Do you perceive “giclee” reproductions sold as “fine-art prints” as a threat to authentic printmaking?
Please give us your take on this issue. A: I believe that marketing giclee prints as editioned prints is deceptive and doesn’t serve the collector, the gallery or the artist. Hand pulled prints are unique and have a distinct place in the art market. Giclee reproductions have their own place, but should be sold as very fine digital reproductions, not as original works of art. I think the giclee market has co-opted the language of the hand pulled print intentionally as a marketing strategy. Savvy collectors know the difference, but the general public does not. I think it’s imperative to educate the consumer. Q: What about digital prints, which are not reproductions? Do they fit into your printmaking scheme? A: Oh yes. Digital prints are another tool in the artist’s box. We did a wonderful contract project with Scott Prior, a contemporary painter. We made digital prints of color fields from his paintings. He then did a pencil drawing on mylar, which we made into a photopolymer intaglio pl
