![]() And we’re showcasing our own collection of OSPAAL resistance posters from Africa, Latin America and Southeast Asia. We have commissioned a graphic designer to work on an exhibition about cultural communication through contemporary advertising. We are organizing a show on 1980s hand-painted movie posters from Ghana. Julia Knight: And our first year of programming showcases how much diversity there is in this world. There’s always going to be a personal resonance and association that people have with posters, so we want to build on that connection and expand that definition. We often get responses like, “Oh, does that mean you’re going to show 1940s film posters? Or psychedelic band posters? Or war propaganda posters?” And the answer to all of those questions is “yes,” and more! We want to broaden the scope of what people understand posters to be. VC: Frequently, when we talk to people about the idea of a poster museum, they tend to have a really specific personal definition of what posters are. We want to inspire conversation, debate and curiosity about the place of the poster in our shared global history, and quite often that history is controversial. We want to make sure that each show has a point of view, whether it’s something as simple as “you’ve never seen anything like this, isn’t it awesome?” or something more nuanced and scholarly that susses out connections between images and what they say about society and culture on a broader level. No poster is too obscure, no topic taboo.Īlso, our exhibitions won’t just be retrospectives of a given time period, artist or place. We want to show posters from every facet of printing and graphic design-and that includes any country and any time period up through the present day. That is part of what we’ll show, certainly, but it’s not everything. So, we aren’t just going to show the old French posters from the 1880s to the 1920s. We’re trying to embrace as broad a definition of “poster” as possible, and we want to be incredibly inclusive of other cultures and time periods. ![]() What is the scope of what you will be exhibiting once you open? Angelina Lippert: As far as scope goes, the sky’s the limit. The following is a range of posters from the permanent collection: ![]() We’re also lucky to find ourselves in a really important resurgent moment for posters. Poster House has so far been really fortunate in getting that traction, as we have the necessary support and interest in the project, an incredible space that we’re preparing to renovate, and a fantastically talented team who are putting it all together. There has been interest over the years from different notable collectors in founding a museum that is dedicated to posters, but for various reasons these projects haven’t gotten off the ground. Posters are too frequently overlooked in the American museum world, so there is a clear need for this. What was the impetus for a poster museum in New York City? Val Crosswhite: We have a such an exciting opportunity right now to open this museum. Poster House’s website goes live today, and I spoke with director Julia Knight, curator Angelina Lippert, and board president Val Crosswhite about their plans and goals. The West 23rd Street downtown location is not the typical gallery or museum row, but its centrality in Manhattan will be a boon for casual and committed poster fans. Poster House has been in the works for some time, and the time is ripe. Get ready: There’s a poster museum coming to New York City.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |