Sep
22
to Oct 5

Published by the Artist 2017

International Print Center New York presents

Published by the Artist 2017

Benefit Exhibition & Sale of Self-Published Editions

Curated by Grayson Cox and Angela Conant

with Organization-in-Residence The Sunview Luncheonette

NTERNATIONAL PRINT CENTER NEW YORK

ipcny.org • 212-989-5090 • contact@ipcny.org

508 West 26th St., 5A, New York, NY 10001

RECEPTION: Friday, September 22, 6-8PM

Preview for Press, Artists, & IPCNY Members: 5-6PM

ON VIEW:  September 22 - October 5, 2017

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Aug
3
to Sep 17

Where Do We Stand? Two Years of Drawing with Open Sessions

Where Do We Stand? Two Years of Drawing with Open Sessions is the second whole-group exhibition of the Open Sessions program. It includes all thirty-six artists in the 2016-17 program, giving the first floor of the museum over to an exploration of contemporary drawing, encompassing video, sculpture, photography, and installation, as well as traditional drawing forms. 

Every two years Open Sessions invites a large group of artists, chosen via open call, to consider their relationship to drawing as medium, process, and metaphor. Working together over a two-year period, Open Sessions artists participate in ongoing studio visits and discussions, punctuated by small-group exhibitions at The Drawing Center.

Open Sessions artists participating in Where Do We Stand?
Regina Agu; ruby onyinyechi amanze; Daniel Bejar; Danielle Dean; Mustafa Faruki; Eric Ramos Guerrero; Sheree Hovsepian; Sue Jeong Ka; Olalekan Jeyifous; Rafael Kelman; Arnold Kemp; Nsenga Knight; Florentine and Alexandre Lamarche-Ovize; Carolyn Lambert; Lei Lei; jc lenochan; Thessia Machado; Srinivas Mangipudi; James Mercer; Irini Miga; Ana Peñalba; Sreshta Rit Premnath; Jennifer May Reiland; Gabriela Salazar; Slinko; Sun Moqing; Edwin Torres; Hồng-Ân Trương, Rodrigo Valenzuela, Ezra Wube, Sara Chang Yan, and Tuguldur Yondonjamts. 

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Personal Desire Propaganda
Jul
10
8:00 PM20:00

Personal Desire Propaganda

“Personal Desire Propaganda” is a community of artists creating and selling limited edition silkscreen prints.  The guiding concept behind the platform is for each artist to treat their print editions like a vessel for sending their desires out into the world.  Each print is hand-made, comes in an edition of 100, and is sold from our website or at the exhibitions around the world we’re organizing.  Artists disperse their propaganda, get 100% of the profit, and art-lovers get an original work of art for a very affordable price.

Artists:
Chris Benfield // Noah Breuer // Blake Carrington // Nathan Catlin // Grayson Cox // Paloma Crousillat // B. Ewing + E. Hougen // Jared Friedman // Asa Gauen // Emily Henretta // Paul Jacobsen // Lou Joseph // Michael Levin // Michael Neff // Lauren Pakradooni // Eric Ramos Guerrero // Mark Rice // Daniel Rich // Julia Samuels // Seth Scantlen // Jeremy Sheaffer // Sarah Shebaro // Jonathan Stanish // Zefrey Throwell // Jesse Weiss

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El Museo Del Barrio Bienal 2013: Here Is Where We Jump
Jun
12
to Jan 4
shows

El Museo Del Barrio Bienal 2013: Here Is Where We Jump

Appearing as his radio personality known by the moniker DJ Decker Radario AKA DJ Decks, Eric Ramos Guerrero will host Cortez Killer Cutz Mixtape Radio (2013) for the exhibition. DJ Decks’ pirate radio has been stealthily stationed on an island thought to be California that was first described in the 1510 novel, Las sergas de esplandian, by the Spanish writer Garci Rodriguez de Montalvo. From first hand accounts by wayward early 16th century Spanish explorers, Rodriguez de Montalvo was the first to publish on the inhabitants of the island: a castration complex-inducing, estrogen fueled isle of colossal women overruled by a warrior queen named Califa. Similar to the role that DJ Decks’ radio program plays in his homeland, its presence in the exhibition will function as beacon for social and political discourse. It will also transmit live from El Museo Del Barrio and rock the airwaves but also host interviews and performances. Cortez Killer Cutz Mixtape Radio is context dependent and relational, and alludes to other forms of electronic transmission associated with the historical avant-garde: the Eiffel Tower’s (1889) ability to transmit radio waves across borders in the first decade of the 20th century inspired the Eiffel Tower paintings by Orphic abstractionist Robert Delaunay. Guerrero’s intelligent and poetic Cortez Killer Cutz Mixtape Radio, with its admixture of rap, oldies music, street culture and a sort of neo-Fluxus conceptualism and performance, has an affinity with one of the landmark works of discursive transmission, albeit never actualized: V. I. Tatlin’s utopian Monument to the Third International (1919-20).

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