SOUND IN SPACE, SOUND IN PLACE
APRIL 13, 2023 – JUNE 4, 2023
Sound in Space, Sound in Place, a survey of contemporary sound art, foregrounds sound and listening as powerful shapers of everyday experience and draws attention to sound’s unique properties as an artistic medium. The exhibition features a collaborative work by established sound artists John Driscoll and Phil Edelstein—the richly exploratory sound installation Cluster Fields (2018–2023)—as well as New Bedford Soundscape, a crowdsourced collection of audio recordings by New Bedford residents, Sonic Textures of Place, experimental sound works by UMass Dartmouth students in co-curator Professor Walker Downey’s Spring 2023 sound art seminar, NBWaves, an EP by Scapeghost, and Whirly Chorus by Tess Oldfield.
IN PARTNERSHIP WITH THE NEW BEDFORD FREE PUBLIC LIBRARY
MARCH 9, 2023 – JUNE 4, 2023
The term ukiyo-e (浮世絵) translates to "picture(s) of the floating world," referring to fleeting images of glamor, beauty and fashion. Ukiyo-e prints were popular in Edo (present-day Tokyo) among common folk and were a dynamic art form for more than 200 years. Mass produced, affordable and focused on favorite subjects such as beautiful women, Kabuki actors, and picturesque landscapes, these images offered an escape from everyday life.
Aizuri-e (藍摺り絵) or "blue printed picture" refers to woodblock prints which are entirely or predominantly blue in color; this subgenre of ukiyo-e works was associated with the popularization of Prussian blue in Japan. Prussian blue was brought to Japan by the Dutch in the 1820's, and this new synthetic pigment allowed for brighter shades that were less subject to fading than other naturally derived pigments like dayflower or indigo, although they were still used.
The ukiyo-e artist Utagawa Hiroshige frequently utilized bokashi (ぼかし), a method of pigment gradation, to create a range of color, often in areas of sky or water to add depth. Hiroshige is known for his virtuoso use of color and perspective in meisho-e (名所絵 pictures of famous places) and landscapes. While these prints contain too many colors to be considered aizuri-e, the areas of bright blue are striking, and the prominence of the color in Hiroshige’s work reflects a popular style of the period.