The man behind that wacky but successful Gretzky project, Frans Wynans, also is behind this show of 17 internationally recognized contemporary artists who were cajoled into unfamiliar territory — the world of printmaking. The 50 pieces in this show, called What is a Print?, display different printmaking techniques, including the four most popular methods: woodcut, lithography, etching and silkscreen. I’m an ink-stained wretch who started in publishing when editors trimmed my stories by knocking off any excess metal type that didn’t fit. Printing fascinates me and I began collecting fine art prints years ago. This intimate collection caught my attention with some true gems, such as the elaborate and sophisticated pieces by British artist Sir Peter Blake.

His Homage to Schwitters, for instance, contains a Canadian Pacific Railway ticket stub among the amazing collage along with small pieces of gold leaf. Surprisingly, though, I love the black-on-black warfare series by sculptor Michael Sandle (who taught at the University of B.C. way back in the early ’70s). His emblematic scenes resonate with feeling. It is a shame they are under glass because the reflections detract from the rich textures and tones of the squid-ink-coloured images. Philip Pearlstein, who moved from Pittsburgh to New York with Warhol and was his roommate for a decade, is represented, too.

Wynans laughed as he explained his own fascination with fine-art printing grew out of the chance 1983 meeting with Pocklington in Edmonton when he owned the Oilers and Gretzky: “I told him he was too young to be collecting stodgy Group of Seven works and that he should be doing something with Warhol. When he said ‘absolutely,’ I nearly choked because back then I had never even spoken with Andy.” A friend, however, was quickly able to arrange an introduction and The Great One was soon fodder for The Factory. Wynans said he was hooked.

Pocklington was hooked too, on Warhol — at least five Jagger prints were among the last items he surrendered to U.S. authorities over his legal troubles. Printing is a medium that has been as problematic for artists as it has been for consumers who don’t know the difference between an image that is mechanically reproduced and those that are handmade. “At the outset when I approach an artist for a commission, each of these artists have shared the same concern — ‘I don’t know how to do this printmaking technique,’” Wynans said. “But with coaxing and direction we managed to get [Chicago painter] Leon Golub to work in a new, unfamiliar medium — working and drawing directly on the computer monitor. The late Jack Shadbolt did a series of lithographs at the age of 85 — complaining all the time that the process was too time-consuming, but producing incredible prints.” They are — if you’re into the great B.C. colourist’s dramatic style of West Coast mythology.

If you’re interested in clearing up the mystery behind basic printmaking, have a look. You’ll learn the difference between an original handmade work of art and a reproduction. Until Aug. 29, it’s a free visual amuse bouche for a summer day, or before taking in the Surrealist exhibit across the road at the VAG.

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