Our Highlights from the IFPDA Print Fair 2014
Our Selections:
Brian J. McCarthy, Designer
Fred Sandback, Untitled (Jahn #35), 1975, at Diane Villani Editions
The utter simplicity and strength of line combined with a sense of physical space in Fred Sandback’s work is his genius.
Richard Diebenkorn, Indigo Horizontal, 1985, at Crown Point Press
Diebenkorn was a master at light, line, and color, all the while straddling the fence between the figurative and the abstract. His work can live in any environment from the more traditional to the most modern.
Dee Dee Taylor Eustace, Architect, Interior Designer, and Design Committee Co-Chair
Ed Ruscha, IF, 2000, at Diane Villani Editions
Type is fascinating as an art object. When it forms an actual word, it becomes beautiful and meaningful. If only I had more time to ponder this beautiful piece of work—the 1/3, 2/3 division of black to white with a smudge of blue provokes memories of magic markers, filter cloth, and water.
Sandra Nunnerley, Interior Designer
Ed Ruscha, Vanish, 1973, at Brooke Alexander, Inc.
Ruscha's iconic gas stations depict America's vernacular. This medium gray tone with splashes of water creates a beauty that becomes embedded in your mind. The title of the work, Vanish, plays a secondary meaning as the whole print seems to disappear in the sky.
Josef Albers, WLS XVII, 1967, at Alan Cristea Gallery
Albers endlessly explored color relationships within a format of concentric squares I favor his disciplined approach to composition.
Richard Tuttle, For Case Hudson, Printer, 2013, at Gemini G.E.L. at Joni Moisant Weyl
Richard Tuttle has created extraordinarily varied bodies of work in all mediums. This is a wonderful example of his work in print, which investigates the relationship between line, volume, color, texture, shape, and form.
Matthew Patrick Smyth, Interior Designer and Design Committee Co-Chair (coming soon)
