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| Pace Prints | |
|---|---|
| Name | Pace Prints |
| Type | Printmaking imprint |
| Founded | 20th century |
| Founders | Alexander Calder, Jasper Johns, Roy Lichtenstein |
| Country | United States |
| Headquarters | New York City |
| Notable people | Henri Matisse, Pablo Picasso, Wassily Kandinsky |
Pace Prints is a specialized imprint associated with a gallery-led printmaking program that publishes editions by prominent modern and contemporary artists. It operates within the nexus of commercial galleries, atelier collaborations, and museum exhibition practices, producing portfolios that enter collections at institutions such as the Museum of Modern Art, the Tate Modern, and the National Gallery of Art. The imprint has intersected with movements and figures across Abstract Expressionism, Pop Art, and Minimalism, engaging artists, master printers, and curators.
Pace Prints denotes an imprint and series of published prints produced through collaborative projects involving galleries, studios, and artists such as Alexander Calder, Jasper Johns, Roy Lichtenstein, Frank Stella, and Anish Kapoor. The imprint functions at the crossroads of gallery practices exemplified by Gagosian Gallery and Hauser & Wirth, and workshop traditions like the Tamarind Institute and Crown Point Press. Editions have been acquired by institutions including the Whitney Museum of American Art, the Guggenheim Museum, the Art Institute of Chicago, the Centre Pompidou, and the Los Angeles County Museum of Art.
Pace Prints emerged amid mid-20th-century expansions in printmaking encouraged by collectors such as Peggy Guggenheim and dealers like Pietro Seelig and Daniel-Henry Kahnweiler. Early collaborations mirror projects produced for the Salon des Réalités Nouvelles and workshops associated with Atelier 17 and Studio International. Through the 1960s and 1970s Pace Prints programs paralleled initiatives by Museum of Modern Art curators and benefactors, while later decades saw partnerships with biennials such as the Venice Biennale and the Documenta exhibitions. The imprint adapted to technological shifts evident in studios collaborating with Galerie Maeght, Stedelijk Museum, and commercial printers serving artists tied to Minimalism and Conceptual Art.
Editions under the imprint have employed techniques including lithography used by Henri de Toulouse-Lautrec successors, intaglio traditions associated with Rembrandt van Rijn studies, screenprinting popularized in Pop Art, and relief methods favored by Käthe Kollwitz and Alberto Giacometti. Materials range from traditional rag paper sourced like those used by William Blake to experimental substrates adopted by Richard Serra and Eva Hesse. Collaborations have often involved master printers trained in workshops such as the Zürcher Hochschule der Künste programs and print ateliers connected to the Royal College of Art and the École des Beaux-Arts.
Pace Prints editions serve multiple functions: acquisition by museums including the Metropolitan Museum of Art and the National Gallery (London), commercial sales through galleries like Pace Gallery and collectors linked to Saatchi Gallery, and educational uses in university collections at Yale University, Harvard University, and the University of California, Berkeley. They also appear in curated projects for institutions such as the Brooklyn Museum, the Philadelphia Museum of Art, and the Smithsonian American Art Museum. Prints are reproduced in catalogues raisonnés compiled for artists like Pablo Picasso, Henri Matisse, and Joan Miró and are displayed in retrospectives organized by curators from the National Portrait Gallery and the Morgan Library & Museum.
Notable artists published in the imprint’s editions include Alexander Calder, Jasper Johns, Roy Lichtenstein, Frank Stella, Anish Kapoor, Yayoi Kusama, Brice Marden, Agnes Martin, and Robert Rauschenberg. Signature works span screenprints, lithographs, and etchings that entered landmark exhibitions alongside pieces by Piet Mondrian, Jackson Pollock, Mark Rothko, and Cy Twombly. Portfolios produced with master printers who worked with Pablo Picasso and Henri Matisse have been shown at venues such as the Royal Academy of Arts and the Kunsthaus Zürich.
Critical response to the imprint’s editions has ranged from acclaim in reviews by critics associated with publications covering The New York Times, The Guardian, and Artforum to debates within scholarship addressing authorship and reproduction raised by theorists linked to exhibitions at the Museum of Modern Art and the Whitney Museum. Critics referencing the work of Susan Sontag and Clement Greenberg have debated notions of seriality and authenticity in print projects by artists also featured in shows at the Venice Biennale and the Documenta series. Market reception has been tracked by auction houses such as Christie’s and Sotheby’s, and by catalogs from foundations like the Andy Warhol Foundation for the Visual Arts.
Conservation protocols for editions produced under the imprint follow standards set by conservation departments at the Metropolitan Museum of Art, the Conservation Center, Institute of Fine Arts, NYU, and the Getty Conservation Institute. Treatment addresses issues common to works on paper encountered in collections at the British Museum and the Bibliothèque nationale de France, including paper acidity, light exposure assessed against practices at the National Gallery (London), and inpainting conventions aligned with training at the Courtauld Institute of Art. Storage and exhibition practices draw on guidelines published by professionals affiliated with the International Council of Museums and the American Institute for Conservation.
Category:Printmaking