Earth and Air: IFPDA Print Fair, New York, October 2019

Graphicstudio at IFPDA with a delicious James Rosenquist print from the 1970s--printed on two sheets of paper. I can't stop thinking about this print, which contains exciting, layered landscape space. Fair Link 

Can't remember where I saw this friendly print.

Donald Baechler 2004 - so simple, but the complexity of surface a rich yield close to.

Who? The period feel is enticing.

A large, arresting Leonardo Drew also double-printed.

Leonardo Drew detail: rich, dense, material!

Lothar Osterburg with his mysterious diorama cityscape.

Kiki Smith, a lanscape free from gravity, yet dense and detailed

Detail, Kiki Smith

Sam Francis

Sam Francis

Matisse, free as a bird

Matisse

Note to self: chunky color, incised surfaces, rich, cartoon-like, delicous! - Picasso linocut

Elegant Marina Adams prints, large in internal scale, focusing on edge and transition

Ultramarine shines, a transparent jewel in funky oxide mixtures

Terry Winters, never fails to astound - grids within grids

A simply gorgeous Kiki Smith, what looks like a log seen from above, but equally likely as a planet.

Picasso, Ecce Homo (Apres Rembrandt), 1970 - late in life reviews

Beatriz Milhazes, Flower Swing, 2019, Woodblock, screenprint, gold leaf, 33-3/4 x 37 inches 

A simply exquisite Lari Pittman

And another, attesting to the freedom and experimentation  so necessary in the printmaking process.

Graffiti Sobre Ciment by Antoni Tapies - talk about material - echoing the Leonardo Drew

Detail, Tapies surface

Julian Opie from Luc and Ludivine get Married, 2007, laser cut silhouette, @ 17 x 15 inches

Paul Jenkins's chromatic pours. Jenkins, whose Paris apartment Lee Krasner was staying  in when she learned of JP's crash, inspired the painter character in Paul Mazursky's 1970s opus Unmarried Woman. Gossip aside, Jenkins was a spiritual seeker, who let the painting paint itself, and would have known the French Informel painters thoroughly.

William Crozier, Cafe, Aquatint

Rikrit Tiravanija's We Can Travel to the sun when it is setting, 2013, etching, screenprint, metal foil, horse hair, STPI handmade abaca paper: WOW for texture!

Detail - the juxtaposition of the metallic and the abaca thrills me to the marrow. 

Do Ho Suh's Circular Objects, New York, London, Berlin, Providence and  Seoul, Homes and Studios, 2018, cyanotype, 90 x 112. Cyanotype seems like such a trend now but I was really taken with the orderliness, organization, and scale of Suh's image.

Mickalene Thomas, whose collages and paintings feel timely and urgent right now on so many levels: feminine perspective, wallpapers and taste, race. 

The ever-amazing Judy Pfaff with details following. What a technician!

Richard Dupont, 2013. These were big. The materiality and painterly surface felt exciting.

The unceasingly great Joan Mitchell, iconic forever. She lived what she believed: freedom in landscape.

I'd used this as a cover photo for a time, and it was  thrilling to uncover this work IRL Joan Mitchell, translating form to material with prowess, confidence, and passion.

Insertion, a Frankenthaler woodcut, exquisite in its lightness--she worked long and hard with  a Japanese master printmaker to achieve the delicacy of edge, the perfect registration.

Joan Mitchell. 

Note to self: Picasso linocuts. The color. The raw line. The incision.

Picasso in situ.

Frankenthaler. Tale of Genji I, 1998, 34-color woodcut created with a  ukiyo-e trained Japanese carver.

Swoon at the entrance--her work is so free, abundant.