World House Editions
IFPDA Fine Art Print Fair 2017

Donald Taglialatella is pleased to announce that his World House Editions imprint will participate for its fifth time in as many years at the 2017 edition of The Print Fair, sponsored by the International Fine Print Dealers Association. Unique among the world's major art fairs for its focus on fine prints and editions from all periods, exhibiting dealers at The Print Fair are all members of the International Fine Print Dealers Association. This year the fair will take place at the Jacob Javits Center on 11th Avenue at 35th Street in New York City and will open on Wednesday, 25 October from 5:00 to 9pm and will run through Sunday, 29 October. Hours can be found here. The World House Editions stand is number 102.

On exhibit will be six new projects from four artists, as well as three earlier projects, all published by World House Editions. Of those six new projects, one of the artists will be exhibiting at The Print Fair for their first time. Additionally, during the course of the fair, Donald Taglialatella will host simultaneous happenings at his stand, one with artist Alix Lambert, another with artists Brian Alfred, Nathan Carter and EJ Hauser.

Making her Print Fair debut, American sculptor and installation artist Beth Campbell (b.1971) will be represented by My Potential Future Based on Present Circumstances (2017), a lithograph in an edition of 26 produced in collaboration with Tamarind Master Printer Deborah Chaney at the Deb Chaney Studio in Brooklyn, New York. According to curator Amy Smith-Stewart “In 1998, Campbell introduced her now-acclaimed 'My Potential Future Based on Present Circumstances,' mostly pencil on paper works that range in scale, channeling the Surrealists, she says, to give tangible shape to interior monologues. This body of work was meant to envision ‘all the different roles that you [the artist and human being] play. All the different roles the world expects you to fill.’ Campbell ‘rock piles ideas,’ beginning with an event in her own life and then using a diagrammatic system to create an interlaced drawing of conceivable outcomes, from the most wanted to the most devastating. With the intermeshing of invention and actuality, their distinction becomes utterly indecipherable.”1 This is the first project and first collaboration between Beth Campbell and World House Editions. In addition to a solo exhibition at the Kate Werble Gallery in New York (13 May – 30 June) the artist recently finished a solo show, My Potential Future Past (05 March – 04 September) at the Aldrich Contemporary Art Museum in Ridgefield, Connecticut.

Multi-media Swiss artist John Armleder (b.1948) will be represented by a new multiple object, combining a hand-made portfolio box with the Letterpress process. Created in collaboration with Brad Ewing at The Grenfell Press in New York and Portfoliobox of Rhode Island, (really) NOTHING is a highly conceptual work, owing much to John Armleder’s Fluxus (and appropriation) origins but also to his long-term working relationship with editions publisher and art dealer Donald Taglialatella. (really) NOTHING represents the 12th individual project and seventh collaboration between John Armleder and World House Editions dating back to 2002. His work was recently included in Split – Mirror, Light, Reflection at the Schauwerk Sindelfingen in Sindelfingen, Germany (30 October 2016 – 03 October 2017), in SUR/FACE – Mirrors at the Spiegel Museum für Angewandte Kunst, Frankfurt/Main (24 June – 01 October) and the artist had a solo gallery exhibition RCHX at Massimo De Carlo’s London gallery (06 June – 08 July). His work is presently in The Show Must Go On at the Kunstmuseum Bern (22 September 2017 – 21 January 2018) and Abstract Painting Now! at the Kunsthalle Krems, in Austria (thru 05 November) He currently has a solo exhibition, Better, Quasi, at the Galleria Massimo De Carlo in Milan (thru 16 December) and the Museo e Real Bosco di Capodimonte, Naples recently installed Split!, a permanent site specific mural (13 October). He is being honored at the 2017 Sculpture Center (NY) Gala on 26 October.

Also on view will be two new monumental mixed technique etchings by renowned French sculptor Bernar Venet (b.1941) both executed in London at Thumbprint Studios with the assistance of Peter Kosowicz. The first work, 4 Arcs, is a classic soaring arcs work, while the second new print, 9 Acute Uneven Angles, is a group of various sized vertical angle sculptures, arranged to create a mountain-like composition. With their intense black lines against the white ground, seem to float off of the sheet, creating a push-pull between positive and negative space. Each work measures 79 3/4 x 52 3/4 inches (202.5 x 134 cm) and are the largest prints created by Venet to date. In addition to the new prints, Bernar Venet will be represented by a new steel sculpture edition, Effondrement: 10 Arcs (2016-17), also published by World House Editions. These projects represent the sixth collaboration and the sixteenth individual print edition and first sculpture edition between Bernar Venet and World House Editions. The artist recently completed a solo exhibition of monumental outdoor works, Bernar Venet at Cliveden, held at the Cliveden National Trust, Buckinghamshire, United Kingdom (09 May - 15 October) as well as a solo exhibition of prints, Bernar Venet à Bastogne: Angles, gravures et charbon, at the l’Orangerie, centre d’art contemporain, Bastogne, Belgium (18 June - 3 September). He presently is showing in It is Just a Beginning at the Galleria d'Arte Moderna, Rome (02 October 2017 - 28 January 2018).

The final new World House Editions collaboration is with London-based South African painter, Nicky Hoberman (b.1967). Her new diptych etching, Medusa, was printed this past August in London at the studio of Thumbprint Editions with the aid of Peter Kosowicz. According to the artist: “Since hair is already dead, without feelings, artist Maria Lassnig refused to depict it. Printmaking is all about reversing images so, accordingly, in this diptych I've flipped the stricture, making the hair of my Medusae alive and animate, much like octopus tentacles with highly sensitive neurons feeling their way for survival. Here each face is isolated from the mass of writhing hair; Medusa I has a flat, mask-like face behind which her inner self can safely hide, while Medusa II has a more classical sculptural head, like a stone shield figure. Asymmetrical features and enigmatic smiles in both faces, however, hint at the liveliness repressed beneath the more conventional outer guise.” This is the third collaboration between Nicky Hoberman and World House Editions dating back to 2011. Her work was included this past spring in First Look/New to the Collection at the Mattatuck Museum in Waterbury, Connecticut (26 March – 14 May). Complimenting the artist’s new diptych print, a large new color drawing on frosted mylar entitled Fizz Whizz (2016-17) will also be on display.

In addition to the artist publications, on Friday, 27 October, from 1 to 3pm, Donald Taglialatella will host a happening at his World House Editions stand with American filmmaker, photographer and performance artist Alix Lambert (b.1968). For Temporary Tattoo Project #2, the artist will be on hand and to give out and apply a limited edition temporary tattoo specifically created for The Print Fair in a limited edition of only 300 and published by World House Editions. There is no charge for this temporary tattoo and the limit is two per person. This is the fourth project and second collaboration between Alix Lambert and World House Editions.

Simultaneously, on Friday, 27 October, from 1 to 3pm, Donald Taglialatella will host another happening at his World House Editions stand, #102, at the IFPDA Print Fair. Dubbed The ARTpin Project and curated by painter and video animation artist, Brian Alfred, artists EJ Hauser (American, b.1967), Nathan Carter (American, b.1970) and Brian Alfred (American, b.1974) have each offered artwork for two limited edition pins and will be on hand at the World House Editions stand to hand out these pins created for The Print Fair. This project is the first in a series of ARTpin projects that World House Editions will be collaborating on with artists. EJ Hauser, Nathan Carter and Brian Alfred's artwork were specially chosen by the artists to collaborate on this first ARTpin Project and were published by World House Editions in editions of only 100. There is no charge for these pins however there is a limit of two per person, per artist and are available only at The Print Fair. The ARTpin Project was conceived by art dealer and editions publisher Donald Taglialatella and artist Brian Alfred.

In addition to the aforementioned new editions, earlier projects, all published by World House Editions, will also be on exhibit by: Sylvie Fleury (Swiss, b.1961), Graciela Sacco (Argentine, b.1956), Beverly Semmes (American, b.1958) and Not Vital (Swiss, b.1948).

Finally, and in the first time exhibiting a non-World House publication at The Print Fair, Donald Taglialatella is pleased to be showing a new group of mixed technique prints, Arcs (2016) by the American painter and sculptor, Charles Arnoldi (b.1946), a project published by our colleague, Harvey Bayer of New Jersey and London.

World House Editions was launched in the summer of 1998 by Donald Taglialatella and is an active publisher of prints, portfolios, multiples, photographs and even video work by an eclectic group of international artists. World House Editions is strictly a publisher – not a printer – and collaborates closely with the artists it publishes while working with a select group of contract print workshops, photography labs and fabricators in the U.S. and Europe to help realize our projects. Based in a two-story 1940s converted carriage house in the small town of Middlebury, Connecticut, we are open by appointment only. Projects by World House Editions have been acquired by and/or exhibited at such institutions as: theMuseum of Modern Art, New York; Louisiana Museum for Moderne Kunst, Humlebaek, Denmark; Whitney Museum of American Art, New York; British Museum, London; Albright-Knox Art Gallery, Buffalo, New York; Musée d'art moderne et contemporain, Geneva, Switzerland (Mamco); Everson Museum of Art, Syracuse, New York; Hunterdon Art Museum, Clinton, New Jersey; University Museum of Contemporary Art, University of Massachusetts at Amherst; Museum of Fine Arts, Houston; Detroit Institute of Arts, Detroit, Michigan; Cincinnati Art Museum, Cincinnati, Ohio; New Britain Museum of American Art, New Britain, Connecticut; Daimler Collection, Stuttgart, Germany; Smith College Museum of Art, Northampton, Massachusetts; Minneapolis Institute of Art, Minneapolis, Minnesota; The William Benton Museum of Art, University of Connecticut, Storrs, Connecticut; Mattatuck Museum, Waterbury, Connecticut; Cabinet des Estampes, Geneva, Switzerland; The Grolier Club, New York; Microsoft Art Collection, Redmond, Washington; Hochschule für Bilende Künste, Braunschweig, Germany; Progressive Art Collection, Mayfair Village, Ohio; The Hallmark Cards Collection, Kansas City, Missouri, Cleveland Clinic Art Program, Lyndhurst, Ohio; Le Musée des Beaux-Arts, Le Locle, Switzerland; Miriam and Ira D. Wallach Division of Art, Prints and Photographs of The New York Public Library, New York; International Print Center New York, New York.

For further information and images contact Donald Taglialatella at donald@worldhouseeditions.com.

Notes:

1. Smith-Stewart, Amy. “Beth Campbell: My Potential Future Past,” essay in Beth Campbell: My Potential Future Past, 2017, Ridgefield, Aldrich Contemporary Art Museum