Pace Prints is pleased to present an exhibition which spans nearly fifty years of printmaking by Robert Mangold. Many of the editions on view were created by Mangold since 1993 in Pace Prints’ printshops. In addition, the artist selected prints from 1973 to 2010 that will elaborate on the breadth of his printmaking career. Historically, Mangold has used color as a structural element and this exhibition highlights monochromatic works from early screenprints to recent color aquatints published by Pace Prints. This exhibition runs concurrently with Robert Mangold: Paintings 2017-2019, on view at Pace Gallery (540 West 25th Street) through November 14. Pace Prints encourages visitors to contact the gallery in advance at (212) 421-3237 to schedule their viewing and review social distancing guidelines.
Please note that the exhibition has been extended through January 22, 2021.
An online exhibition, Robert Mangold: Prints, 1973–2015, with original interview and video content is on view concurrently on paceprints.com.
Robert Mangold’s practice has commonly been to create drawings first, followed by printmaking and painting. Occasionally the prints and drawings will evolve simultaneously. This process allows the artist to elaborate on ideas put forth in a drawing (or series of drawings) in different media. In the 1970s, the artist often used screenprinting to share his images. Experimentation with other printmaking techniques led Mangold to focus on etchings and woodcuts from the 1980s forward. A drypoint etched line could shift from fine to textured, mimicking graphite. Woodblocks and aquatint etchings both offered subtle gradation in color and shifts in texture within the images. Mangold came to enjoy the woodcut process so much, he hand-carved woodblocks annually to create small prints as gifts to friends.
In addition to a selection of the thirty-one etchings and woodcuts created by Robert Mangold with Pace Prints since 1993, this exhibition will feature five screenprints from the 1970s, two from the 1980s, and five etchings from the 1990s. The five aquatints with etchings entitled The Attic Series II (VI-X), 1990-91, are an iconic set of five polygonal shapes in rich, saturated color. Each if the five asymmetrical images have an interior black line, that appears to push out toward the edge of the shape. Mangold has often created prints in a series, which can be seen throughout this exhibition.
Robert Mangold’s prints have been cataloged twice: in a limited-edition print catalogue raisonné surveying work between 1968 and 1998; and in a newer online catalogue raisonné that can be found at robertmangoldprints.com.
Robert Mangold’s work is featured in no fewer than eighty-four public collections including the Guggenheim, the Art Institute of Chicago, MoMA, and the Tate Gallery, London. His work has been the subject of numerous single-person exhibitions and retrospectives at institutions including the Solomon R. Guggenheim Museum, New York; Stedelijk Museum in Amsterdam; Akron Art Museum; Hallen für neue Kunst, Schaffhausen, Switzerland; Allen Memorial Art Museum, Oberlin College; Hallen für neue Kunst; Museum Wiesbaden; Parasol Unit Foundation for Contemporary Art, London; and Albright-Knox Art Gallery, Buffalo. He has been represented by Pace Gallery since 1991.