This online presentation coincides with David Zwirner’s first participation in the IFPDA Fine Art Print Fair in New York, the largest international fair dedicated to prints. It presents a focused selection of works on view at the fair including new editions by Katherine Bernhardt, Raymond Pettibon, and Neo Rauch, as well as Marcel Dzama’s suite of lithographs, the first prints published by Utopia Editions, David Zwirner’s fine art print publisher.
Katherine Bernhardt
Katherine Bernhardt, Pikachu, 2022 (detail)
Katherine Bernhardt, Pikachu, 2022 (detail)
These two new lithographs from Katherine Bernhardt’s latest body of work, created in collaboration with Counter Editions, Margate, are inspired by the artist’s most recent cultural obsessions and her young son’s current fixations.
Rendered in Bernhardt’s signature exuberant style, this large-scale lithograph, which resembles a supersized Pokémon card, features a fierce-looking Pikachu, vibrant colors, and recognizable symbols from the world of Pokémon.
Bernhardt’s son, Khalifa, began collecting Pokémon cards in the last couple of years, prompting the pair to travel to gaming and Pokémon conventions and shops in New York City and Japan. Photo by David Brandon Geeting @ East.co for Apartamento Magazine, 2021
Bernhardt’s son, Khalifa, began collecting Pokémon cards in the last couple of years, prompting the pair to travel to gaming and Pokémon conventions and shops in New York City and Japan. Photo by David Brandon Geeting @ East.co for Apartamento Magazine, 2021
Katherine Bernhardt, Ditto, 2022 (detail)
Katherine Bernhardt, Ditto, 2022 (detail)
Depicting a giant Ditto Pokémon card with neon pink accents, this work reflects Bernhardt’s instinctive approach to printmaking, in which she often embraces mis-registrations, ink splashes, and other incidental by-products of the printing process.
Bernhardt holds a Ditto Pokémon card from her collection, sourced in New York City and during travels to Japan, 2022. Courtesy the artist
Bernhardt holds a Ditto Pokémon card from her collection, sourced in New York City and during travels to Japan, 2022. Courtesy the artist
Raymond Pettibon
Pettibon’s drawings and prints engage the visual rhetorics of pop and commercial culture while incorporating language from mass media and classic texts. His new lithograph features a stern-looking, neon-hued parrot who screeches an impassioned expletive.
Raymond Pettibon, No Title (Fck All Y’All!), 2022 (detail)
Raymond Pettibon, No Title (Fck All Y’All!), 2022 (detail)
Pettibon’s prints hang on the wall of Derriere L’Etoile Studios, New York, where they were printed by Maurice Sanchez, the artist’s long-time collaborator, 2022. Photo by Max Burkhalter
Pettibon’s prints hang on the wall of Derriere L’Etoile Studios, New York, where they were printed by Maurice Sanchez, the artist’s long-time collaborator, 2022. Photo by Max Burkhalter
Raymond Pettibon’s seven-color lithograph features one of the artist’s most significant motifs: the heart. Heart imagery holds particular personal and metaphorical resonance for Pettibon and as a result, features rarely in his work. The isolated bleeding heart first appeared in an ink drawing for one of his early black-and-white flyers in 1982.
Raymond Pettibon, No Title (He doesn't really...), 2022 (detail)
Raymond Pettibon, No Title (He doesn't really...), 2022 (detail)
“It can be almost like a valentine. The heart is a metaphor for all kinds of things, like the difference between the brain and the heart, love and that sort of thing. It can also be a musical beat. Sometimes if there’s a fucking microphone, for an interview or a photo shoot or whatever, and it gets very quiet, the device picks up the beat of my heart.”
—Raymond Pettibon
Pettibon’s lithograph No Title (He doesn't really...) in progress at Derriere L’Etoile Studios in New York, 2022. Photo by Max Burkhalter
Pettibon’s lithograph No Title (He doesn't really...) in progress at Derriere L’Etoile Studios in New York, 2022. Photo by Max Burkhalter
Neo Rauch
Rauch’s symbol-laden narratives play out in his works on paper much as they do in his paintings on canvas. Lithography has been an integral part of Rauch’s practice since 1993, and in 2012 the artist established a foundation in Aschersleben, Germany, Grafikstiftung Neo Rauch, to house his entire oeuvre of graphic work.
Neo Rauch, Die große Bühne, 2022 (detail). This work features a signpost motif, which Rauch began incorporating into his works in the early 2020s. With arrows and directional markers pointing in myriad directions, the signpost perhaps alludes to the disorientation of contemporary life.
Neo Rauch, Die große Bühne, 2022 (detail). This work features a signpost motif, which Rauch began incorporating into his works in the early 2020s. With arrows and directional markers pointing in myriad directions, the signpost perhaps alludes to the disorientation of contemporary life.
“Rauch’s graphic art is part of [his] complete oeuvre.… like his drawings, his prints are hardly preliminary sketches or imitations of his paintings. Certainly his graphic art does not arise independently from his paintings, but neither is it created in a dependence that lags behind them.”
—Rudij Bergmann, filmmaker
Neo Rauch in the lithography studio, 2019. Photo by Uwe Walter
Neo Rauch in the lithography studio, 2019. Photo by Uwe Walter
Neo Rauch, Ziegelei, 2022 (detail)
Neo Rauch, Ziegelei, 2022 (detail)
“The painter at the easel is a frequently recurring motif that very directly reflects my sensitivities. He sees himself as the projection screen of his inner states, and is thereby propelled by his qualms and by his creative desire in equal measure.”
—Neo Rauch
Neo Rauch, Aufwärts, 2021 (detail)
Neo Rauch, Aufwärts, 2021 (detail)
Marcel Dzama
Marcel Dzama, And now we have Mother Nature on the run, 2021 (detail)
Marcel Dzama, And now we have Mother Nature on the run, 2021 (detail)
Expanding on a motif the artist realized in large-format drawings for his 2021 solo exhibition at David Zwirner, New York, Dzama’s lithograph is a foreboding allegory of ecological disaster.
Dzama’s print shows the personification of Mother Nature at the bottom of the sea with a naval sea battle visible above the surface. The artist’s depiction of Mother Nature is modeled after the nudes in the erotic French magazines that Francis Picabia used for his “kitsch” series of paintings from the 1930s and 1940s.
Dzama made preparatory drawings in his Brooklyn studio and worked with master printer Maurice Sanchez of Derriere L’Etoile Studios to bring the lithograph to life. Video courtesy the artist
Marcel Dzama's prints at Derriere L’Etoile Studios, 2021
Marcel Dzama's prints at Derriere L’Etoile Studios, 2021
