Site last updated on 05/14/12
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The opening for Amze Emmon’s Refugee Reading Room at Space 1026 in Philadelphia was big fun. Lots of folks showed up and ravaged the installation like a swarm of locusts. I picked up a few goodies myself.
Here’s part of the press release for the show:
“In response to an invitation to exhibit at Space 1026, I (Amze Emmons) proposed an exhibition in which a post utopian installation would serve as a distribution point for free publications by a host of other artists, designers, cartoonists and illustrators. After months of planning that project is about to become real….
…This exhibition will transform the gallery space, sparking new relationships between creators and audience, and that this will lead to a range of interesting interdisciplinary connections within an experimental gift economy. This arrangement is obviously informed by my own aesthetic, but I think the conceptual connections between print, community, and utopian experiments are made stronger when put in conversation with architectural phenomena and notions of displacement.”
 
Refugee Reading Room
Amze Emmons
February 4th – 25th, 2011
Opening Reception: Friday, February 4th, 7-11
With Special Guests:
Kjellgren Alkire, Art Codex, Pat Aulisio, Mike Bauer, Diana Behl, Book Bombs, Ellie Brown, Tova Carlin, Chain Magazine, Cece Cole, CA Conrad, Ryan Dodgson, Angela Early, Jedd Flanscha, Gold Mine Anthology, Casey Grabowski, Geoff Hargadon, Lauren Haldeman, John Hitchcock, Matt Hopson-Walker, Dustin Hostetler, Chad Kouri, Delia Kovac, Michelle Levy, Max Liboiron, The Machete Group, Andrew Moeller, Kembrew McLeod, Megawords Magazine, The Moving Crew, N55, Matt Neff, Never Nothing, Scott Nobles, NomNow, Michael Perrone, Sarah Nichole Phillips, Poetry Magazine, Ian Sampson, Carrie Scanga, David Tallitch, Temporary Services, Breanne Trammell, Tricia Treacy, Frank Sherlock, Eli VandenBerg, Brian Wiggins and many more.
The exhibition will be a post utopian installation which will serve as a distribution point for free publications by a host of other artists, designers, cartoonists and illustrators.
This exhibition will transform the gallery space, sparking new relationships between creators and audience, and will lead to a range of interesting interdisciplinary connections within an experimental gift economy. This arrangement is informed by Emmons’ own aesthetic, but the conceptual connections between print, community, and utopian experiments are made stronger when put in conversation with architectural phenomena and notions of displacement.
Amze Emmons is a artist, illustrator, curator, living and working in Philadelphia, PA. Born in rural upstate New York. He received a BFA Ohio Wesleyan University. He went on to receive his MA and MFA from the University of Iowa. His work is exhibited both nationally and internationally.
SPACE 1026
1026 Arch St. 2nd Floor
Philadelphia, PA 19107
by: Michelle Levy
January 2011
© International Print Center New York
download pdf here.
When an artist makes a print, he or she takes part in a time-honored legacy,
the communal spirit of printmaking. New Prints 2011/ Winter illustrates this spirit
with a snapshot of anomalous and compelling print projects. It presents a medley of work
combining the darkly humorous, the socially aware, the technically masterful, the bizarre,
and the inventively crafted. It emphasizes the individuality and multifarious forms that
naturally sprout up out of the print medium.
Printmaking is unique in that it is directly connected to the spread of culture.
Images and ideas could only be disseminated once they could be printed. It is therefore a
practical medium, tied to technology. Beyond its accessibility, printmaking is about process,
about the deliberate filtering and impressing of an image. Information evolves from its
original form once it is transposed to a matrix and printed and changes again when it is
dispersed from the “one” to the “many.”
One nod to the print legacy is its allegiance to the underdog— the discerning
artist/observer provides cultural parody that blurs the lines of high and low-brow. There
is a tradition of witty illustration of the controversial, farcical and bawdy. Blake Sanders’
apocalyptic vision, British (Petroleum) Invasion, is a comedic, dark image of a black oil
ocean carrying a struggling fleet of sailing ships, comparing our colonial past to the
calamitous present; Kit Boyce’s Oh, is a Tim Burton-ish depiction of a depressed, worn
and ragged cityscape. More light-hearted is the inane After the Gym There is a Secret Tea
Party No One Talks About, Peter Kingstone and Daryl Vocat’s comical scenario of a group
of men in their birthday suits showing off their wares.
Another powerful tool for parody in printmaking is image sampling. Channeling
middle-American youth culture, Glen Baldridge’s stenciled sheets of handmade paper
depict pulpy psychedelic drug horror movie posters: Shrooms (2007) Get Ready to Get
Wasted and The Tripper (2006) On 4.20, Hippie Blood Will Trickle Down. It is hard not to
laugh along with the artist. Baldridge likely came to treasure these images for their
campiness, outright humor, or nostalgic value, then ritualized his veneration by
transforming them into precious art objects that hang on very different walls than the
original posters.
Jing Yu commits a riotous act of appropriation: her very own Catalogue Raisonné.
Graced with a cheeky cover depicting the artist surrounded by roses, the book consists of
line-drawn mimeographs—an outmoded technology the artist used to painstakingly
reproduce her existing body of work—the comical and endearing result is a parody of self
and art world values.
The connection to commercial reproduction, printed labels, signage, posters and
patterns naturally links printmaking to the everyday. Sarah Nicole Phillips’ Curbside Object
Status Tag is intended to be attached to items left out for trash. This politely designed tag
contains check boxes such as “has no defects and functions perfectly; is broken but has
valuable parts; is infested with creatures” along with space for notes. These tags are playful,
yet send a message, challenging us to rise to the role of dutiful citizen and waste not.
With the many technical nuances employed, printmakers are often drawn beyond
image to the physical process as a subject. Deborah Chaney’s Fresco 2, consists of the
“rainbow roll,” a process where a large roller contains different shades of ink that blend
together to create an illusion of atmosphere as a backdrop to an image. Chaney uses this
as a stand-alone technique, pushing the interplay of color shifts to the extreme. More
visceral– violent even– are Carla Aspenberg’s textural print of shards of shattered glass
embossed into the paper almost to the extent of tearing; Michael Bisbee’s worn and beaten
object described as “shotgun blasted/imprinted oil and dirt on paper;” and Leslie
Grossman’s pyrograph transfer, where a mesh-like form has been singed into the paper.
Printmaking’s proclivity towards layering planes of color, shape and shade lend
it to ventures in pattern and abstraction. Shaun O’Dell’s Ringing out of, Leaping out of
Light is a complex composition of geometric shapes created by lines and flat color planes
that form an imaginary aerial map or architectural plan. Noah Breuer summons the
political, using layer and pattern conceptually to reference camouflage— on a closer look,
our attention is drawn to the evocative image and text that has been partially obscured by
abstract design.
Whether representational or abstract, there is an unmatchable quality in the
physical appearance of the hand-pulled print that attracts artists: in the characteristics of
the ink, the plate tone, the bite of the line. The delicately rendered can break into boldly
graphic, such as in Elizabeth’s Sommerville’s Abyss lithograph depicting a rough ocean
hitting against craggy rocks, or Vera Lutter’s mesmerizing photogravure, Chephren and
Cheops Pyramids, Giza January 28, 2010, that suggests something hauntingly
extraterrestrial.
On the flip-side, these qualities may give rise to quirky, oddly-defined spaces, such
as William Howard’s atmospheric and simplistic depiction of corn; and Yunmee Kyong’s
mysterious broken up and washy ethnological narrative, Were are. And Dennis Olsen’s wild
patterned and deformed head illustrates a natural space within printmaking that allows the
bizarre to give way to the grotesque.
Through all of this, there is virtuosity. Some prints require such mastery of skill,
they leave us mystified. All of the prints in this show are certainly virtuosic; the reductive
relief prints of Erik Hougen and Goedele Peeters are of particular note. Each of the
images is deceptively simple: a man and a bowl, yet these artists conquer a tricky process,
where the same block is used repeatedly; printed then cut away and printed again.
Exploiting many of the above attributes to break off into three dimensional
space, Tai Hwa Goh creates other-worldly installations of strange flowery environments,
built from layered, delicate cut-out intaglio prints of images and lacey patterns. Forms
that appear as clouds, water, mountains, cliffs, grow up and down the wall like ivy, and are
inhabited by lively vegetation, undergrowth, and spontaneously sprouting and emitting
creatures and insects.
As a former manager of the New Prints Program, it was an honor to be invited
back to participate as a Selections Committee Member for this show, and to have the
chance to contribute both as an insider and an outsider along with such distinguished
company. This essay is by no means comprehensive. It only touches upon a portion of the
remarkable work in the show. Perhaps, though, it plants a seed that reminds us to look
beyond face value, taking a moment longer to consider each work’s significance as a
printed object.
Opening Reception: January 12, 6-8pmOn View: January 13 – March 5, 2011
International Print Center New York presents New Prints 2011/Winter, on view January 13 -March 5, 2011 in its gallery at 508 West 26th Street, Room 5A. The show consists of fifty pieces by forty-eight emerging to established artists, selected from a pool of over 1,500 submissions. A reception with the artists will be held at IPCNY on Wednesday, January 12, from 6-8 pm.
The Selections Committee for New Prints 2011/Winter includes: Brad Ewing, Master Printer, Marginal Editions; Richard Gerrig, Collector, Professor, Stony Brook University; Diana Goldin, Collector; Lisa Hodermarsky, Associate Curator of Prints, Drawings, and Photographs, Yale University Art Gallery; Michelle Levy, Director, EFA Project Space; and Nicola Lopez, Artist.
New Prints 2011/Winter is the thirty-eighth presentation of IPCNY’s New Prints Program, a series of juried exhibitions organized quarterly by IPCNY, featuring prints made within the past twelve months by artists at all stages of their careers. The Exhibition represents a cross-section of some of the most exceptional printmaking today while continuing IPCNY’s commitment to provide an ongoing exhibition venue for contemporary prints and a major source of information about artists working in the medium.
The complete Artists’ List is as follows: Golnar Adili, Daniel Allegrucci, Rosaire Appel, Carla Aspenberg, Maya Malachowski Bajak, Glen Baldridge, Anders Bergstrom, Michael Bisbee, Kit Boyce, NoahBreuer, Nicholas Brown, Els Ceulemans, Deborah Chaney, Kyle Coniglio, Greg Daiker, Grainne Dowling, Stefanie Dykes, Yuko Fukuzumi, Stephen Funk, Laurent Gagnon, Tai Hwa Goh, Leslie A. Grossman, Erik Hougen, William R. Howard, Alysia Kaplan, Peter Kingstone and Daryl Vocat, Yunmee Kyong, Margaret Lanzetta, Vera Lutter, Edward Monovich, Shaun O’Dell, Dennis Olsen, Goedele Peeters, Sarah Nicole Phillips, Eleanore Rembaum, Ian Ruffino, Julia Samuels, Blake Sanders, Larry Schulte, Hilda Shen, Elisabeth Sommerville, Ella Weber, Jenny Wiener, John Willis, Steve Wiseman, Jing Yu, and Barbara Zucker.
In addition to the many independent artists included in this show, the presses, publishers and printshopsrepresented are: Dieu Donné, Dead End Press, Marginal Editions, Ningyo Editions, Carolina Nitsch, Paulson Bott Press, and SOLO Impression.
An illustrated brochure with a curatorial essay by Michelle Levy will accompany the Exhibition.
New Prints 2011/Winter includes several three-dimensional printed pieces, such as Tai Hwa Goh’s ethereal installation, LULL-4, made with intaglio on hand-waxed paper, collage and wood board; Steve Wiseman’s lithograph paper sculpture, Disguise Yourself; and Stephen Funk’s When We All Ride Together, a diorama withlinoleum cut and etching on craft foam, felt, and faux fur. A wide range of printmaking techniques are visible throughout this show, from Carla Aspenberg’s Untitled, a print of a shattered glass plate, to Maya Bajak’s Bridge, an ominous, floating landscape made with etching and aquatint, to Goedele Peeters’ masterful reduction linocut still life, Hold Me, to Barbara Zucker’s Animal Sightings, an inkjet-printed artist’s book.
With rare exceptions, prints included in IPCNY’s New Prints shows are for sale. IPCNY refers potential purchasers directly to the artist, publisher, or gallery supplying the print. IPCNY requires no commission on sales. New Prints 2011/Winter will be posted on www.ipcny.org, together with all prior exhibitions presented by IPCNY. For images or additional information about this show and IPCNY’s Exhibitions Touring Program, email Julia@ipcny.org.
Steve Wiseman, Disguise Yourself, 2010
International Print Center New York is a non-profit institution founded to promote the greater appreciation and understanding of the fine art print worldwide. Through innovative programming, it fosters a climate for the enjoyment, examination and serious study of artists’ prints – from the old master to the contemporary. IPCNY offers its members a program of workshop and gallery visits, and has established an informational website and Information Desk available to the public at the gallery. IPCNY depends upon public and private donations to support its programs.
The New Prints Program is funded in part with public funds from the National Endowment for the Arts, the New York State Council on the Arts—a state agency, and the New York City Department of Cultural Affairs.
Sponsors of IPCNY’s 10th Anniversary Season are The Edward John Noble Foundation, Lily Auchincloss Foundation, Deborah Loeb Brice Foundation, The Felicia Fund, The Horace W. Goldsmith Foundation, Hess Foundation, Charles S. Mott Foundation, Reed Foundation, Arthur Ross Foundation, Phillips de Pury and numerous individual donors.
BY: DEIRDRE KELLY
From Saturday’s Globe and Mail
Published Friday, Dec. 10, 2010 1:19PM EST
Last updated Friday, Dec. 10, 2010 2:00PM EST
The James
27 Grand St., New York; 1-800-230-4134; www.jameshotels.com. Rooms from $349; no eco-rating.
The original James in Chicago is known as a hotel of luxury. This second James, open since September in New York’s vibrant SoHo district, is every bit as haute but will no doubt become known as a hotel of art. The young and friendly staff includes a full-time curator, Matt Jensen (a 29-year-old photographer whose work was acquired this year by the Metropolitan Museum of Art), who selects original artworks to adorn each floor of the hotel. The works are by mostly emerging artists with a connection to SoHo, the Manhattan neighbourhood that has become the art world in miniature.
DESIGN
With its undulating steel-and-glass tower rising 18 storeys above SoHo next to historic Duarte Square and LentSpace, a new public exhibition park on nearby Canal Street, The James stands out as the new kid on the block. The spanking new sleekly designed tower sparkles like a beacon of cool amid the converted factories of bordering Tribeca.
Inside, floor-to-ceiling glass walls make everything appear bathed in sunlight and open for enjoyment. It’s a thoughtful, smart idea from the Office for Design and Architecture in collaboration with Perkins Eastman. In fact, every detail is a tour de force throughout the hotel, from the custom interiors by Amanda Sullivan to artisan John-Paul Philippe’s wrought-iron numbers on the doors (a reminder of SoHo’s past as an iron-ore centre).
The entrance off Grand Street, at Thompson, is through a narrow glassed-in corridor where a concierge desk stands in the shadow of the first of many original artworksQWRTY 5. The lobby doesn’t feel like a lobby as much as an uber-chic living room, with art books everywhere and, after 5 p.m., wine bottles open for pouring.
AMENITIES
Softening the hotel’s industrial edge is a multitiered outdoor urban garden designed by the award-winning landscape designer Rebecca Cole. The garden will supply fresh herbs to the two in-house restaurants that are scheduled to open by month’s end. Also on the roof is an outdoor pool and capacious bar and lounge offering spectacular 360-degree views of Manhattan.
ROOMS
The guest rooms are spacious, with unobstructed views of Manhattan due to the hotel’s location next to a public square. The one-bedroom suites, with their king-sized beds and separate living room with two large-screen TVs, have a mini-bar crammed with such SoHo area treats as Dean & DeLuca chocolate chip cookies and Kee’s Chocolates. Sleeping here is a dream, thanks to smooth cotton sheets and linen duvets with shams by Fili D’oro. The open-concept bathroom features a walk-in shower, soaker tub and radiant-heat marble floors, plus a series of dimmers for ambient lighting. One of the switches activates a screen that can close the bathroom off from the bedroom. Try it – the screen is actually another commissioned artwork.
SERVICE
General manager Colin Gold refers to the easy, breezy way his staff has with guests as “luxury liberated.” Guests help themselves to pots of coffee and fresh baked goods in the lobby every morning, or a glass of wine with nibbles in the evening. Also at their disposal are three computers offering free Internet access and printing, and complimentary luxury car service around Manhattan or to and from the airport.
FOOD AND DRINK
The hotel restaurant opens in early February led by chef David Burke. Expectations are high. There is room service, but at the moment it is wanting. A request for orange juice resulted in something that tasted like Sunny D, hard-boiled eggs were cold.
THE VERDICT
Art and a feeling of spaciousness are The James’s hallmarks. It is also deliciously close to great restaurants and shopping (Chanel is just a stroll away) so even if the eggs aren’t how you like them, SoHo itself offers plenty of alternatives.
December 03
Artist’s Reception for Benevolent New World
You are invited to join us for A.T. Kearney New York’s inaugural art exhibition and reception, Benevolent New World, on Friday, December 3rd. The exhibit, which will run through January 7th, explores contemporary notions of sustainability and issues related to our relationship with nature — a theme that complements A.T. Kearney’s commitment to protect the environment.
Sustainability and community service are core A.T. Kearney values. In 2010, we became the first traditional high-value added consulting firm to become carbon neutral worldwide. Reaching this goal is part of a broader initiative to deliver sustainable, environmentally-sound results to a global client base and to spearhead local initiatives and drive cultural change.
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Location: A.T. Kearney, 7 Times Square, 36th Floor
Date: Friday, 3 December 2010
Time: 4:30 – 7:30 p.m.
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The artists being featured in this exhibition represent the global presence that enriches New York. All live in the five boroughs of New York, yet their region of origin ranges from New Zealand to Wisconsin to Mexico and Canada. The mediums they use include recycled envelopes from bills and solicitations letters, eco-friendly paints, recycled materials, and even Google Earth scans.
The seven artists are: Diego Anaya, Jude Broughan, Jessica Cannon, Karen Fitzgerald, Matt Jensen, Graham MacBeth and Sarah Nicole Phillips. Heide Lee is the curator of this special exhibit. (www.HeidiLeeArtAdvisory.com).
To further extend AT Kearney’s commitment to sustainability and community service, extra food from this event will be donated to Common Ground, a pioneer in the development of supportive housing and other research-based practices that help fight homelessness. Common Ground has received The Rudy Bruner Award for Urban Excellence, the Peter Drucker Award for Non-Profit Innovation, and the World Habitat Award through the United Nations and Building and Social Housing Foundation.
Please RSVP by Tuesday, November 30 to info@HeidiLeeArtAdvisory.com
Phases of a Peanut Butter Cup Wrapper
2010
relief prints of peanut butter cup wrappers
edition size: 2
4.5″ x 19″
$390 framed
New Prints 2009/10
A Benefit Exhibition and Silent Auction
A Tenth Anniversary Season Event!
On View: December 2-18, 2010
Opening Reception: Thursday, December 2nd, 6-8 pm
Members’ Preview & Early Bidding: 5-6 pm
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International Print Center New York announces the presentation of New Prints 2009/10: A Benefit Exhibition and Silent Auction opening in our Chelsea gallery on December 2nd and running through December 18th, 2010. Celebrating the past two years of IPCNY’s New Prints Program, and marking the tenth year of IPCNY’s presence in the arts community, the exhibition will consist of some 120 prints by artists whose work has been selected by IPCNY juries for New Prints shows in 2009 and 2010.
All prints included in New Prints 2009/10 have been generously donated to IPCNY by artists and publishers, and will be sold to benefit IPCNY’s exhibitions and programs. In addition to work by New Prints artists, the exhibition will include a number of prints donated specifically in celebration of IPCNY’s 10th Anniversary Season by Jasper Johns, Ellsworth Kelly, Ed Ruscha, June Wayne, and Terry Winters.
New Prints Selections Committees are composed of four to six curators, critics, artists, master printers, publishers, and collectors, and others prominent in the field, including, in 2009 and 2010, Polly Apfelbaum, Alexander Campos, Matthew Day Jackson, Kathleen Flynn, Michele Oka Doner, Leslie Miller, Philip Pearlstein, Gary Simmons, and Roberta Waddell (a complete list of past New Prints Selections Committees is available at www.ipcny.org).
IPCNY thanks the following publishers for donating to the auction: Brooke Alexander Editions, Anchor Graphics, Gemini G.E.L, Harlan & Weaver, Lower East Side Printshop, Carolina Nitsch, Paulson Bott Press, SOLO Impression, Stewart & Stewart, Tamarind Institute, Universal Limited Art Editions (ULAE), and VanDeb Editions.
New Prints 2009/10 will reflect the breadth of the New Prints Program, featuring original prints in various aesthetic styles and techniques, ranging from traditional to conceptual, by artists at all stages of their careers.
Participating artists include: Francine K. Affourtit, Romeo Alaeff, Daniel Allegrucci, Roberta Allen, Darren Almond, Desirée Alvarez, Rosaire Appel, Michael Barnes, Curtis Bartone, Jebah Baum, Joell Baxter, Jarrod Beck, Ray Beldner, Grace Bentley-Scheck, Joan Dix Blair, Bettina Blohm, Brent Bond, Karin Bos, Marisa Boullosa, Michael Bramwell, Noah Breuer, Ellie Brown, Nicholas Brown, Victoria Burge, Stephen Burt, Walter Buttrick, Nancy Campbell, Nathan Catlin, Jean Cencig, Liz Chalfin, Onyedika Chuke, Tamar Cohen, Ann Conner, Ann Conrad, Sylvie Covey, Michael Dal Cerro, Hope Dector, Donna Diamond, Lauren Drescher, Sally Duback, Joellyn Duesberry, Barbara Duval, Sara Eichner, Kota Ezawa, Sara Farrell Okamura, Eduardo Fausti, Orna Feinstein, Lisa Ficarelli-Halpern, Eileen M. Foti, Deborah Freedman, Juan R. Garcia, Bryan Nash Gill, Klara Glosova, Tai Hwa Goh, Jane E. Goldman, Gary Groves, Fred Hagstrom, Takuji Hamanaka, Sarah Hauser, John Himmelfarb, Yuji Hiratsuka, Anita S. Hunt, Chika Ito, Jasper Johns, Susan Kaprov, Nils Karsten, Ronald Katz, Ellsworth Kelly, Isaiah King, Maho Kino, Andrew Kozlowski, Yunmee Kyong, Nancy Lasar, Anthony Lazorko, Karen Lederer, Michael Loderstedt, Franco Marinai, Chris Martin, Nichole Maury, Betty Merken, Frederick Mershimer, Traci Molloy, Carol Montgomery, Sean P. Morrissey, Julia Nelson-Gal, Rhea Nowak, Alice O’Neill, Lothar Osterburg, Bruce Pearson, Mark Pease, Raymond Pettibon, Sarah Nicole Phillips, Adam Pitt, Sarah Plimpton, Liliana Porter, Endi Poskovic, Paula Praeger, Ellen J. Price, Ross Racine, Erika Radich, Jenny Robinson, Rosa Ruey, Ron Rumford, Ed Ruscha, Soledad Salamé, David Sandlin, John-Mark Schlink, Larry Schulte, Robin Sherin, Gary Simmons, William H. Skerritt, Laurie Sloan, Fred Stonehouse, Beth Sutherland, Julia Talcott, Fulvio Tomasi, April Vollmer, Maureen Warren, June Wayne, Carmi Weingrod, Allan Wexler, Mark Wilson, Terry Winters, Tammy Wofsey, Erin Woodbrey, and Judy Youngblood.
All prints on exhibit will be available for purchase. An ongoing silent auction with a “buy-now” option will begin on the evening of December 2nd and will continue through December 18th, ending at 6 pm. The Exhibition and Silent Auction will provide an opportunity to purchase superior artists’ prints at a range of affordable prices (minimum starting bids will begin at $75) and to support a growing non-profit arts organization in its landmark tenth year. Images and online bidding information will be available on www.ipcny.org. |
IPCNY’s New Prints Program is an ongoing series of juried exhibitions of brand new prints presented four times each season in our Chelsea gallery. The New Prints Program has significantly impacted the field of printmaking by bringing to the public a range of excellent new work from an astounding diversity of sources. With the opening of its space in September 2000, IPCNY created a permanent, non-commercial open venue for emerging and established artists to exhibit their most recent print projects. Over 1,500 exceptional contemporary prints have been presented in thirty-seven exhibitions, illustrating a wide variety of print techniques, from etchings and woodcuts on paper, to three-dimensional and site-specific work, to the most current digital processes. Now relocated to an expansive new gallery and in its tenth season, IPCNY continues to showcase emerging and established talent, and moves forward with its mission to enlarge audiences for the visual arts.
A New Prints Touring Program, launched in 2006, has taken selected New Prints shows around the country, to venues in Chicago, Philadelphia, South Carolina, Virginia, and more. This year, New Prints 2010/Autumn will travel to the new Visual Arts Center at The University of Texas/Austin. Several shows are available; please contact Julia@ipcny.org for more information about IPCNY’s Exhibitions Touring Program.
International Print Center New York is a non-profit institution founded to promote the greater appreciation and understanding of the fine art print worldwide. Through innovative programming, it fosters a climate for the enjoyment, examination and serious study of artists’ prints, from the old master to the contemporary. IPCNY offers its members a program of workshop and gallery visits, artists’ talks and other special events, and has established an informational website and Information Desk available to the public at the gallery. IPCNY depends upon public and private donations to support its programs.
Sponsors of IPCNY’s 10th Anniversary Season are The Edward John Noble Foundation, Lily Auchincloss Foundation, Deborah Loeb Brice Foundation, The Felicia Fund, The Horace W. Goldsmith Foundation, Hess Foundation, Charles S. Mott Foundation, Reed Foundation, Arthur Ross Foundation, Phillips de Pury and numerous individual donors.
IPCNY is located in Chelsea at 508 West 26th Street (between 10th and 11th Avenues), Room 5A, New York, NY, 10001. Hours are Tuesday – Saturday, 11 am – 6 pm. For more information, please call 212.989.5090 or visit us on the web at www.ipcny.org. New Prints 2009/10 will be posted and documented on the site together with prior exhibitions presented by IPCNY.
High resolution images and supplementary materials are available upon request. For more information, contact Julia Lillie at julia@ipcny.org.
ANNOUNCING
HOT HARVEST: The Gowanus Studio Space 2010 Printmaking Fellows and Friends
NOVEMBER 12TH – DECEMBER 12TH 2010
Opening Reception Friday, November 12th 7pm-11pm
The Gowanus Studio Space is pleased to announce a group exhibition curated by its three 2010 printmaking fellows: Johee Kim, Rachel Ostrow and Maggie Wright.
WITH PRINTS BY:
MARTIN BLAND, NOAH BREUER, CARDA BURKE, DEB CHANEY, BEN COHEN, ANGELA CONANT, EMILY ELSEN, BEKA GOEDDE, VALERIE HAMMOND, JOHEE KIM, ILIAS KOEN, MIRANDA LEIGHFIELD, GENEVIEVE LOWE, FRANK OLIVE, RACHEL OSTROW, KRISTA PETERS, SARAH NICOLE PHILLIPS, JULIA SAMUELS, FRANCESCO SIMETI, MICHAL SKIBA, KIKI SMITH, ERICA SVEC, MAGGIE TRAKAS, TOMAS VU, MAGGIE WRIGHT
Please join us at the reception on Friday, November 12th from 7pm-11pm.
DJ POLKADOT spins that old-time country vinyl. DJ CHEWROCKS later, when the night gets dancey.
E FOR EFFORT tees by Beka Goedde and Rachel Ostrow for sale!
FREE Kiss prints by Angela Conant
While the three residents have each had extensive professional printmaking experience in New York City printshops, their show focuses instead on the self-made print, culling from a wide variety of technique, including etching, lithography, woodcut and silkscreen. Traditional uses of the medium are abundant, but several prints blur the boundaries of the expected. Inked-up Reeses Peanut Butter cup wrappers, stamped balloons and faxed pages (edition numbered by their times through the machine) prove a dedication to the idea of printmaking without the use of a press or drawn matrix. Other prints are manipulated by additional media: pencil, collage, hand-coloring; media is also manipulated by printed matter. There are experimental uses of common printmaking effects – careful cut-outs of chine collé, collages of rainbow rolls – and plates which have been cut out, sandblasted, and etched with the impression of fresh pie.
A common thematic thread was not intentional at the outset, but as the curators selected work for the show certain themes became evident. The natural world provides a strong current, with nods to folk art and the mystical. Several animals and plants make appearances, as do depictions and abstractions of the natural and man-made landscape. In contrast, many works, often saturated with color, demonstrate a geometric precision in line and detail. Humor and wit is apparent and important – the exhibition does not intend to provide a serious analysis of recent DIY printmaking. Alternatively, it strives to offer an inclusive, light-hearted view of the variety of approaches and experimentation possible within the constructs of the medium. It is a harvest of many fruits united by the same tree.
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The Gowanus Studo Space is a non-profit organization and a sponsored project of New York Foundation for the Arts, providing equipment, exhibition opportunities, and space to work for the artists and designers of New York City. To learn more about our space and mission, please visit www.GowanusStudio.orgThe Gowanus Studio Space
166 7th Street, Ground Floor
Brooklyn, NY, 11215
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