Dimensions: image: 205 x 147 mm
Copyright: © Peter Doig | CC-BY-NC-ND 4.0 DEED, Photo: Tate
Editor: Here we have Peter Doig's "White Out," an undated print from the Tate collection. The stark, sparse quality and limited palette really give it a haunted feel. What's your take on this piece? Curator: As a print, we must consider its reproducibility and accessibility in the art market. The process itself, the etching, allows for multiples, and therefore wider distribution and consumption. How does that affect its value, do you think? Editor: I hadn't considered that. Does the act of creating multiples lessen its artistic integrity in some way? Curator: Not necessarily, but it shifts the focus. It foregrounds the labor and material conditions of art production, challenging notions of the unique, genius artist. Editor: That's fascinating, a whole different way to view art! Curator: Indeed. Thinking about the "how" and "why" it was made can be just as enriching as the "what" it depicts.
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Ten Etchings is Doig’s first print portfolio. As the title indicates, it is a suite of ten etchings. The portfolio was produced in an edition of thirty-five. Tate’s copy is one of six additional proof sets. Each print is individually signed and numbered ‘TC’ (Tate copy) by the artist. The portfolio is presented in a red artist’s solander box with title and colophon pages designed by Peter B. Willberg. It was printed at Hope Sufferance Press, London on 350gsm Zerkall paper and published by Charles Booth-Clibborn under his imprint, The Paragon Press.
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