Screen Printing - June/July 2018 - 26
Vincent van Gogh, "The Church of Auvers-sur-Oise," 1991 reproduction
One of nine prints ordered by French filmmaker Maurice Pialat for a
movie he was making about van Gogh's final days, Caza was ordered
to make the prints the exact size as the originals - usually forbidden in
Jean-Claude Flock, original print, 1983
This print, intended as a double homage to the recently deceased Hergé
and Andy Warhol, took on extra significance when Caza was able to get
Warhol to countersign it during a visit to New York. Warhol died in 1987.
posters which raised awareness of the AIDS epidemic was
also very rewarding. We worked with 37 European artists in
1993, then 23 from Latin America the following year, and the
exhibition toured both continents.
So, there were certainly many of my works that I knew
had significant political implications - like the greeting cards
created for President Chirac - yet overall I remained a chameleon, changing colors often.
of original prints - that is, signed and in limited editions. I
cover this very specifically in my book.
Simply put: An electronic file, which can be infinitely
reproduced, cannot possibly meet the requirement of a true
original print. On the other hand, I find that on-demand art
posters or reproductions, of much less value and in unlimited quantities, can certainly utilize digital printing (although
digital printing is best for smaller quantities).
You worked with many famous artists over the years
- Fromanger, Niki de Saint Phalle, Dali, others. Is there
one for whom you will always have a special place in
That's a very difficult question! There has been a great deal of
artists with whom, either immediately or over time, friendly,
warm, and genuine relationships have developed. But if I
must quote a few with whom I've maintained affectionate
relations, there are two whom I dearly miss, Leonor Fini and
André François, and two whom are happily still alive, Alberto
Bali and Fabienne Verdier - with whom we, Thérèse and I,
share a friendship that goes back 20 years.
The book traces a number of challenges to the
limited-edition market that you witnessed - for
example, the economic crisis of the '70s that prompted
art publishers to work only with established names,
shutting out emerging talent. What are some of the
most significant challenges you see in the limitededition market today?
Honestly, I think the current challenges are quite similar
to the old ones. There are fewer editors, galleries, and
screen printers involved in the production of original prints
or art posters, and they still favor famous signatures to
cut the risk. Yet there is a relatively new and interesting
phenomenon that is emerging. Some artists, small printers,
clubs, and associations produce prints and posters of an
incredible quantity, from unknown or barely known artists. These are often relayed on the internet by distributors,
resellers, and specialized galleries that help to distribute
them, or sell them directly. It's a new way for artists to
You make a point in the book of saying that all of your
fine-art projects were screen printed. You embraced
noncontact printing in your advertising business; why
did you stay away from it in fine art?
Although I have seen interesting things done using digital
printing, I am extremely reluctant when it comes to the area