangold has often created prints in a series, which can be seen throughout this exhibition.

 

Tel. 212 421 3237
Tue–Fri, 10–5

Through November 7

Working with Pace Prints over the span of thirteen years, Dan Walsh has created prints in almost every medium. He allows the ideas of Minimalism and material investigation to inspire, but not limit, his printmaking practice.

Our eighth online exhibition, Dan Walsh: Flexible Minimalism, delves into one of Pace Prints' most intentional, yet unpredictable collaborative relationships. The show traces the threads of seriality, materiality and modularity that constitute both the collective unity and the individual uniqueness of Walsh's prints.

 

Above

Dan Walsh working an etching plate for Folio C at Pace Editions, 2015.
 

Ending Soon

Helen Frankenthaler: In Her Mind's Eye

Through July 12

Pat Steir has collaborated with Pace Prints for over twenty years. In 2015, Master Printer Jo Watanabe installed a complete screenprinting workshop inside of Steir's studio to create the largest and most ambitious series of prints in her career.

The resulting work is the culmination of Steir's fifty-year evolution as a printmaker, over which she has forged a unique and organic approach to the medium, where gesture, time and chance guide the outcome of each unique print.

As this project reached its conclusion, we visited Steir in her studio, where she shared her thoughts on printmaking and her philosophy of art in general.  What emerged is an intimate portrait of one of the most singular and original artists of our era.

 

Pace Prints is pleased to present a series of new monotypes by David Salle at its 521 West 26th Street gallery. This is Salle’s first exhibition with the gallery, and the artist’s first body of work in the monotype medium. The exhibition will be on view October 8 — November 7, 2020. An online companion to the gallery exhibition will be presented concurrently on paceprints.com.
 

Tel. 212 629 6100
Tue–Sat, 10–5

Through October 17

Pace Prints' galleries are now offering online bookings for appointments.

All appointments will be voice or video calls, with Video Viewings offered in the galleries during our limited gallery hours, Tuesday–Thursday, 10–4. This will be updated as safety protocols allow.

Please use the link below to book an appointment. We look forward to seeing you.

 

Above

Helen Frankenthaler, Book of Clouds (2007)
 

On view online

Helen Frankenthaler: In Her Mind's Eye

Through July 12

UPCOMING

Dan Walsh: Flexible Minimalism

July 9 – August 2

Earth Prayer, Robin F. Williams' first print edition with Pace Prints, will be released exclusively on paceprints.com at 11am EST today, in celebration of the 50th anniversary of Earth Day.

Created at the Pace Prints workshop, Earth Prayer is an etching with rainbow roll and pochoir, in an edition of 50. This is Pace Prints' inaugural online release, and proceeds will benefit the work of Environmental Defense Fund. The print is priced at $2,500. 

Above

Earth Prayer (2020)
Aquatint and soft ground etching, relief, pochoir
Paper size: 14 3/8 x 19 3/4 inches
Image size: 10 x 14 inches
Edition of 50


Please read the following guidelines carefully to place an order: 

1. This release is limited to one print per household.  We reserve the right to cancel duplicate orders. 

2. Once your begin your order, you will have 15 minutes to complete it before the print is returned to available inventory.  The checkout is a single-page process and all major credit cards are accepted as well as PayPal and Apple Pay. 

3. Shipping and U.S. sales tax are calculated automatically based on shipping address. International taxes and duties are additional and will be the responsibility of the purchaser. 

4. Due to closures imposed by the COVID-19 pandemic, shipping on this print will be delayed until after our facilities reopen.  We currently anticipate shipping in early July. 

5. Pace Print does not offer framing for this work.
 

Pace Prints is happy to present Helen Frankenthaler: In Her Mind's Eye, an exploration of the artist's woodcut prints.

Our seventh online presentation, this exhibition offers a deep dive into Ukiyo-e woodblock printing, and Frankenthaler's transformative approach to the traditional Japanese technique.  Master Printer Yasu Shibata, who printed Frankenthaler's woodcuts over the last two decades of her life, guides us through the making of these iconic prints.

Above

Helen Frankenthaler with her composition on plywood for Snow Pines, alongside the final Ukiyo-e woodcut print, 2004.
 

What is the Black Dada, Adam Pendleton's first print edition with Pace Prints, will be released exclusively on paceprints.com at 11am EDT today to benefit Lauren Halsey's Summaeverythang Community Center.
?
Created at the Pace Paper workshop, What is the Black Dada is an original print created with transferred pulp on cotton handmade paper, in an edition of 35. The print is priced at $3,500. ?

Proceeds from this edition will help provide support to Summaeverythang's mission to distribute free organic produce boxes from Southern California farms to families in Watts and South Central Los Angeles.

 

Above

Adam Pendleton
What is the Black Dada (2020)
Transferred pulp on cotton handmade paper
24 x 18 1/2 inches
Edition of 35



Summaeverythang is an incredible project, and I am delighted to be contributing to it. It's part of a long and in many ways overlooked history of community organizations creating infrastructures for autonomy, which in the midst of the current crisis has taken on renewed importance. What is the Black Dada, in its own way, signals this history and points towards others to come.

– Adam Pendleton

Please read the following guidelines carefully to place an order: ?
?
1. This release is limited to one print per household. We reserve the right to cancel duplicate orders. ?
?
2. Orders are not secured until checkout is complete. The checkout is a single-page process and all major credit cards are accepted as well as PayPal and Apple Pay. ?
?
3. Shipping and U.S. sales tax are calculated automatically based on shipping address. International taxes and duties are additional and will be the responsibility of the purchaser. ?
?
4. If you have a U.S.-based business with an eligible resale certificate, you may request to have sales tax refunded within 24 hours of your order. ?

5. This work will ship within 3 business days of your order.  Domestic U.S. shipping via FedEx 2-day Express, and global via FedEx International Priority.
?
6. Pace Prints does not offer framing for this work.?

Pace Prints is pleased to present a group exhibition of prints and monotypes by Francesco Clemente, George Condo, David Salle, and Julian Schnabel for the 2020 IFPDA Fine Art Print Fair, being held online.

Each of the four artist’s prints in this exhibition represent a different method of printmaking over a span of 30 years. The most recent project in this group is a series of monotypes created by David Salle at Pace Prints in 2019, each consisting of a portrait overlaid with floral imagery and patterns. Each multi-layered monotype allowed the artist to produce new combinations and juxtapositions.

Francesco Clemente’s Air, Earth, and Self Portrait with Lemon Heart are ukiyo-e woodcuts, printed with water-based inks, and have the sensuous translucency of a gouache or watercolor. These incisive portraits and self-portraits each take as many as 21 woodcut blocks to produce.

George Condo created a series of Untitled etchings with the esteemed master printer Aldo Crommelynck three decades ago, when Crommelynck was the master printer in residence at Pace Prints. These finely detailed portraits refers to art historical subjects and exhibit Condo’s brilliance with expressionist form.

Julian Schnabel’s large-scale aquatint etchings on found maps, Billy's First Portrait of God and A Boy from Naples, are bold and dark portraits. Using the thick, inky black of the aquatint, Schnabel draws portraits that emerge from an overwhelmingly dark field.

 

Above

Francesco Clemente · Earth (2006) · Twenty-two color Ukiyo-e style woodcut · 24 x 18 inches · Edition of 51

Tel. 212 421 3237
Tue–Sat, 10–5

Through October 17

Tel. 212 421 3237
Tue–Sat, 10–5

October 8 – November 7

Pace Prints is excited to announce our first sculptural multiple with Austin Lee. "Bird with Tree" is a painted bronze sculpture in a limited edition of 20. The piece was published by Pace Editions, Inc., and produced by AllRightsReserved Ltd. "Bird With Tree" will be available exclusively from Pace Prints, tomorrow, Thursday, September 17.
 

 

Pace Prints is pleased to announce the release of a new print by Jonas Wood. Pattern Couch Interior with Mar Vista View is Wood’s second collaboration with Pace Prints.

In addition to his practice as a painter and a draughtsman, Jonas Wood is a prolific printmaker, having completed well over 50 print projects to date. Etching, in particular, occupies a special place for Wood, who has maintained an intaglio press in his own studio since 2016. The artist has commented on how the direct mark-marking of etching informs his approach to painting, with the print acting as both study for and evolution of his canvases.

For Pattern Couch Interior with Mar Vista View, Wood started a related painting in his Los Angeles studio shortly before traveling to New York to begin the print project. Working in monochrome, using the softground technique, he built up the myriad patterns and textures of the image using a variety of marks and subtle tonal variation, through repeated etchings of the plate. The result is an image which, in Wood’s distinctive manner, shimmers between flatness and depth, interior and landscape, with surfaces containing mise-en-abyme scenes within themselves. Upon returning to the painting, Wood used the print as a reference to develop the patterning on a larger scale.

 

Most of the time when I'm making a painting, I'm either working from a photo or I'm working from a drawing. In this case, instead of using a drawing, I used an etching.

I try to take things that I learned in printmaking and try to make the paintings better, or take the language from printmaking into painting, from drawing into painting, from drawing into printmaking, from printmaking into painting — they're all connected in a circle.

 

 

Above

Pattern Couch Interior with Mar Vista View (2020)
Softground etching · 29 x 25 1/2 inches · Edition of 35

 

 

Pace Prints is pleased to present Amphora, an exhibition of unique cut paper works by Daniel Heidkamp. This is the artist’s third exhibition with the gallery. Amphora will be on view November 19 — December 19 at Pace Prints, 521 West 26th Street. An online exhibition with exclusive interviews, recordings and works, will be presented concurrently at paceprints.com.

In Antiquity, the amphora was a storage vessel, used to carry goods, especially wine, across varying terrain and sea. Adopted by Heidkamp as a symbol for this body of work, Amphora bridges imagery from the Calanques region of Southern France to the dramatic domes and cliffs of Yosemite National Park. Contained in this metaphorical vessel are thoughts about sublime landscape, simultaneous yet divergent 20th century art movements, with colors influenced by and directly related to these natural settings.

Heidkamp’s Night Camps pay homage to the work of early American photographer Carleton Watkins, who brought a large-format stereoscopic camera into Yosemite Valley in 1860, creating some of the first images of the region. These highly detailed black and white images served as inspiration for countless artists over the decades, establishing a new uniquely American relationship to the landscape. At the same time, in the limestone hills and Calanques in Marseille, France, Paul Cézanne was beginning to establish a new way to see the landscape which would ultimately lay the groundwork for Cubism. Heidkamp’s The Torpilleur (Calanque de Sugiton) captures his own response to that landscape, where Cubist shapes seem to appear in the striation of the rocks and the blocky shadows under the bending pine trees. He says, “In both Yosemite and the Riviera, surreal, new colors burst forth throughout like in the aqua pools in sea caverns, with Neolithic markings, painted stripes on sailboats, or rainbows of waterfall spray clinging to granite bedrock.”

Amphora is the artist’s second project focused entirely on hand-cut collages. Heidkamp builds the surfaces of rugged French cliffs and American landscapes by layering richly pigmented Canson papers, originally produced in France beginning in 1557. Using every possible tone and tint in their gamut, he thinks of the options as his painter’s palette; their names, such as Bordeaux, Moonstone and Tobacco, take on a poetic imperative, representing the French landscape which first inspired them.

Heidkamp created this body of work in his Sunset Park, Brooklyn studio during the COVID-19 pandemic. He states “…[creating] in this time of quarantine can provide a space for the mind to travel when the body cannot. And I think looking to nature, looking to land, provides a sense of foundation and permanence when so much is uncertain.”

 

ABOVE

Les Ciseaux (2020)
Hand cut paper collage · 47 3/4 x 31 7/8 inches

 

Tel. 212 629 6100
Tue–Sat, 10–5

Through December 19

Apocalypse, a collaboration between Keith Haring and William S. Burroughs is now on view at paceprints.com.

On what would have been Keith Haring’s 62nd birthday, we present Apocalypse (1988), a portfolio created by Keith Haring and William S. Burroughs. Burroughs’ voice is heard while viewing Keith Haring’s enduring works of art, in the series they created in response to the AIDS epidemic. Today, we listen with a new sense of understanding, as we are dealing with a global, rather than generational, plague.

This recording is from Burroughs’ Dead City Radio, an album released by Island Records in 1990, and dedicated to Keith Haring.

 

Above

William S. Burroughs and Keith Haring, Lawrence, Kansas 1987
(Photograph © Kate Simon)

 

 

Pace Prints is pleased to present Who’s Got Team Spirit?, a solo exhibition for The Art Show 2020 featuring a body of monumental unique collages on panel by Nina Chanel Abney.  Pace Prints will exhibit in Booth D11.

Inequality is ever so present and racial tensions are boiling.  A collapse is impending and we are all standing on shaky ground.  American patriotism has become synonymous with White Nationalism.  The fight against racial injustice has become "unpatriotic."  Given the current state of America, what does it mean to celebrate the Fourth of July?  To proudly display an American flag in your yard?  To stand up for the National Anthem...or not?

Pondering all of these questions, this exhibition is an exploration of the symbols of American patriotism, and how their meanings and implications shift depending on the context in which they are placed and how their presence influences a narrative. 

– Nina Chanel Abney  

Visitor Information

Park Avenue Armory
Park Avenue at 66th Street (directions)

Hours
Thursday–Friday: 12 to 8pm
Saturday: 12 to 7pm
Sunday: 12 to 5pm


 

February 27 – March 28

Through March 7

For the 2020 Online Edition of the IFPDA Print Fair, Pace Prints is pleased to present Bring Back The Seventies, a celebration of artists whose works were published by Pace Prints in the 1970s.

The exhibition recognizes the enduring relevance today of the work of thirteen artists including: Larry Bell, Gene Davis, Agnes Denes, Jean Dubuffet, Alfred Jensen, Nicholas Krushenick, Sven Lukin, Louise Nevelson, Kenzo Okada, Lucas Samaras, George Segal, Ernest Trova and Jack Youngerman.

Each artist worked with Pace Prints in the printmaking medium that best suited their distinctive styles, from silkscreen, to aquatint etching, to lithography, to hybrid constructions such as Larry Bell's Lux III. Their editions continue to represent significant contributions to printmaking and to our contemporary aesthetic sense, with their bold, hard-edged gestures, simultaneously acknowledging abstraction, Pop Art and Minimalism.

The exhibition represents a refreshing return to the past, demonstrating the vitality and compatibility of these works today.

 

Above

Alfred Jensen · Portfolio (Solar Years of 360 Days) (1973) Portfolio of four silkscreens · 35 x 35 inches, each · Edition of 150

 

Also on view

Keith Haring & William S. Burroughs: Apocalypse

Through May 17

A special presentation of Keith Haring and William S. Burroughs' historic collaboration.

Sharing and engaging in art is more important now than ever. In that spirit, we are happy to present to you our first of a weekly series of online exhibitions, Peter Saul: No Convictions. While everything continues to shift around us, we hope that these new exhibitions give each of you a chance to experience the enthusiasm we bring to the art and artists we love.?

Above

Self Portrait with Haircut (2003)
Lithograph
30 x 22 inches
Edition of 30