BmoreArt

Their recent notable achievements are a 2022 collaboration with Christie’s auction house to sell a selection of works by six contemporary Black Artists, and their 2022 exhibition adjacent to the Venice Biennale at the European Cultural Centre, “The Afro-Futurist Manifesto: Blackness Reimagined” showcased works by Tawny Chatmon, Larry Cook, Morel Doucet, Monica Ikegwu, M. Scott Johnson, Delita Martin, Arvie Smith, and Felandus Thames. That exhibition is currently on view in Baltimore at the The Reginald F. Lewis Museum. 

Goya Contemporary represents many distinguished artists, including Amalie R. Rothschild, David Hess, Jo Smail and Joyce J. Scott among others. Raehse says that they have “been building [their programming] for the past two decades and are happy to have navigated significant space worldwide for the artists [they] represent, building major museum exhibitions nationally, as well as releasing great print projects and scholarly publications.” 

One highlight of Goya’s multiples program has been its work with artist Soledad Salamé, particularly the Gulf of Distortion, a portfolio of 12 silkscreen on mylar prints probing environmental and political concerns. The work uses photographs of Venice and Grand Isle areas of Louisiana, in the Gulf Coast, in the wake of the disastrous BP Deepwater Horizon Oil Well blowout in April 2010. Salamé is one of many artists who push traditional printmaking with innovative materials and techniques. This series grew from an initial print project involved in Irene Hofman’s fax machine exhibition at the former Contemporary Museum, said Raehse. 

The process of becoming a member of the IFPDA is lengthy and rigorous. It involves an ethics review and the support of about 150 established international members. Goya Contemporary Gallery was instrumental in helping Galerie Myrtis navigate this process and earn a spot in the organization. This achievement is recognition of the hard work and dedication that both Goya Contemporary and Galerie Myrtis have put into promoting printmaking as a serious and respected art form. 

This was no easy achievement and Raehse comments:  “IFPDA membership is a stamp of integrity, ethical dealing, and of expertise in the field of fine-art prints. Members work diligently to advance scholarship around print media, and to contextualize the sizable role fine-art printmaking plays, even in the history of artists who might be known for working in other media.” 

She continued with “and to be clear, we did not ‘get them in’—rather, they earned their spot based on reputable work. As a witness to that work, all we did was help others see our colleague’s sizable impact. Now we can look forward to working together to continue advancing the field.”

The IFPDA, more than an organization that simply promotes collecting, is a global community of dealers, artists, and collectors who share a passion for fine art prints. Through its network, museum affiliations, online programming, and global public events, they raise awareness and spark discussion about the world of printmaking. Their online viewing rooms present varied content by its members from old masters to contemporary editions, including “A Selection of Prints from the Dutch Golden Age” by Jurjens Fine Art, to “Sister Mary Corita Kent: Speak Out” by the Davidson Galleries and “Georges Braque – Works from the graphic oeuvre” by Galerie Boisserée. These viewing rooms highlight the diversity and history of printmaking as well as giving not only collectors but also individual viewers an opportunity to experience and learn more about artists and galleries. 

Their annual Print Fair is the largest and most celebrated art fair dedicated to printmaking, and it will be held October 26-29 this year at the Javits Center in Manhattan. The fair provides a platform for dealers to showcase their finest works and for collectors and curators to view and purchase rare and valuable prints. 

In addition to the Fair, the IFPDA also creates opportunities for research, and education through its charitable Foundation, which funds curatorial internships in museums and organizations. The programming also includes Print Month which hosts a series of online talks (still available on Youtube from previous iterations). These talks are both aimed at curators, collectors and artists, including the talk geared toward the latter: “Starting a Career in Prints and Printmaking (Everything You Always Wanted to Know But Were Afraid to Ask)”. 

Goya Contemporary and Galerie Myrtis are currently the only Baltimore galleries that are members in IFPDA, after the passing of the celebrated gallerist Tommy Segal. These galleries have worked tediously alongside each other, building legacies within Baltimore City, with a focus on representing artists fully through the generation of varied opportunities and continued support.

Raehse has said: “Of course, we want[ed] to help our local colleagues flourish and call attention to the abundance of talent we have collectively nurtured over the years. Though not a print atelier at any point in their history, Galerie Myrtis has been dealing contemporary prints for years and has the knowledge and credentials that we celebrate in members of the IFPDA.”

The induction of Galerie Myrtis is a testament to the importance of camaraderie between galleries, which promotes and aids the arts, and is an integral part of a healthy art ecosystem. This connection between galleries helps to create a vibrant, diverse and safe art community, one that is constantly evolving and pushing the boundaries of what is possible. 

Printmaking is a complex and fascinating process that requires a high level of skill and dedication. Print dealers play an essential role in promoting and nurturing making, through the assistance of their artists, and through their development and archivist activities. I’m excited to see where this opportunity will take Galerie Myrtis next.