City Life Org – Print Center New York Opens New Home on October 8 with Exhibition Visual Record: The Materiality of Sound in Print


Left: Jess Rowland (born 1971). carpets of sound, 2013–ongoing, installed at the Berkeley Art Museum and Pacific Film Archive, UC Berkeley, 2013. Copper foil on acetate; Electronics. Installation dimensions variable. ©Jess Rowland. Photo: Sibila Savage. Right: Jason Moran (born 1975). Note counting, 2021. Pigment on Gampi. 25 1⁄2 x 38 1⁄4 in. Courtesy of the artist and Luhring Augustine Gallery, New York. © Jason Moran. Image courtesy of the artist and Luhring Augustine, New York.

The Print Center New York, New York’s premier nonprofit arts institution dedicated to advancing print as the primary artistic, cultural and social medium, opens its new ground floor home at 535 West 24th Street to the public on October 8th. The inaugural exhibition Visual Record: The materiality of sound in printon view at the Jordan Schnitzer Gallery, explores how artists have used print-based processes to explore the relationship between sound and its visual representation since the 1970s. visual recording includes work in a range of mediums by 15 artists including Terry Adkins, John Cage, Bethany Collins, Glenn Ligon, Christian Marclay, Dario Robleto and Audra Wolowiec, among others, and will be on view through January 21, 2023.

Print Center New York (formerly International Print Center New York or IPCNY) opens its new premises along with a fresh visual identity that reflects the vision created with a strategic plan for its 20th anniversary in 2021. Milestones achieved to date include an expanded board of trustees and staff, deepened support for artists with new professional development opportunities through the New voices program, an expanded exhibition calendar with monographic exhibitions and the exploration of prints in a broader and more diverse artistic and cultural framework.

“The Print Center has sought to define print in a broad and interdisciplinary context—not as an isolated art practice, but as one that is connected across media and as a tool that can address and mediate the pressing issues, ideas, and conversations of our time. We’re excited to celebrate our new space and continue to define our role as a leader within the art community,” said Judy Hecker, Executive Director, Print Center New York.

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New space and architecture

The new location doubles the size of the previous print center space to a total of 4,100 square feet and offers almost three times the wall space for installing artworks. Designed by architect Markus Dochantschi of studioMDA, the ground floor area with large windows welcomes visitors from a busy street in the heart of New York’s Chelsea arts district into an entrance with seating and publications to browse. The lobby features an interior door and a glass wall that serves as an anteroom, provides air conditioning, and provides visitors and passers-by with a visual connection to the exhibitions. The main interior, the designated Jordan Schnitzer Gallery, allows for variable uses, including exhibitions, artist programs, performances, and receptions. The space also features an art storage facility, a conference room, and an office for employees.

to see the exhibition

Visual Record: The materiality of sound in print is organized by guest curator Elleree Erdos, who was appointed director of prints and editions at David Zwirner last year. Rooted in the traditions of clay and print, the works are in visual recording reflect an increasing interest in how prints relate to and inform broader multimedia practices. visual recording highlights artists whose work translates between sound and pressure with distinctly physical means. Across a wide range of themes – from the rhythms of jazz and American nostalgia to the sound of silence and the coding of race in acoustic matter – the works show how the idea of ​​the “gramophone record” is reinforced through innovative technical and conceptual approaches to printmaking becomes .

The works vary greatly in their relationship to the printmaking – some are unique transfer drawings, some are traditional editions and others use methods of casting, cutting or digital printing. For example to create Note countingOn November 10, 2021, Jason Moran, a jazz pianist and composer, spread a sheet of paper over a keyboard, covered the paper with pigment and played. The resulting markings map the artist’s movement in relation to the piano through the density of the pigments and the folds, creases, and tears of the paper. Playfully transforming an everyday object in an unexpected way, Peter Fischli/David Weiss record (for parquet), 1988, uses traditional casting techniques but uses synthetic black rubber to create a seemingly useless imitation record that actually plays music. Some works on display also expand into installations and bring sound to the gallery: a new iteration by Jess Rowlands carpets of sound2022, creates an environment of spatialized sound with suspended copper printed circuits that transmit audio signals.

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An accompanying publication features essays by Elleree Erdos, Jennifer L. Roberts, Harvard Humanities Professor Elizabeth Cary Agassiz, and musician and writer David Toop, and will be available online and on-site.

Public Programs

Programs offered to the public along with Visual Record are free and include:

Saturday, October 22, 2 p.m

Exhibition tour led by Jenn Bratovich, Exhibitions and Programs Director, in conjunction with Open House New York, in-person registration desired, capacity limited to 20 people

beginning of November

Performance by Bethany Collins America: A Hymnalin person Friends Religious Society Meeting House, 15 Rutherford Street Visitors are free to come and go throughout the evening
go in

Tuesday, November 15 at 7 p.m. ET

Printing with Fire: Bethany Collins and Dario Robleto in conversation with Jennifer L. Robertsvirtual
RSVP

Saturday, December 10, 2 p.m

Exhibition tour led by Jenn Bratovich, Exhibitions and Programs Director, in-person registration desired, capacity limited to 20 people.

More information about additional programs will be available shortly on the Print Center New York website.

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Visitor Information

The Print Center New York is open to the public and is located at 535 West 24th Street between 10th and 11th Avenues. The opening hours are Tuesday to Saturday, 10:00 a.m. to 6:00 p.m. Admission is free.

About the New York Printing Center

The Print Center New York is New York’s premier non-profit exhibition space dedicated to exploring the dynamic and accessible medium of print within broader artistic and cultural discourses. Print Center New York engages audiences in a welcoming environment, both on-site and online, through interdisciplinary exhibitions, innovative science, educational programs and digital resources. As a 501(c)(3) institution, Print Center New York relies on foundations, governments, individual support and member contributions to fund its programs.

About studioMDA

studioMDA is a multidisciplinary design studio based in New York, founded in 2002 by Markus Dochantschi with a mission to challenge the boundaries of design. studioMDA has worked extensively in the United States and internationally with a wide range of typologies, including both high-end and affordable residential, cultural, commercial, institutional, mixed-use, and architectural design competitions. studioMDA designed the new Phillips Auction House headquarters in New York, the Faurschou Foundation in Brooklyn and the Center for Advanced Mobility in Aachen, Germany, as well as New York art galleries including Anton Kern Gallery, Bortolami Gallery, Kasmin Gallery, Lisson Gallery, Luhring Augustine Gallery and PPOW Gallery. Other current projects in the Chelsea neighborhood include Harper’s Gallery and the first location of Galerie Templon in New York.

credits

Print Center New York is funded in part by the New York State Council on the Arts with support from Governor Kathy Hochul and the New York State Legislature, and the New York City Department of Cultural Affairs in partnership with the City Council.

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