Multiples and Modes of Access
Art techniques that produce multiples have been widely adopted by artists in a variety of mediums. In printmaking, Ukiyo-e woodblock prints from Japan (17–19th c.) were produced by the thousands, though each impression would have slight differences, such as the wear of the wood over time or the application of ink. Today, digital printing methods, at the intersection of art and technology, also come with subtle differences from the type of printer used to how they are manually finished. The sculptural works included in this exhibition are also multiples, as they are part of a series, created in mass or as a set, spanning the 1100s through the present.
This exhibition multiplies the works of art through a variety of forms, such as braille translation, large text labels, audio descriptions, tactile graphics, and 3D prints. Emphasizing the notion that accessibility initiatives benefit all, these multimodal recreations function as tools for learning for every visitor through sound, touch, and sight.
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Art techniques that produce multiples have been widely adopted by artists in a variety of mediums. In printmaking, Ukiyo-e woodblock prints from Japan (17–19th c.) were produced by the thousands, though each impression would have slight differences, such as the wear of the wood over time or the application of ink. Today, digital printing methods, at the intersection of art and technology, also come with subtle differences from the type of printer used to how they are manually finished. The sculptural works included in this exhibition are also multiples, as they are part of a series, created in mass or as a set, spanning the 1100s through the present.
This exhibition multiplies the works of art through a variety of forms, such as braille translation, large text labels, audio descriptions, tactile graphics, and 3D prints. Emphasizing the notion that accessibility initiatives benefit all, these multimodal recreations function as tools for learning for every visitor through sound, touch, and sight.
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