Exhibitions, Events, Announcements, Studio Happenings
Substance of Silence. Tunnel Projects, Miami Florida, January 2024
The Ellies are "a game changer for visual artists and for Miami, as these grants provide working artists with the resources they need to do their best work."
Out of 370 applications, 38 artists were selected for the 2023 Creator Awards. I am honored to be among the impressive cohort of 2023 winners who were announced last week at a lively ceremony/party, at the Pérez Art Museum Miami.
This award will allow me to complete a project that developed during my Brehm Residency last spring. The new art work will be created in textiles and video and will be make its debut in a Miami area church with related contemplative public programming.
In the playful and celebratory energy of the evening, I took a victory pose that has made me the Oolite Arts cover artist. Thanks to Les Mills for assistance with the "guns" and the ability to hold a squat for multiple photographs
'm excited to announce that I will participate in “At the Edge” an exhibition curated by Amanda Bradley and Dennis Scholl (and that my image was selected for the exhibition flyer). Starting June 8, Oolite’s 928 gallery will be transformed with abstract works that challenge the boundaries of material, process, and environment. I’m excited to share the space with Nathalie Alfonso, Georgia Lambrou, Devora Perez, Karen Rifas, and Donna Ruff.
Be sure to join us on June 8 for the opening reception! The work will be on view through Sept. 11. You can read more about the exhibition at the link below.
Elemental: Terra, Tide & Time
Opening Reception: Thursday, February 10, 2022 from 6:00 PM – 9:00 PM.
Exhibition Dates: February 10, 2022 – April 23, 2022
The City of Pembroke Pines and Frank C. Otis Art Gallery present Elemental: Terra, Tide & Time, a survey of contemporary artists who explore new frontiers between visual art, environmental stewardship, sustainability and the relational duality between rural and urban environments. Between questions of weather and climate, ruin and entropy, boundary and movement, the artists in this exhibition reflect on how our environment is experienced and imagined. Acting as both researcher and renegade, each artist presents their findings through multiple forms of knowledge and practice including artistic approaches, scientific data, technological intervention and social activism. This exhibition features works by Alissa Alfonso, Sharon Berebichez, Felice Grodin, Christina Pettersson, Evelyn Politzer, Jennifer Printz, Gretchen Scharnagl, Lauren Shapiro and Lizzy Taber.
HE SHAPING OF AMERICA
EXHIBITION DATES: JANUARY 4 - 29, 2022
RECEPTION: THURSDAY, JANUARY 6, 5PM - 8PM
The Painting Center is pleased to present The Shaping of America, a group exhibition organized by artist Carrie Patterson running from January 4 - 29, 2022. The artists in The Shaping of America include Pam Cardwell, Janis Goodman, Cecily Kahn, Ying Li, Kayla Mohammadi, Deirdre Murphy, Carrie Patterson, Jennifer Printz, Rebecca Rutstein and Kendra Wadsworth. An essay titled Shaping of America: Medium-Specificity as Passive-Aggressive Resistance was written by Art Historian Vittorio Colaizzi.
From the very beginning of life, every person learns how to negotiate the spaces they live in, constructing ideas about the world. If I show you a group of maps drawn by children all living on Elm Street, each one would be different. Places of familiarity that are drawn boldly by one child would be left off completely by the other. Literal fact has no use in a children's map. If grandma's small house was THE place, then grandma's house might be the largest of all. Places of personal history or importance might crowd the street on some maps and those same spaces may be absent in another. Our perceptual and analytic understanding of our world begins with our experience of space. We learn through trial and error, conforming to the rules of culture, and maximizing our potential for survival and success within a landscape. As we grow older, we prioritize and negotiate our prefabricated versions of new experiences with the spaces of old in our memory. For me and many others, painting is a way of learning about the histories embedded in the ground, buildings, landscapes, and thus humanity.
The Shaping of America features the work of ten women artists. Each artist embodies the tradition of negotiating space and translating lived experience into abstract painted form, pivoting our understanding of the American Landscape. The paintings in this exhibition suggest that the idea of landscape expands exponentially when the meaning and context of the artist are also considered. The ten women artists and their work illustrate that landscapes cannot be interpreted without considering the connections artists have to memory, experience, and ownership. By doing so, you, the viewer, have the opportunity to see and experience the full picture.
This exhibition would not have been possible without the support of St. Mary's College of Maryland and Mount Gretna School of Art, where the whole idea started. I want to thank all of the artists, Vittorio Colaizzi, Shazzi Thomas, my family, and The Painting Center. - Carrie Patterson
The Shaping of America Exhibition History:
2019 AnnMarie Sculpture Garden and Art Center, Solomon, Maryland
2022 The Painting Center, NYC
Viewpoints: Expressions of an artist community
In celebration of its 35th anniversary season, Bakehouse presents Viewpoints: Expressions of an artist community, a group exhibition co-curated by visual artist Edouard Duval-Carrié and Bakehouse Curatorial + Public Programs Manager, Laura Novoa. The exhibition showcases twenty-five Bakehouse artists working predominantly in two-dimensional media, including painting, drawing, print-making, and photography. Duval-Carrié and Novoa draw on recent work to examine the creative output of a community and the way its constituent artists have navigated the changes and challenges of the last year and a half.
Recognizing the organization’s long tradition of group exhibitions and considering its current and future role as a local hub for art and art-making, Viewpoints hints at the array of individual styles and affinities coexisting in a shared space and how this diversity has come to define the spirit of the artists working, producing, and communing within Bakehouse.
Participating artists include: Jason Aponte, Maria Theresa Barbist, Thomas Bils, Lujan Candria, Alain Castoriano, Rose Marie Cromwell, Gabriela Gamboa, GeoVanna Gonzalez, Adler Guerrier, Gonzalo Hernandez, Monique Lazard, Rhea Leonard, Amanda Linares, Philip Lique, Nicole Maynard-Sahar, Patricia Monclus, Najja Moon, Mateo Nava, William Osorio, Christina Pettersson, Jennifer Printz, Sandra Ramos, Nicole Salcedo, Tonya Vegas and Almaz Wilson.
Installation images by Diana Espin.
March 27 - May 2, 2021
IS Projects, 17 NW 5th St
Fort Lauderdale, FL 33301
Fort Lauderdale, Fla. (2021) – Time, No Longer Emptied of Presence uses textiles as a means of reflecting on the invisible architecture of life and the ever-changing universe. The many threads woven together to create fabric represent the connections around us, our relationship with the planet, and the impact of time and space on each individual. Jennifer Printz uses fabric’s pliable nature to present the fluid tendencies of reality. The captured moment of the photograph is printed onto cotton and silks which are then manipulated into three-dimensional forms. The sky folds and twists as it is loosely stitched together into a tenuous shape that may unravel before our eyes, such as the ebb and flow of life.
This series materializes air, expanding and contracting it in space while clouds defy gravity. As the sky spills across the wall or onto the floor, one moment is stitched to another, emphasizing the collection of days that make up a life and the ongoing process of time. This work is also an homage to Printz's past, the time she spent as a child learning to sew with her great-aunt, and the many hours spent at her grandmother's Singer. It allows Printz to travel in time, joining the past with future, using the skills she learned as a child to now expand her studio practice.
For over a century now, artists from all over the world have been flocking to Paris for inspiration. Those seeking to satisfy their passion for drawing attended the independent art academies of Montparnasse, which offered intellectual and artistic freedom from the constraints imposed by the fine art schools of the time. Specializing in life drawing, charcoal drawing, sketching, or the nude, establishments such as l'Académie de la Grande Chaumière founded in 1904, were frequented by the likes of Chagall, Giacometti, Bourdelle, Foujita, Calder, Lempicka, Fernand Léger, Louise Bourgeois, Joan Miró, Chaïm Soutine and Ossip Zadkine, who later taught in these academies or in their own studios.
Throughout the 19th and 20th centuries, artists from abroad also spent countless hours studying works held in museum collections. Chaïm Soutine's still lifes were influenced by the works of Chardin and Rembrandt in the Louvre, while its Egyptian collection inspired Modigliani and Zadkine; Marc Chagall’s struggles for modernity drew on Delacroix’s art.
An essential part of the production process for many artists, drawing was historically overshadowed by the monumental mediums of sculpture and painting. Yet in the context of contemporary art, drawing is re-emerging as a powerful medium of its own. For example, in 2019, British artist Tracy Emin was invited to respond to the collection of the Musée d'Orsay, which she did by choosing works from the museum's collection, and displaying them in tandem with a series of her drawings in an exhibition titled The Fear of Loving. As the curatorial team noted at the time, drawing is “perhaps the most fragile art form, the one that best reflects sentiments and intellect”.
Our Drawing Residency seeks to pursue this tradition of drawing research: artists in the 2020/21 residency were invited to explore the online collections of three Paris museums and make a drawing or series of drawings inspired by any work or group of works they choose. The studio-museums of the sculptors Ossip Zadkine, Chana Orloff and Antoine Bourdelle contain many treasures reflecting the richness and variety of the Ecole de Paris, that may be freely reinterpreted from a contemporary point of view. In the spirit of the experimental art academies and ateliers of Montparnasse, all drawing styles, techniques and materials were permitted, in dialogue with the past.
Dulce Chacón (Mexico), Akira Chinen (Peru), Tatiana Ferahian (Armenia / Cyprus), Dipali Gupta (India / Malaysia), Yen Ha (Vietnam / United States), Ole Lejbach (Denmark), Lorena Morales (Venezuela / United States), Jennifer Printz (United States), Nicole Shimonek (Canada), Hannah Stahulak (United States).
I wanted to share the full interview about my art work with Professor Americo Marcelino the director of the Drawing Department at Faculdade de Belas-Artes da Universidade de Lisboa. It was a honor to be part of their Cinco Minutos de Desenho program!
And just a heads up the first 8 minutes or is an introduction in Portuguese then the interview starts in English.
When curators and friends Luna Goldberg and Laura Novoa saw the havoc that the COVID-19-related shutdown was causing within the arts community, they decided they had to take action.
Inspired by the efforts of fellow curator Pia Singh in Chicago, who created the “By & For” online art auction to benefit artists, the two teamed up to co-curate their own Miami edition. I am pleased to be among the artists selected by these curators.
June 1 – December 27, 2020
The mentality of the nation shifted during the week of March 13, 2020. That week, the respiratory illness, COVID-19 Novel Coronavirus, went from being something concerning to something alarming as the United States declared a national state of emergency. If we weren’t seeing things differently already (doorknobs, handshakes, water fountains, etc.), we did then.
The South Bend Museum of Art closed its doors due to the pandemic on March 16. At the same time, doors were shutting all across the country to help prevent the spread of the virus. Stay-at-home orders were issued by governors and people began to wait.
During this time SBMA staff discussed many strategies for furthering the museum’s mission virtually. The idea for Making A Way — SBMA’s first online exhibition — grew from these conversations. We saw it as an opportunity to assist artists through exposure to their work while also presenting the public with an art experience from within the safety of their homes. Most importantly, we wanted to share the stories of artists — how the Coronavirus and imposed restrictions had affected their lives and their work. In the end, we hoped the exhibition would also be a way to connect people through visual art as expressions of a shared experience during a time when what is safest is to stay apart from one another.
We received 191 submissions to our call for entries from artists throughout the country and the SBMA’s Exhibitions Committee began the task of reviewing the materials. A key component of each submission was a brief statement about how the artist had been affected by the pandemic. We found ourselves deeply moved by these snapshots of hardship and perseverance. Every submission was equally important in this regard. We discussed including all submissions, but decided to pursue our original stated goal of a curated exhibition for clarity’s sake. This would also differentiate the results from something as relatively random as searching hashtags on Instagram (i.e. #artinthetimeofcorona, #covidart or #artinisolation). In the end, we selected 48 submissions representing the work of 50 artists and collaborative projects.
We did not begin the jurying process with any preconception of how the exhibition would be organized. We wanted the submissions themselves to guide us. Through the review process, different themes became apparent within the artists’ statements. These became 7 broad categories and artists were organically ordered amongst them. While imperfect — and with a lot of overlap and blurred boundaries between them — they represent the experience of artists at this time.
When the free call for entries for Making A Way was publicly announced on April 1, 2020, there were 52 confirmed cases of the virus in St. Joseph County, Indiana (where the South Bend Museum of Art is located). The United States as a whole had already surpassed Italy and China combined, with 189,618 confirmed cases. By the opening of the exhibition on June 1, there are 1,274 confirmed cases in St. Joseph County, and over 1.77 million in the United States. And on May 27, the U.S. passed the grim milestone of 100,000 deaths caused by the virus. Federal restrictions expired on April 30, so every state has a different self-imposed timeline for the relaxation of their own restrictions. Most states have begun to loosen their restrictions on stay-at-home orders and social gatherings, and encouraging businesses to reopen their doors to the public. But with the reopening comes anxiety of the unknown over what effect this will have. Making A Way responds to this specific and difficult period of time.
As of the opening of Making A Way, we can’t see the forest because we’re still amongst the trees. We don’t know how the Coronavirus will change the way we live. Or what final toll it will claim. But that is the point of this exhibition. Not to give answers, but to become a record of the moment — while we are still inside the forest. There are innumerable unknowns, and it is a strange state of being where we, together with the artists of Making A Way, find ourselves. These are historic times and this exhibition will remain on SBMA’s website as a historical document created in the moment.
As this exhibition is not bound to a physical space or ordinary logistics, it will release episodically, beginning with TOGETHER on June 1.
Please note that Making A Way is best explored via tablet, laptop or desktop computer.
Artists working collaboratively during isolation
Featuring artists: Diana Baumbach, Seamus Carey, Jonah Criswell, Andrew Elsten, Stacey Holloway, Melissa Huang & Drew Tetz, Chenyu Lin, and Eric Souther & Andrew Deutsch
Artists adapting to the loss of their regular work space, equipment or materials
Featuring artists: Andranik Aroutiounian, Pat Brentano, Rachel Burgess, Jennifer Celio, Joe Karlovec, Ken Reker, Shawn Rowe, and Amy Schissel
SOLACE | June 15
Artists finding quiet solace in the making of work while in isolation
Featuring artists: Fern T. Apfel, Lauren Brady, Daniel Kukla, Laurel Lueders, Richard Nickel, Jennifer Printz, Leviticus Shand, and William Tourtillotte
FREEDOM | June 22
Artists appreciating a freedom from deadlines
Featuring artists: Ling-lin Ku, Jonathan Pellitteri, David Sparks, and Torina Stark
INTERRUPTION | June 29
Artists coping with the effect of the pandemic on academia
Featuring artists: Jessica Dehen, Marley Foster, Hannah Nielsen, Alyssa Reiser Prince, and Claire Whitehurst
PERSPECTIVE | July 6
Existing work by artists now has added meaning
Featuring artists: Kamari Carter, Natalie Christensen, Skye Gilkerson, Chloe Ilene, and Stacy Isenbarger
TRANSLATION | July 13
Artists making new work directly related to the pandemic
Featuring artists: Linda Bond, Kathy Bruce, Dee Hood, Saskia Krafft, Nathan Margoni, Lake Roberson Newton, TJ Norris, Iviva Olenick, Mandy Cano Villalobos
Special thanks to all of the artists who contributed to this exhibition.
JASON MCCOY GALLERY, NYC
DRAWING CHALLENGE VII
We are thrilled to announce Grace DeGennaro, Frances Hynes, Erick Johnson, and Jennifer Printz as the featured contestants of our Drawing Challenge VII, which was inspired by Correspondences, a poem by Charles Baudelaire, which is part of Les Fleurs du mal (1857).
We would like to thank the artist Catherine Drabkin for suggesting these lines.
Nature is a temple where living pillars
Let escape sometimes confused words;
Man traverses it through forests of symbols
That observe him with familiar glances.
Like long echoes that intermingle from afar
In a dark and profound unity,
Vast like the night and like the light,
The perfumes, the colors and the sounds respond.
There are perfumes fresh like the skin of infants
Sweet like oboes, green like prairies,
—And others corrupted, rich and triumphant
That have the expanse of infinite things,
Like ambergris, musk, balsam and incense,
Which sing the ecstasies of the mind and senses.
I was happy to be part of the Fountainhead Online Open Studio Event.
Artists will be taking over Fountainhead's Instagram channels and offering virtual studio visits. Take this opportunity to learn more about artists' practices, gaining a rare window into their motivations and process. I shared my makeshift home studio, examples of new work, and inspiration.
I am happy to announce that I was a participant in the Coral Gables Museum's Portfolio Review Series.
The Portfolio Review Series is a platform for interactions between local artists and the Coral Gables Museum’s public. In the past, we have invited different communities of artists to showcase their work in the Museum. We hosted small groups of approximately ten artists in our Community Meeting Room for one night. Instead of works on the wall, artists displayed their portfolios, sketches, catalogs, small, unframed pieces, and other materials, for an evening of great conversation. These sessions have been a good opportunity for artists to network and to engage in new ideas and projects, as well as a chance for our visitors to meet our local talent.
Amidst the necessary social distancing, when visits to Museums or to artists’ studios are not in the scope, we are bringing this project online. Instead of inviting a group of artists to our galleries, we have thought of presenting the work of one creative at a time.
Friday, April 10th from 2 – 4pm Bakehouse Art Complex presents a webinar,
Drawing Us In: A Conversation about Contemporary Drawing.
For two weeks in March 2020, a group of fourteen artists from around the globe were to participate in L’AIR‘s drawing research residency in Paris. Days before the scheduled start date of the program, the COVID-19 pandemic grew in its severity across Europe and then the world, ultimately postponing the program and leading to shelter at home orders for many of the countries in which these artists live.
Undeterred, this group of artists used social media to interact and develop relationships with each other. This conversation, led by Bakehouse artist Jennifer Printz, will bring a subset of these artists together to discuss what drawing means, how they personally use the medium for their own artistic goals, and how they have continued creating in this unprecedented situation.
Yen Ha, New York City, NY
Ole Lejbach, Kalundberg, Denmark
Nicole Shimonek, Winnipeg, Canada
Hannah Stahulak, Los Angeles, CA
Grazielle Portella, Lisbon, Portugal
Jennifer Printz, Miami, FL
Dariana Davis and Jennifer Printz
Spring Hill College
February 17 - March 13, 2020
Closing Reception, March 12, 5-7PM
A NOT SO PERSPICUOUS ARRANGEMENT
Ferguson Center For The Arts
Christopher Newport University
Newport News, VA
February 3 - March 27
Nationally known artist and printmaker Jennifer Printz is flying in from Miami to talk about her exhibition in the Falk Gallery. We invite you to attend, meet the artist and learn about her process that incorporates photography with the french process of chine-coll̗̗̗é combined with printmaking on japanese awagami washi paper.
Her works are meticulously crafted, yet ethereal in presentation... images fluctuating between the pull of gravity and the lack thereof.
LOWER LEVEL GALLERY
November 14, 2019 – January 3, 2020
Draw is a mixed-media exhibition featuring works by artists who incorporate drawing in their artistic process.
38 BILTMORE AVE
M – SAT: 10:00 – 6:00 PM
SUN: 12:00 – 5:00 PM
I am happy to announce I am setting up my studio in Miami at the Bakehouse Art Complex. This dynamic complex houses more than 30 artist studios, has a gallery with excellent programming, and a robust community outreach programming. It feels like a good place to land!
The Art Museum at State University of New York, Potsdam
August 26 – November 8, 2019
In response to a culture saturated with devices that distance, digitize and disembody, the artists in COMPULSORY MEASURES embrace repetition and ritual as mindful strategies to ascertain meaning. Bordering on the obsessive, Jorge Benitez, Kristy Deetz, Al Denyer, Joan Elliott, Reni Gower, Steven Pearson, Jennifer Printz, and Tanja Softić provide lifelines for “making sense” out of the chaos entrenched in contemporary society. By utilizing complex systems, intricate patterning, repetitive marking, or minute detail; COMPULSORY MEASURES offers revelatory and celebratory works slowly crafted by hand.
I am not quite a cover girl this time, but you can find an amazing six page article on me, my practice, and my Roanoke studio in the fall edition of In Her Studio Magazine. Did you know I can build furniture? Find out more in the magazine. It is available at most Barnes and Nobles as well as other bookstores and arts and crafts retailers.
ANNMARIE SCULPTURE GARDEN AND ARTS CENTER
Solomons Island, MD, September 27 – October 26, 2019
After Hours Reception: October 11, 2019
Join us for an art exhibition featuring the paintings of ten women artists who see and experience the genre of landscape painting in uniquely different ways. Inspired by the written word of American geographer D.W. Meinig, the exhibition highlights how each painting embodies the idea of “landscape” as experienced through the hand of the artist and the eye of the viewer. The definition of “American Landscape” will twist and turn with each layer of painted material.
Jennifer Printz: Gentle Equanimity
Zero East 4th Street
Richmond, VA 23224
July 26-August 18th, 2019
And we moved!
I am happy to announce that I accepted a position at Florida International University and we now call Miami home. Rocky wasn’t so sure about all of this, but he is settling in!
January 4th – 26th, 2019
Jennifer Printz: Of Space and Matter
In the Front gallery
Friday, January 4th, 5:00 – 7:00 PM
Jennifer Printz’s drawing, prints, and mixed media work in Of Space and Matter come out of her contemplative interpretations of the firmament and how we observe or frame it intellectually, poetically and psychically. Printz’s time-intensive, meditative practices render this ephemeral, enveloping and ever changing subject to reflect the nature of human receptivity and memory, and the phenomena of meaning.
Chroma Projects / Gallery
103 W. Water St.
Charlottesville, VA 22902
I am honored that my work is featured this month at PLEAT gallery alongside the amazing works of Bethany Johnson for the month of January 2019. It is an amazing alternative venues and Bethanie Irons selects interesting artists each and every month.
Hyperallergic included my studio in their December 14, 2018 “A View From The Easel.“
My studio is in a church. The building is on the National Register of Historic Buildings, and the congregation rents the upper classroom spaces out to a few area artists. Although I love the huge windows and the delicious morning light the studio receives, I am equally in love with the philosophy of the Metropolitan Community Church that has advocated for civil and human rights for all since 1968. As soon as I open the front door to the building, I see a sign that states everyone is welcome and safe in this space. This atmosphere sas gently infiltrated into my working practice and my desire to make work that is ultimately hopeful and uplifting.
The bright, open, and well-lit space is perfect for my two-dimensional practice. I designed and built the furniture to fit my needs. The work tables have storage so pencils, tape, and most of the tools I need are right there as I work. The wall easels complement the stand-alone easels so that multiple pieces can be worked on and displayed at the same time.
“Cogitation” was a solo exhibition of my work at The Contemporary Art Gallery at Southeastern Louisiana University from August 30th through September 27, 2018. I had a wonderful visit with on campus and got to work with students there.
A series of my recent work will be shown in an exhibition at the University of Kentucky opening on January 19th and running through February 18, 2018. The show is titled “Hushed Residuum” and focuses on the boundaries of space and time. For more information see Bolivar Gallery’s website.
I am a cover girl, well my art is! I am pleased to share that my work was included in the October 2017 edition of Whurk magazine. The magazine covers art and culture throughout the state of Virginia with great articles and design. You can pick it up for free across the state, or read it here.
My work was also selected for the September edition of Average Art published in the UK
“An Almost Unnoticed Quietus” opened on October 4 at the Eleanor D. Wilson Museum and will run through December 20, 2017. The exhibition showcases the work made during my sabbatical season and includes mixed media drawings made in Paris and Roanoke. A wonderful article on the exhibition was published in the Roanoke Times and can be read here.
As the summer of 2017 heats up, I am working hard in the studio preparing for a solo museum exhibition in the fall. This gives me a chance to explore in greater depth some of the ideas and concepts I began in Paris and to continue to push what I am doing with drawing and the surfaces I am drawing and printing on. Although many things are still in the works, I have decided on the exhibition title, “An almost unnoticed quietus”.
Happy to share that I just shipped three of my prints to be exhibited at the Duoro Biennial 2018 and the 3rd Global Print 2017 in Portugal. Wish I could join them!
During the months of March and April 2017, I had the great honor of being an artist in residence at the Cite Internationale des Arts in Paris France. The experience was amazing. The facility is in Le Marais a historic district in Paris with numerous museums, galleries, and excellent examples of Parisian architecture. I made some wonderful new friends and loved every minute. The work produced there will soon be posted, but here’s an example in the meantime.
My prints will be shown as part of two exhibitions for this year’s SGC International Conference in Atlanta, Georgia – Out of the Frame, Off the Walls at Eyedrum Gallery, and The University of Georgia Alumni Show at Gallery 72. SGC International is world’s largest organization of printmakers and the annual conference is always an amazing event.