Inside Hauser & Wirth’s Editions Program at the London Original Print Fair
At the 40th edition of the London Original Print Fair, we had the opportunity to sit down with Anders Bergstrom, Director of Hauser & Wirth’s Editions department. Though the program is just over a decade old, it has quickly grown into a significant arm of the gallery’s operations, bringing printmaking to the forefront of contemporary art.
Why Editions Matter
There’s a rising interest in editions and prints, both from collectors and institutions. As Anders explains, Hauser & Wirth’s commitment to this field is evident in their dedicated space in New York, which opened in 2023 with Louise Bourgeois’ exhibition, Once there was a mother. The goal? To showcase prints as integral to an artist’s practice rather than as secondary works.
“These prints are not posters,” Anders says. “These are original works of art.” The program emphasizes collaboration between artists and master printmakers, ensuring that the prints produced are just as intentional and significant as paintings or sculptures.
Henry Taylor & the Painterly Approach to Printmaking
One of the standout works at the fair is a piece by Henry Taylor, whose printmaking process closely mirrors his painting. When he first arrived at Paulson Fontaine Press in California, he was handed a paintbrush—his natural tool of choice. The result? A dynamic, layered print using the sugar-lift technique, which captures the expressiveness of his brushstrokes on a copper plate.
The misconception that prints are merely reproductions of other works is something Hauser & Wirth actively works to dispel. Taylor’s print, created directly by the artist in collaboration with master printers, is an original work—not a derivative.
Rashid Johnson’s Intimate Approach to Print
Moving through the booth, we come across Rashid Johnson’s work—known for its deep emotional impact. His Anxious Men series, originally seen in large-scale paintings, takes on a new life in print. Through a meticulous screen-printing process at Brand X, each work retains the urgency of his paintings while introducing a soft, velvety texture.
Most people think of editions as more accessible, but they are also an entry into an artist’s practice in a way that’s just as powerful as painting.
The Element of Surprise: Rita Ackermann’s Printmaking Evolution
A fascinating secret within the booth? Rita Ackermann’s prints, which led to an unexpected artistic shift. Her work, 33 Takes, emerged through an extensive layering process, allowing her to experiment with different visual directions. The collaboration with master printmaker Keigo Takahashi didn’t just result in striking editions—it also influenced her subsequent paintings.
“This is why we have a print department,” Anders states. The printmaking process, rather than being secondary, became a foundation for new artistic breakthroughs.
Edition Sizes & Accessibility
One of the most common questions collectors have is about edition sizes. While some, like Ackermann’s, are limited to just 15, others—such as prints by Dieter Roth—follow a more experimental approach, making each work in the edition unique.
Though editions make works more accessible, they remain rarefied. “Even with editions of 75, we’re still talking about a small number of people who get to own one of these,” Carrie noted in the interview. “But that’s the beauty of printmaking—it brings great art to more people while still maintaining the artist’s vision.”
A Not-So-Secret Secret
As we wrap up our conversation, Anders offers a final semi-secret: a smaller version of Rashid Johnson’s Surrender print, a unique work in its own right. Not simply a section lifted from a larger piece, it was conceived separately, proving once again that in printmaking, every piece tells its own story.
For those who haven’t yet explored the world of editions, the London Original Print Fair—and Hauser & Wirth’s dedicated approach—offers the perfect introduction. It’s not just about making art more accessible; it’s about reshaping how we see printmaking altogether.