IFPDA Print Fair | David Zwirner

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

Pikachu, 2022

Ten-color lithograph on Somerset paper

50 3/8 x 32 5/8 inches (128 x 83 cm)
Edition of 65, 18 AP

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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

Katherine Bernhardt

Ditto, 2022

Six-color lithograph on Somerset paper

50 3/8 x 32 5/8 inches (128 x 83 cm)
Edition of 65, 18 AP

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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

Raymond Pettibon

No Title (Fck All Y'All!), 2022

Five-color lithograph on Rives BFK paper

28 x 33 1/4 inches (71.1 x 84.5 cm)
Edition of 35, 10 AP

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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)

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

No Title (He doesn't really...), 2022

Seven-color lithograph on Rives BFK paper

45 1/8 x 30 1/2 inches (114.6 x 77.5 cm)
Edition of 35, 10 AP

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)

“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

Neo Rauch

Die große Bühne, 2022

Six-color lithograph on Hahnemühle Alt Worms paper

28 5/8 x 21 3/4 inches (72.7 x 55.3 cm)
Edition of 35, 10 AP

$7,500unframed

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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.

“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

Ziegelei, 2022

Five-color lithograph and chalk on Hahnemühle Alt Worms paper

19 1/4 x 14 1/2 inches (49 x 36.8 cm)
Edition of 35, 10 AP

$5,000unframed

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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

Five-color lithograph on Hahnemühle Alt Worms paper

29 1/2 x 22 7/8 inches (75 x 58 cm)
Edition of 35, 10 AP

$8,000unframed

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Neo Rauch, Aufwärts, 2021 (detail)

Marcel Dzama

And now we have Mother Nature on the run, 2021

Twelve-color lithograph on Rives BFK paper

28 7/8 x 21 1/2 inches (73.3 x 54.6 cm)
Edition of 75, 15 AP

$2,500unframed

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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.

Marcel Dzama

Under for opening eyelids of the moon, 2021

Fourteen-color lithograph on Rives BFK paper

28 1/2 x 21 3/8 inches (72.4 x 54.3 cm)
Edition of 75, 15 AP

$2,500unframed

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Marcel Dzama

The flowers of indulgence, 2021

Nine-color lithograph on Rives BFK paper

29 x 21 1/2 inches (73.7 x 54.6 cm)
Edition of 75, 15 AP

$2,500unframed

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Marcel Dzama's prints at Derriere L’Etoile Studios, 2021