Works in the Exhibition

Works in the Exhibition

Terry Adkins (1953–2014) Untitled (Disk Print, Red), 2001 Ink on paper, printed from metal music box disc 30 × 30 inches Courtesy Paula Cooper Gallery, New York

Annesas Appel (b. 1978) Metamorphosis Music Notation, 2015 Piezo print in 50 strips with perforations; hand-cranked music box Each strip 89 × 3 inches Installation dimensions variable Printed by Bernard Ruijgrok, Amsterdam Courtesy the artist and Gallery DudokdeGroot, Amsterdam

K.P. Brehmer (1938–97) Gnome, 1975 Ballet of the Unhatched Chicken, 1975 Great Gate of Kiev, 1975 Etchings 20 7⁄8 × 26 3⁄8 inches each From the portfolio Bilder einer Ausstellung [Pictures at an Exhibition], 1975/1988 10 etchings by K.P. Brehmer, 11 hand-colored photostats by Philip Corner, and one LP Edition of 30 planned; a few impressions printed Published by Edition Block, Berlin Courtesy Edition Block John Cage (1912–92) Where R=Ryoanji: R2/1, 1983 Drypoint Image: 7 × 21 ½ inches Sheet: 9 ¼ × 23 ¼ inches Edition of 25 Printed and published by Crown Point Press, San Francisco Courtesy Crown Point Press

Where R=Ryoanji: R2/2, 1983 Drypoint Image: 7 × 21 ½ inches Sheet: 9 ¼ × 23 ¼ inches Edition of 25 Printed and published by Crown Point Press, San Francisco Courtesy Crown Point Press

Where R=Ryoanji: R2/3, 1983 Drypoint Image: 7 × 21 ½ inches Sheet: 9 ¼ × 23 ¼ inches Edition of 25 Printed and published by Crown Point Press, San Francisco Courtesy Crown Point Press

Where R=Ryoanji: 2R+13.14, 1983 Drypoint Image: 7 × 21 ½ inches Sheet: 9 ¼ × 23 ¼ inches Edition of 25 Printed and published by Crown Point Press, San Francisco Courtesy Crown Point Press

On the Surface No. 10, 1980–82 One from a series of 35 related etchings printed in two impressions each 18 ½ × 24 ½ inches Published by Crown Point Press, San Francisco Courtesy Crown Point Press

Blake Marques Carrington Strata Systems v04_LOOM #4001, 2016 Inkjet print on coated cotton, with acrylic and black gaffers tape 48 × 32 × 3 inches Courtesy the artist

Strata Systems v04_LOOM #4002, 2016 Inkjet print on coated cotton, with acrylic and black gaffers tape 48 × 32 × 3 inches Courtesy the artist

Bethany Collins (b. 1984) America: A Hymnal, 2017 Artist book with 100 laser-cut leaves 6 × 9 × 1 inches Edition of 25 Published by PATRON Gallery, Chicago Courtesy the artist and PATRON Gallery Peter Fischli/David Weiss (b. 1952/1946–2012) Record (for Parkett), 1988 Cast rubber record 11 13⁄16 inches diameter Edition of 120 Published by Parkett Publishers, Zürich/New York Courtesy Parkett Publishers

Jennie C. Jones (b. 1968) Five Point One Surround, 2014 Portfolio of five aquatints 30 × 22 inches each Edition of 15 Published by Universal Limited Art Editions, Bayshore, NY Courtesy Universal Limited Art Editions

Glenn Ligon (b. 1960) Detail, 2014 Three-color screenprint on Coventry Rag 335gsm 13 × 16 inches Edition of 50 and 40 APs Published by Camden Art Centre, London Courtesy the artist

Christian Marclay (b. 1955) Allover (Rush, Barbra Streisand, Tina Turner, and Others), 2008 Cyanotype 51 ½ × 100 inches Published by Graphicstudio, University of South Florida, Tampa Collection of the University of South Florida Contemporary Art Museum, Tampa

Silence (The Electric Chair), 2006 Screen printing ink on vellum Image: 23 × 30 inches Sheet: 30 × 30 inches Courtesy the artist and Paula Cooper Gallery, New York

Jason Moran (b. 1975) Note Count, 2021 Pigment on gampi 25 ½ × 38 ¼ inches Courtesy the artist and Luhring Augustine Gallery, New York

Choruses in unison, 2020 Pigment on gampi 42 ½ × 77 ½ inches Courtesy the artist and Luhring Augustine Gallery, New York Dario Robleto (b. 1972) Experiment with cannabis (sudden freedom from any unusual feeling, beginning to feel an indefinable sensation of comfort), 1874; Perfect mental repose, 1879; Holding breath while listening to tuning fork, 1880; Palpitations (panic attack), 1902; Sadness from listening to a sung melody, (Le Vallon) Gounod, 1896 From the portfolio The First Time, the Heart (A Portrait of Life 1854–1913), 2017 Photolithographs on Rising Drawing Bristol with transparent base ink, hand-flamed and sooted paper; image brushed with lithotine and lifted from soot, fused in a mild solution of shellac and denatured alcohol Each sheet: 11 ½ × 14 ¼ inches Edition of 6 Published by Island Press at Washington University, St. Louis Courtesy the artist

Jess Rowland (b. 1971) Sound Tapestries, 2022 Copper foil on acetate, with electronics 18 × 48 inches each Installation dimensions variable Courtesy the artist

Allen Ruppersberg (b. 1944) Great Speckled Bird, 2013 Screenprint on perforated player-piano roll Panel A sheet: 11 ¼ × 75 ½ inches Panel B sheet: 11 ¼ × 72 ½ inches Panel C sheet: 11 ¼ × 43 ¾ inches Panel D sheet: 11 ¼ × 46 inches Edition of 12 Printed and published by Gemini G.E.L., Los Angeles. Courtesy Gemini G.E.L. at Joni Moisant Weyl, New York Audra Wolowiec (b. 1979) AIR, 2020 Five-channel sound installation 2 minutes, 27 seconds Breath practitioners: Carlye Eckert, Denise Hopkins, Elizabeth Casasnovas-Calderon, Katie Mullins, and Mark Trecka Courtesy the artist

voiceprint (we the people), 2021 Offset woodblock print with laser-cut commas 24 × 19 inches Edition of 26 Courtesy the artist

waveforms, 2017 Handmade paper of cotton and linen with pigment 40 × 30 inches each Courtesy the artist

concrete sound, 2020 Cast concrete with pigment 18 ½ × 18 ½ × 7 inches Courtesy the artist

Contributors

Elleree Erdos is Director of Prints and Editions at David Zwirner. She was previously curator of a private art collection and Associate Director at Craig F. Starr Gallery, and has held positions in the print departments at the Museum of Modern Art, New York and the Clark Art Institute. Erdos earned an M.A. from Columbia University and the University of Paris Panthéon-Sorbonne and a B.A. from Williams College.

Jennifer L. Roberts is Elizabeth Cary Agassiz Professor of the Humanities at Harvard University, where she teaches art history, print history, and material studies, with an emphasis on intersections between the arts and the natural sciences. She is the author of numerous books and essays on American art from the eighteenth century to the present, and has curated multiple exhibitions in contemporary art at the Harvard Radcliffe Institute. In spring of 2021, she delivered the 70th Annual A.W. Mellon Lectures in the Fine Arts for the National Gallery of Art, with a series titled Contact: Art and the Pull of Print.

David Toop has been developing a practice that crosses boundaries of sound, listening, music, and materials since 1970, encompassing improvised music performance, writing, electronic sound, field recording, exhibition curating, sound art installations, and opera. It includes eight acclaimed books, including Ocean of Sound, Sinister Resonance, Into the Maelstrom, Flutter Echo, and Inflamed Invisible. His 1978 Amazonas recordings of Yanomami shamanism were released on Sub Rosa as Lost Shadows. Solo records include New and Rediscovered Musical Instruments, Entities Inertias Faint Beings, and Apparition Paintings. Recent collaborations include Garden of Shadows and Light with Ryuichi Sakamoto. www.davidtoopblog.com.

Board of Directors Staff

Maud Welles Chair

David G. Sabel Vice Chair

Mary Beth Forshaw Secretary

Stewart K.P. Gross Treasurer

Anders Bergstrom Judith K. Brodsky Andrea Butler Anne Coffin, Founder Jennifer Farrell Starr Figura Leslie J. Garfield Mark Thomas Gibson Joseph Goddu Evelyn Lasry Sabina Menschel John Morning, Founding Chair Daniel Nardello Martin Nash Janice C. Oresman, Emerit Diana Wege

In Memoriam Leonard Lehrer Barbara Stern Shapiro Judy Hecker Executive Director

Jenn Bratovich Director of Exhibitions and Programs

Brooke Christensen Senior Administration Fellow

Tiffany Nesbit Director of Development and External Affairs

Diana Perea Exhibitions and Publications Coordinator

Robin Siddall Program Fellow

Tuesday Smillie Registrar

Ema Wang Marketing and Communications Manager

Published on the occasion of the exhibition Visual Record: The Materiality of Sound in Print, Print Center New York, October 8, 2022–January 21, 2023 Curated by Elleree Erdos

© Print Center New York and the authors ISBN: 978-1-7341224-2-8

Edited by Elleree Erdos and Jenn Bratovich Copyedited by Anne Osherson Design by CHIPS

All artworks © and courtesy the artists unless otherwise noted.

7: © Annesas Appel. Photo by Daria Tuminas 15: © Peter Fischli and David Weiss. Image courtesy Parkett Publishers, Zürich/New York, and the artists 17–18: © Glenn Ligon. Image courtesy the artist, Hauser & Wirth, New York, Regen Projects, Los Angeles, Thomas Dane Gallery, London, and Galerie Chantal Crousel, Paris. Photo: Tom Powel Imaging 27–29: © Edition Block, Berlin 30–32: © 2013 Allen Ruppersberg and Gemini G.E.L., LLC 46–47: © Bethany Collins. Image courtesy the artist and PATRON Gallery, Chicago. Cover: Detail of Jason Moran, Note Count, 2021. Pigment on gampi, 25 ½ × 38 ¼ inches. © Jason Moran. Courtesy the artist and Luhring Augustine, New York. Photo: Farzad Owrang

Photo: Evan Jenkins 48–50: © Jennie C. Jones and Universal Limited Art Editions. Image courtesy Universal Limited Art Editions 58–59: © Jason Moran. Image courtesy the artist and Luhring Augustine, New York. Photo: Farzad Owrang 60–61: © 2008 Christian Marclay and Graphicstudio, U.S.F. Photo: Will Lytch 63: © 2022 The Estate of Terry Adkins / Artists Rights Society (ARS), New York. Courtesy Paula Cooper Gallery, New York. Photo: Steven Probert 64–65: Jess Rowland, Sound Tapestries, 2013–ongoing, installed at BerkeleyArt Museum and Pacific Film Archive, UC Berkeley, 2013. Copper foil on acetate; electronics. Installation dimensions variable. ©Jess Rowland.Photo: Sibila Savage. 66–67: © John Cage Trust