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    <td height="58" colspan="2" valign="middle" width="600"><p align="center"><i><font face="Arial" size="4">Art
      Chantry<br>
      </font></i></b><i><font face="Arial" size="3"><b>Greatest Hits, Vol. 1<br>
      </b></font></i><b><b><font face="Arial" size="3"><br>
      </font><font face="Arial" size="2">Extended dates: on view June 29 -
      September 29, 2003</font></b><p align="center">&nbsp;</b></td>
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    <td width="344" height="27" valign="top"><font face="Arial" size="2">P.S.1
      Contemporary Art Center presents an exhibition of posters, album covers,
      advertisements, and other ephemera designed over the last 25 years by Art
      Chantry, who has profoundly impacted the history of graphic design in the
      United States over the last 25 years. Chantry's low-tech, raw, but highly
      refined design stands in stark contrast to today's slick digital graphics.</font>
      <p><font face="Arial" size="2">Originally from Tacoma, Washington, Chantry
      moved to Seattle in the late 1970s and became a singular force in the
      city's subculture, designing album covers and posters for the underground
      music and theater industry. He served as art director for The Rocket,
      Seattle's free monthly tabloid and a breeding ground for talented
      contributors such as Matt Groening of The Simpsons and cartoonist Lynda
      Barry. His design work for independent record labels, commercial clients
      and political and community events, always on a low budget and with a
      quick turnaround, remains influential and much imitated today.</font></p>
      <p><font face="Arial" size="2">His posters juxtapose large type, often
      fractured or distressed and lifted from vintage sources, with startling
      pictures appropriated from clip art, exploitation magazines, and hot-rod
      culture. Recycling this material to produce work that is simultaneously
      chaotic and clear, Chantry reminds the viewer that much of what we see in
      advertising and packaging is born of vernacular culture. Translating the
      ragged physicality and irreverent humor of punk music into visual form,
      Chantry, whose methods often mirror his punk aesthetics, avoids using the
      computer as a design tool and is known for being choosy about the
      corporate clients for whom he is willing to work.</font></p>
      <p><font face="Arial" size="2">At P.S.1, in his first major New York show,
      a wide selection of works produced since 1978 presents Chantry at his most
      mischievous and masterful, with particular regard to material
      investigation. Included are posters printed on reflective silver Mylar,
      thin copper foil, black velveteen, old wallpaper samples, vinyl records,
      and even metal plates riddled with actual bullet holes. These are, after
      all, Art Chantry's Greatest Hits.</font></p>
      <p><font face="Arial" size="2">Art Chantry: Greatest Hits, Vol. 1 was
      curated by Robert Nickas. This exhibition is sponsored by the American
      Center Foundation.</font></p>
      <p><font face="Arial" size="1">For more information, please contact
      Rachael Dorsey, P.S.1 Press Office, at <a href="mailto:press@ps1.org">press@ps1.org</a></font>
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