New Prints In Focus
Tia Blassingame, Allison Conley, and Inês Martins
OPENING RECEPTION: THURSDAY, OCTOBER 10, 2019, 6–8PM
MEMBERS & PRESS PREVIEW: 4:30–6PM
ON VIEW OCTOBER 10–DECEMBER 18, 2019
New Prints In Focus is a new initiative at IPCNY designed to highlight the ongoing work of our New Prints Artist Development Awardees. Taking its first form as a presentation of work from three recent Artists-in-Residence– Allison Conley, Tia Blassingame, and Inês Martins– New Prints In Focus explores the impact that the New Prints Program has on participating artists’ practices.
About the artists
A book artist and printmaker exploring the intersection of race, history, and perception, Blassingame holds a B.A. in Architecture from Princeton University, M.A. in Book Arts from Corcoran College of Art + Design, and M.F.A. in Printmaking from Rhode Island School of Design. She has been an artist-in-residence at Yaddo and MacDowell Colony. Her artist's books can be found in library and museum collections including Library of Congress, Yale University, the Metropolitan Museum of Art, and State Library of Queensland. Blassingame is an Assistant Professor of Book Arts at Scripps College and serves as the Director of Scripps College Press.
Allison is a nationally exhibiting artist, printer, and educator. She actively participates in multiple print exchanges each year and is a member of the Southern Graphics Print Counsel. She attended research institutions for both her bachelors and masters degree, concluding in a terminal MFA in printmaking.
Her work investigates this disharmony between the group and individual will, and how the anxieties of the human-colony manifest into physical forms or actions.
Inês’s practice exploits the physical possibilities of the book and publication and its interaction with the user, translating meaning into form and function. The work oscillates on the border between digital and material thinking about the functionalism and aesthetic formalism of other formats.
The result is hybrid forms: book / art / object. Attention to the materiality and surface of things comes from the fascination with what one cannot touch and from the restlessness in attributing a physical body to what is fleeting. As a way of translating the fragility of these manifestations, the work evolves from the interest in working the book as object and support of representation of intangible realities.