Silkscreen

Glitter and nostalgia unite a pair of limited edition prints by Mickalene Thomas. In Portrait of Maya #10, a muse exudes power from above in a striking pose. In Interior: Red Couch and Landscape, the artist draws us into a nostalgic living space with a previously unseen collage. “Collage is how I draw and see, create form and composition. It's a defining moment of learning, unlearning and redefining the concepts and images in my work.”© Mickalene Thomas, 2024, courtesy of the Artist

A vase of flowers becomes a vessel for colour, line and shape in a print by Eddie Martinez.Martinez channels frenetic energy first through quick drawings in his sketchbook, and later as bold brushstrokes on canvas. He prefers the image to reveal itself. Rather than embedding a specific message, meanings are left open for others to imagine.Scaffold is full of power and life, in keeping with the artist's rhythmic, dance-like approach to making art. The strong colours and sharp contrast of his original painting have been maintained in the edition with a precisely calibrated base print, three bespoke silkscreen layers and a matte varnish seal.

A limited edition print by Peter Halley probes the limits of printmaking.Peter Halley's paintings are instantly recognisable. Fluorescent hues, rectilinear forms and industrial materials come together in compositions inspired by the rigid structures of society.For Rising High II, the ‘cells and conduits’ from one of Halley’s paintings became a playground for printmakers at Make-Ready in London – building on the process devised by Lamina Studios for Galaxia II. Working in close collaboration with the artist, each colour and shape was isolated in a series of stacked, die cut layers.Silkscreen overprints including metallic shimmer, glitter, gloss varnish and gold leaf bring each element to life. Once assembled the layers create an intricate, 3-dimensional surface.

SPAM takes flight in a print by Ed Ruscha.Ed Ruscha painted Actual Size in 1962 at a similar time to sonic, one word paintings like Oof, Smash and Honk. In its use of a household brand, Actual Size also draws connections with everyday consumerism and with Ruscha's larger scale appropriations, like the Hollywood sign.The painting brings to life “SPAM in a can” – a phrase coined by journalists to describe astronauts sent to space in self-piloting rockets. Its title is lifted from the world of advertising, circling the true-to-life dimensions of its flying subject. These layers speak to Ruscha’s flair for dual meanings and deadpan humour. Actual Size plays an important part in the history of both Pop Art and Conceptual Art, propelling it to become one of Ruscha’s most iconic paintings. To coincide with a retrospective at LACMA, it has been transformed into a limited edition print. Proceeds will support the museum’s future.

George Condo warps time and identity in a melodramatic portrait.Lost in Time channels the decadent stylings of Dutch masters through a perverse contemporary lens. Sat alone in the dark, Condo spotlights his unmistakably American subject – gaudy shirt, cigarette smoke wafting – with traditional chiaroscuro techniques. Looking back over his shoulder, the figure’s angular, cartoonish appearance carries a disarmingly human demeanour.“The cartoon is a very bizarre weapon against the intellectual concept of what supposedly high art culture is all about.”One of three limited edition prints launched in support of Dia Art Foundation, Condo’s painting has been meticulously translated into a 22 colour silkscreen in close collaboration with artisan printmakers at Make-Ready in London.