Denim Dream - 2017
Denim Dream - 2017
Reviewing the Review, Everything for Review - 2017
Reviewing the Review, Everything for Review - 2017
Construction Paper - 2016
Construction Paper - 2016
Blue and Brown Books - 2016
Blue and Brown Books - 2016
Blue and Brown Books - 2016
Blue and Brown Books - 2016
A Ream of Sand - 2016
A Ream of Sand - 2016
A Ream of Sand - 2016
A Ream of Sand - 2016
This is This - 2016
This is This - 2016
The Smooch - 2016
The Smooch - 2016
Cardboard Blocks 2 - 2015
Cardboard Blocks 2 - 2015
Palindrome: Towards and Away, So the Sea - 2015
Palindrome: Towards and Away, So the Sea - 2015
1 to 1 to 1: The The and I Got It - 2015
1 to 1 to 1: The The and I Got It - 2015
US Gov Pen - 2014
US Gov Pen - 2014
Gov Island Fed Std 595c 2003 - 2013-2014
Gov Island Fed Std 595c 2003 - 2013-2014
Wave Boundary - 2012
Wave Boundary - 2012
Post Soviet Condo - 2012
Post Soviet Condo - 2012
Post Soviet Condo - 2012
Post Soviet Condo - 2012
Pinstripe - 2012
Pinstripe - 2012
Cross-Hatch - 2013
Cross-Hatch - 2013
Cross-Hatch - 2013
Cross-Hatch - 2013
Peppermint Candy - 2013
Peppermint Candy - 2013
Feeling Plaid (Screen Saver) - 2012
Feeling Plaid (Screen Saver) - 2012
Sail - 2011
Sail - 2011
Dialogue for Two - 2011
Dialogue for Two - 2011
Dialogue for Two - 2011
Dialogue for Two - 2011
Letters to the Sun - 2010
Letters to the Sun - 2010
Shovel in a Carhood: Concert for Sandhill Cranes - 2010
Shovel in a Carhood: Concert for Sandhill Cranes - 2010
Passive Vis - 2010
Passive Vis - 2010
Hard Times / Scrabble Value: A Play in 2 Parts - 2010
Hard Times / Scrabble Value: A Play in 2 Parts - 2010
Pastures and Hedges - 2010
Pastures and Hedges - 2010
Matter of Fact - 2010
Matter of Fact - 2010
Just for Nice - 2009
Just for Nice - 2009
Readers Digest - 2008
Readers Digest - 2008
COPY OF A LETTER - 2008
COPY OF A LETTER - 2008
078-05-1120 - 2008
078-05-1120 - 2008
Psychedelic Swatch - 2007
Psychedelic Swatch - 2007
Hymn - 2006
Hymn - 2006
Azan - 2006
Azan - 2006
Ballad - 2006
Ballad - 2006
SCAN-TRON 28 - 2003
SCAN-TRON 28 - 2003
Denim Dream - 2017
Denim Dream - 2017 Screenprint, 27.5" x 38", Edition of 50. Designed and printed as part of "The Void" Graphic Portfolio, curated by Tevz Logar for the Birth of Criterion, 32. Biennial of Graphic Arts, International Centre for Graphic Arts, Ljubljana, Slovenia. "The Void" Graphic Portfolio is on view at Kresija Galerija from June 16, 2017 - November 2017.
Reviewing the Review, Everything for Review - 2017
Reviewing the Review, Everything for Review - 2017 More information and images coming soon. Monoprints, poetry, offset printed newspapers, installation. This work features monoprints made by Jennifer using the artist Dieter Roth's etching press, as well as, poetry written by Jennifer-- while an artist in residence in January 2017 at the Skaftfell Center for Visual Art in Seydisfjordur, Iceland. The printed images and poetry were then used to create two newspaper artist publications for the 32. Biennial of Graphic Arts at the International Centre for Graphic Arts, Ljubljana, Slovenia in June 2017. The publications are presented as posters on the walls of the gallery, and as open spreads on a Dieter Roth style worktable.
Construction Paper - 2016
Construction Paper - 2016 Hand-made construction paper. 3 unique sets of 19 colors. Jennifer collected sheets of construction paper that came home in her children's backpacks from January - May 2016. The paper samples were color matched to make colored pulp to manufacture new sheets of construction paper. The faded, fugitive colors of the original sheets of construction paper were re-made as archival sheets of construction paper using the same texture of pulp, and cut into 9"x13" sheets-- the standard size for store bought construction paper.
Blue and Brown Books - 2016
Blue and Brown Books - 2016 Edition of 1. Unique Risograph printed, hand bound, and foil stamped artist books. The printed pages of Jennifer Schmidt's Blue and Brown Books are photographs of the covers of Wittgenstein's Blue and Brown Books in the University of Toronto Special Collections Library. Jennifer corresponded with the librarian-- to learn about the specifics of the Blue and Brown Books in their collection, and to obtain photographic images of the book covers and interior pages. Wittgenstein self published his philosophical Blue and Brown Books using a mimeograph machine. The books were then named based on the color of their covers. Only a small number of about 30 books were made by Wittgenstein, which were then circulated among friends and colleagues, and subsequently copied. Jennifer's Blue and Brown Book artist books are the same physical dimensions: involving size and page number as the original copies. The Blue Book is printed with blue riso ink, and the Brown Book is printed with red, yellow, and blue riso ink in order to make the color brown. Each page in the books is the front and back cover of the corresponding Blue and Brown Book published by Wittgenstein. The cover and spine stamping corresponds to the title stamping of the copies referenced.
Blue and Brown Books - 2016
Blue and Brown Books - 2016 Edition of 1. Unique Risograph printed, hand bound, and foil stamped artist books. The printed pages of Jennifer Schmidt's Blue and Brown Books are photographs of the covers of Wittgenstein's Blue and Brown Books in the University of Toronto Special Collections Library. Jennifer corresponded with the librarian-- to learn about the specifics of the Blue and Brown Books in their collection, and to obtain photographic images of the book covers and interior pages. Wittgenstein self published his philosophical Blue and Brown Books using a mimeograph machine. The books were then named based on the color of their covers. Only a small number of about 30 books were made by Wittgenstein, which were then circulated among friends and colleagues, and subsequently copied. Jennifer's Blue and Brown Book artist books are the same physical dimensions: involving size and page number as the original copies. The Blue Book is printed with blue Riso ink, and the Brown Book is printed with red, yellow, and blue Riso ink in order to make the color brown. Each page in the books is the front and back cover of the corresponding Blue and Brown Book published by Wittgenstein. The cover and spine stamping corresponds to the title stamping of the copies referenced.
A Ream of Sand - 2016
A Ream of Sand - 2016 A ream of sand on a flat file pedestal. Sand collected and cast from the site of the C-Scape Duneshack on the Cape Cod National Seashore. The collected sand was mixed with sodium silicate and packed into a mold to cast a sculpture designed to be the same dimensions as a ream of office paper.
A Ream of Sand - 2016
A Ream of Sand - 2016 A ream of sand on a flat file pedestal. Sand collected and cast from the site of the C-Scape Duneshack on the Cape Cod National Seashore. The collected sand was mixed with sodium silicate and packed into a mold to cast a sculpture designed to be the same dimensions as a ream of office paper.
This is This - 2016
This is This - 2016 Color Reduction Screenprinted Finger Painting. This is This is an edition of 12 unique color reduction screenprints of a found finger painting. Each screenprint is essentially the same, rendering the found finger painting in color and form by looking and mark making using the color reductive screenprinting process. Each print features the addition of a finger painted grey gestural mark and a white highlight.  
The Smooch - 2016
The Smooch - 2016 Edition of 14. The Smooch is a suite of 5 letterpress prints—printed in lipstick hues of red and pink using one can of Vanson Pantone 806 Fluorescent ink with different percentages of base added. Each color print was printed with four passes of ink on a Vandercook press. The Smooch is printed on 5 standard office paper sizes that can co-mingle and be displayed in any configuration. The standard sizes include: Tabloid, Letter, Legal, and Government Letter as defined by the American National Standards Institute (ANSI), and A4 as defined by the International Organization for Standardization (ISO 216). The printed imagery features a repeat pattern of hand drawn x’s on the Letter, Legal, Government Letter and A4 sized papers, and a typographic embossment of The Smooch in The Sun tabloid font on Tabloid sized paper. Printed in collaboration with Mike Smoot and Thorsten Dennerline while an artist in residence at Bennington College, Vermont in March 2016. Index of Prints:The Smooch – A – TabloidThe Smooch – B – LetterThe Smooch – C – A4The Smooch – D – LegalThe Smooch – E – Gov Letter 
Cardboard Blocks 2 - 2015
Cardboard Blocks 2 - 2015 Self-manufactured blocks: screenprinted and die cut cardboard, performance, installation. Cardboard Blocks: 2 is the second iteration of an ongoing project that utilizes children’s toy blocks to investigate ideas of production, play, difference, and repetition. While an artist-in-residence at kijidome in Boston, Schmidt constructed 1200 cardboard blocks using the same manufacturing processes used to make the blocks found in her children's play space. 700 sheets of cardboard were screenprinted, die cut, transported, and then assembled by hand and ‘played’ with in the studio. The colors of the printed graphic patterns were mixed by the artist using the red, blue and yellow primary colors of the original toy blocks and the secondary and tertiary colors of the color wheel to refer to ideas of influence, and to create a color palette to work with. The second iteration of the project took place at the Institute for Contemporary Art, Boston. Schmidt played with the blocks on site, while visually referencing the first iteration of the sculptural installation, and allowing differences to occur in the composition. Future installations will play on this installation, repeating the process indefinitely. ICA Foster Prize Exhibition, curated by kijidome, June 19 - August 8, 2015
Palindrome: Towards and Away, So the Sea - 2015
Palindrome: Towards and Away, So the Sea - 2015 Poem, Repeat Drawing on 2 Pads of Paper, Sculpture.   
1 to 1 to 1: The The and I Got It - 2015
1 to 1 to 1: The The and I Got It - 2015 Set of 12 acetates, 12 screenprints. To be displayed in pairs. Collaboration, Performance, Collage Acetates, Screenprints. Collaborative performance and copy cat project using 1 to 1 to 1 ratios-- using the artist Motherwell's process of tearing paper to make automatic compositions by letting paper fall onto a substrate and taping it in place to produce a definitive visual image. My two children: Indiana and Shenandoah each created 6 paper collage compositions by tearing sheets of black construction paper pre-cut and measured to be a specific image size. They let the paper fall onto a piece of acetate that was the same size as the original construction paper sheets and positioned the pieces to their liking as a visual composition on the acetate. I then taped the pieces in place with scotch tape. The black construction paper compositions were then flipped and exposed photographically onto a silkscreen to produce editions of screenprints using the original imagery as a means to reflect and mirror the initial creative act. 
US Gov Pen - 2014
US Gov Pen - 2014 Edition of 16 photocopies of a Skilcraft U.S. Government ballpoint pen displayed in a manila folder, and stack of 16 sheets of copy paper with Skilcraft U.S. Government ballpoint pen. This iconographic ballpoint pen was originally only available for purchase and use by the U.S. Government using taxpayer money. A 16-page Federal Standard design document describes how it should look, function and be used in everyday and extreme conditions. It can now be purchased by anyone from any distributor. Skilcraft is the trade name of the National Industries for the Blind, an organization created by the Wagner-O'Day Act of 1938 to create employment opportunities for blind Americans. Products bearing the Skilcraft brand are commonly used in United States federal government institutions, including the United States Postal Service.  
Gov Island Fed Std 595c 2003 - 2013-2014
Gov Island Fed Std 595c 2003 - 2013-2014 Site-specific color archive and installation on Governors Island, NY, NY, as part of the Lower Manhattan Cultural Council Swing Space Artist Residency on Governors Island (August - December 2013). This project also involves creating a series of painting vignettes using the painted document paper (pictured above), by following the Federal rules and guidelines for how a color would be used architecturally in relation to other colors. While an artist in residence, I researched the history of military base architecture on Governors Island, by investigating how a building site was to be used and by whom under the supervision of the Army, Coast Guard, National Park Service, and Trust. I became interested in the relationship of these histories, while thinking about how history is communicated over time, and what is worth preserving. My research involved reading and referencing publicly available government Federal Standard Design documents for each branch of service, including the National Park Service. The documents outlined how each building exterior and interior were to be painted using a specific government paint system: Federal Standard 595c, where each color has a number that needs to be matched to the specific government design document. In this way, I decided to look at Governors Island as a sample, and match all the colors that would be used on the Coast Guard base—which has been removed from the island’s narrative history (as viewed through the historical lens of the National Park Service and Trust), as well as, colors found on existing buildings. All buildings and surfaces that were built post WW2 with modern materials such as concrete and asphalt are considered not worth preserving historically. In addition, all historic building interiors that were modernized and renovated for practical reasons are not worth preserving and can be gutted for new use and occupancy. Building 110 is a historical building with a renovated interior, and represents one of the first examples of privatized use of the island by an independent organization. I used my studio as a framework to view a government visual history of the island by focusing on the Federal Standard 595c color swatches that are specific to the island’s occupation and history circa 1966-2003. This project involves exhibiting individual paint colors on copy paper, positioned in relation to other paint colors on copy paper, according to the Federal Standard design guidelines for where a color would be used and pictured in relation to other colors. Thereby, creating minimalist painting vignettes composed of several sheets of paper that are specific to a given space and intention. Materials: Federal Standard 595c Color Swatch book, Federal Standard Design Documents, Federal Standard Copy Paper, Federal Standard Paint Colors for the U.S. Coastguard Base, Ships, and Signage, Federal Standard Paint Colors for the U.S. Army matched on the island, and Federal Standard Paint Colors for the National Park Service. All colors were custom matched and labeled with the existing Federal Standard Paint identification number. As of December 2013: the Federal Standard 595c Color Swatch book is no longer be available as an object. The Government Services Administration is in the process of updating the color swatch index, and developing a digital version to be used as reference.
Wave Boundary - 2012
Wave Boundary - 2012 Site-specific sound recording and amplification: Restricted zone on the border between Lithuania and Russia on the Curonian Spit on the Baltic Sea. A generator, rented from the local government, and gasoline, powers the speakers. Amplified sound recording of waves recorded on site, played back on site, to create a sonic overlap with existing wave sounds. The audio is recorded as if the listener is experiencing the sound installation on the beach firsthand-- walking along the coastline towards the speakers at the border. While an artist in residence at the Nida Art Colony in Neringa, Lithuania, I found myself situated on the Curonian Spit— a long, narrow sand dune that separates the Curonian Lagoon from the Baltic Sea. Two countries share the land: Lithuania and Russia, with a border in between. The border stretches the width of the spit, across dunes, forest and coastline, straddling history, heritage, and issues of preservation. Because of the politics of each state, the border represents a rift in ideology, as well as an absurd attempt to shape and control the geography of land in relation to the sea. The spit becomes an island-- without the ability to move freely through Russia to the mainland-- surrounded by a wave boundary.
Post Soviet Condo - 2012
Post Soviet Condo - 2012 Site-specific Installation, Screenprinted Posters, Nida Lithuania. While an artist in residence at the Nida Art Colony in Neringa, Lithuania, I discovered an abandoned post soviet building complex near the seashore on park land. Built almost to completion, the complex sits unattended, next to several beach pedestrian paths. The walls and ceiling windows, once made of glass, now sit open, exposing the interior to the outside. Several small rooms, made of concrete, float within a larger wooden structure-- that is composed of a variety of geometric forms involving patterned surfaces, triangular windows, diamond-like beams, and linear obstructions. Constructivist in theory, the architectural plan and its remains create a dialogue with the history and future of the site, abstracted by a break in politics, the economy, and tourism. A screenprinted poster, 18" x 24", designed using constructivist "Battleship of Potemkin" film poster composition layouts, is wheatpasted within two concrete rooms on site. The project is documented with photography and video. The video is a piece in itself that can be shown on its own.
Post Soviet Condo - 2012
Post Soviet Condo - 2012 Site-specific Installation, Screenprinted Posters, Nida Lithuania. While an artist in residence at the Nida Art Colony in Neringa, Lithuania, I discovered an abandoned post soviet building complex near the seashore on park land. Built almost to completion, the complex sits unattended, next to several beach pedestrian paths. The walls and ceiling windows, once made of glass, now sit open, exposing the interior to the outside. Several small rooms, made of concrete, float within a larger wooden structure-- that is composed of a variety of geometric forms involving patterned surfaces, triangular windows, diamond-like beams, and linear obstructions. Constructivist in theory, the architectural plan and its remains create a dialogue with the history and future of the site, abstracted by a break in politics, the economy, and tourism. A screenprinted poster, 18" x 24", designed using constructivist "Battleship of Potemkin" film poster composition layouts, is wheatpasted within two concrete rooms on site. The project is documented with photography and video. The video is a piece in itself that can be shown on its own.
Pinstripe - 2012
Pinstripe - 2012 Hand-drawn pin-stripe on pin-stripe shirting with tailored edges and button holes. Ironed, then folded. To be displayed as objects: folded, hung, wrapped and draped in various configurations. Materials: bic pen and sharpee pen. 12" x 14" each when folded.    
Cross-Hatch - 2013
Cross-Hatch - 2013 Screenprinted Multiple, 19" x 22" Single Sheet, Editioned. Screenprinted line drawing on tracing paper to be used to create drawing installations on horizontal and vertical surfaces. This piece can also been displayed as a series of folded and overlapped prints to create a drawing.
Cross-Hatch - 2013
Cross-Hatch - 2013 Screenprinted Multiple, 19" x 22" Single Sheet, Editioned. Screenprinted line drawing on tracing paper to be used to create drawing installations on horizontal and vertical surfaces. This piece can also been displayed as a series of folded and overlapped prints to create a drawing.
Peppermint Candy - 2013
Peppermint Candy - 2013 Screenprint Poster and Wrapping Paper, 17" x 22", Boxes with Peppermint Candy, Display Variable.
Feeling Plaid (Screen Saver) - 2012
Feeling Plaid (Screen Saver) - 2012 Screenprinted unique edition of 28 sequential plaid patterns. 11.5" x 15" each, to be displayed as a 53" x 83" grid. Video Animation: 3:20 minutes in duration, looped, shown on a monitor or projected. While screenprinting an edition of 28 plaid patterns, Jennifer Schmidt sequentially modulated the hue of each color printed, while pulling ink through the screen. From cyan to dark blue, magenta to fire red, chartreuse to dark green-- a mood ring-like color spectrum is performatively created, determined by artistic process, whim and effect. The resulting prints were then animated in the order produced.  
Sail - 2011
Sail - 2011 Screenprinted and sewn muslin sail cloth with two poles. A performance for two on Bumpkin Island, in the Boston Harbor. Throughout the day on July 29, 30, and 31, the island becomes activated as two masts move a sail across its surface, harnessing the wind. In repetitions of six gusts, the masts move back and forth at full sail. Performers: Meg Rotzel, Sarah Baumert and Jennifer Schmidt. Performed July, 29, 30 + 31 : As part of the Pop-Up Collective (Sarah Baumert, Meg Rotzel, Jennifer Schmidt), Bumpkin Island Art Encampment, Boston, MA.
Dialogue for Two - 2011
Dialogue for Two - 2011 Poetry by the artist. Middle line excerpt "In your hands, from your hands, by your hands" by Augusto de Campos and Decio Pignatari. 5 Screenprinted Posters to be exhibited as a group. Edition of 5. 13” x 18.5” each. The series refers to and draws from the poem "Dialogue for Two" by Augusto de Campos and Decio Pignatari. I was drawn to the poem's various descriptions of the senses and the way in which the words and descriptions "fold in on themselves." The screenprinted posters I have designed feature a quote from the poem, as well as original poetry that I have written in response. The composition of the words in each poster attempts to reflect the structure of that which it describes. Exhibited as part of the "Telefon Sem Fio: Word Things of Augusto de Campos" exhibition, curated by Michelle Levy and Telephone Journal at the EFA Project Space, New York, NY, November-December 2011.  
Dialogue for Two - 2011
Dialogue for Two - 2011 Sculpture: screenprinted and sewn muslin pocket, fully reversible. 14.25" x 12.25" The series refers to and draws from the poem "Dialogue for Two" by Augusto de Campos and Decio Pignatari. I was drawn to the poem's various descriptions of the senses and the way in which the words and descriptions "fold in on themselves." The screenprinted posters I have designed feature a quote from the poem, as well as original poetry that I have written in response. The composition of the words in each poster attempts to reflect the structure of that which it describes.Exhibited as part of the "Telefon Sem Fio: Word Things of Augusto de Campos" exhibition, curated by Michelle Levy and Telephone Journal at the EFA Project Space, New York, NY, November-December 2011.
Letters to the Sun - 2010
Letters to the Sun - 2010 Site-specific Heliography, Poetry and Performance. During an afternoon in Alaska at the Homestead artist residency, Jennifer wrote and beamed haiku poems to the sun using a found car side-mirror, sunlight, morse code, and found work station (by Garett Yahn). Letters let thoughts breatheThe sun reflecting light movesToward and through Clouds move with the lightLetters bounce the sun once twiceMoving cranes across Diagonal movesInforms cranes across the bogI sit and watch curious Small trees brush and mossSoil breathes air quietlyJuly insects hum
Shovel in a Carhood: Concert for Sandhill Cranes - 2010
Shovel in a Carhood: Concert for Sandhill Cranes - 2010 Performance, Sound Recording, Site-Specific Sound Amplification. While at the Homestead artist residency in Alaska, Jennifer Schmidt played select metal objects in "metal alley" using found tools and instruments to produce sounds. A depository of metal objects whose history, function and value are in question, the area exists as a monument to "man's will," survival, and presence. Giant metal barrels, old missile casings, car hoods, washing machines, beach chairs, bicycles, gears, and mattress springs sit stacked, folded, and heaped in piles— in the middle of the wilderness. 100 feet from the house, at the mouth of a long, dirt driveway, accumulated objects speak of what it means to mark an area of influence, and the role of ownership. The objects and tools chosen to produce sounds include: a large metal barrel for kicking, a metal barrel and a round gear, a metal vent and tire treads, shovel on a car hood, and shovel on a car hood redux. The audio recording was then played as a concert for Sand Hill cranes— amplified over the bog, into the crane’s habitat and territory.  The piece exists as a poetic and knowing response to the crane’s sonic performance surrounding the definition of space, which the artist had observed over several days—while sitting on the stage platform (by Garett Yahn).
Passive Vis - 2010
Passive Vis - 2010 Paper Sculpture, Performance, 5' x 7'. Homestead Artist Residency, Alaska.
Hard Times / Scrabble Value: A Play in 2 Parts - 2010
Hard Times / Scrabble Value: A Play in 2 Parts - 2010 3 Channel Video / 6 Channel Sound: The 3-channel video is the duration of the audio book equivalent: 4 hours 24 minutes Hard Times / Scrabble Value: A Play in 2 Parts is an economic and textual analysis of the book “Hard Times” by Charles Dickens. By decoding the book via different filters: Scrabble letter/number use values and noun pictorial representations, factual readings of the source material become “relatively” suggestive, posing a dialectical mode of reasoning and conversational word play. 1 Channel of Video / Sound: White screen visual. Sound is a mechanized man's voice describing the qualities of the man speaking, then reading the number "Scrabble" game letter value equivalent of every word in “Hard Times”—from start to finish. 2 Channel of Video / Sound: Black and white split rectangular frames moving to the rhythm and sound of a pen tapping on a table.3 Channel of Video / Sound: The visuals are graphic compositions in black and white of stills, featuring: pictograms and silhouetted forms of the nouns spoken throughout the duration of “Hard Times,” along with word labels—from start to finish. The rhythm of the presentation corresponds to the tapping of a pen on a table, which derives from the orchestral intro (appropriated from the TV version of the book), and the spoken number value translation of the book. The central thesis of "Hard Times" is to privilege "facts" over experience and individual interpretation. It speaks of a world and means of education that is not open to making sense through understanding and conversational dialogue but rather, through rules, numbers, and systems. The book is fore grounded within an industrial economy involving mass production. Individual desire and the ability to succeed are often supplanted by calculated projections related to class and long-term productivity. Dickens was paid by the word to write "Hard Times.” The book talks and talks around a topic: with little use of nouns and adjectives. Most of its meaning can be gleaned through conversational and situational nuance, despite what is asserted.
Pastures and Hedges - 2010
Pastures and Hedges - 2010 3 Screenprinted Posters, Installation, Posters are 30” x 40" each, Installation 25’ x 75’ x 12’. Installation of 3 sets of interchangeable screenprinted poster designs, visually based on quilting patterns and computer bitmaps. Coyne Gallery, Syracuse University. Produced in collaboration with Lake Effect Editions at Syracuse University while an artist in residence. Posters for the installation were not editioned. A small edition was printed on archival paper.
Matter of Fact - 2010
Matter of Fact - 2010 Letterpress Prints, 13” x 20”, 3 in the series, Unique Edition Hand-printed letterpress broadsides featuring prose written by Jennifer Schmidt— using found word pairings from a translated historical children’s calligraphy “Schreib und Lese Fibel”. The prose vividly depicts a transformative, matter of fact subject, implying a parable or morality lesson. There are 3 broadsides in the series. Printed at the Frans Masereel Centre, Kasterlee Belgium.
Just for Nice - 2009
Just for Nice - 2009 Performative Durational Drawing, 500 Drawings. Each Drawing is 8.5" x 11". By repeatedly drawing a simple geometric form found in the folk art of the Pennsylvania Germans using only the basic tools of a pencil and compass, Jennifer Schmidt seeks to invoke the spirit and inherent meaning of the rosette symbol, while aiming at perfection and beauty. This project was performed at the Virginia Center for the Creative Arts during the fall of 2009. The location was chosen for it’s pastoral and farming qualities.
Readers Digest - 2008
Readers Digest - 2008 Analog and Digital Video Readers Digest features video footage of thousands of magazine pages becoming digested through analog video processing into a painterly scape of synthesized information-- pulling out graphics, colors and words indeterminately to form new compositions of popular information. The pages are animated sequentially to allow the graphics of the magazine pages to be a determinate of the flow and reception of content. The video footage was processed at the Experimental Television Center using equipment built by Nam June Paik, David Jones, and Dan Sandin. Sound occasionally comes in and out, generated by the machines. Photography and Animation: Jennifer SchmidtAnalog Processing: Colin Asquith and Jennifer Schmidt
COPY OF A LETTER - 2008
COPY OF A LETTER - 2008 COPY OF A LETTER involves the appropriation of a historical broadside, published in the present. It is said to be the first example of chain mail. "Said to have been written by Jesus." "If you copy it, the letter opens to you. If not, it flies away". Ein Brief Screenprinted Poster, 18" x 24". Photocopied stack of 11" x 17" letters (not pictured), copied by Jennifer Schmidt, to be displayed under an illustrative rock, and for the taking.
078-05-1120 - 2008
078-05-1120 - 2008 Photocopied Multiple, Not editioned Social Security Cards Issued by Woolworth, 1938Social Security Cards Re-Issued by Jennifer Schmidt, 2008 The story of the most used number of all time… The most misused SSN of all time was (078-05-1120). In 1938, wallet manufacturer the E. H. Ferree company in Lockport, New York decided to promote its product by showing how a Social Security card would fit into its wallets. A sample card, used for display purposes, was inserted in each wallet. Company Vice President and Treasurer Douglas Patterson thought it would be a clever idea to use the actual SSN of his secretary, Mrs. Hilda Schrader Whitcher. The wallet was sold by Woolworth stores and other department stores all over the country. Even though the card was only half the size of a real card, was printed all in red, and had the word "specimen" written across the face, many purchasers of the wallet adopted the SSN as their own. In the peak year of 1943, 5,755 people were using Hilda's number. SSA acted to eliminate the problem by voiding the number and publicizing that it was incorrect to use it. (Mrs. Whitcher was given a new number.) However, the number continued to be used for many years. In all, over 40,000 people reported this as their SSN. As late as 1977, 12 people were found to still be using the SSN "issued by Woolworth." -Excerpt from the Social Security Administration website.
Psychedelic Swatch - 2007
Psychedelic Swatch - 2007 Digital Video 2:06min While at Elsewhere Artist Collaborative in Greensboro, NC, I wandered through a collection of fabric patterns-- swatches of material on furniture, dolls, clothes, bags, sheets and curtains--folded on shelves and rolled along the walls. The collection becoming in essence something else: a stylistic portrait of a particular genre, defined by the visual patterns present (their designs and colors spanning 1960-1987). "Psychedelic Swatch" is a play on the idea of psychedelic and the generalized notion of what it represents. By layering 15 audio recordings that were recorded within Elsewhere, I was able to respond to the visuals of psychedelia within the video-- producing a stereo mix that's stylistically acid rock. Dense with tracks, the audio creates a hypnotic groove of feedback. 
Hymn - 2006
Hymn - 2006 Screenprint, 18" x 24"
Azan - 2006
Azan - 2006 Screenprint, 18" x 24"
Ballad - 2006
Ballad - 2006 Screenprint, 18" x 24"
SCAN-TRON 28 - 2003
SCAN-TRON 28 - 2003 Offset Print, #2 Pencil Drawing 28/50 Referencing the recording and reading of responses embedded within a series of fabricated standardized test sheets, the techno pop graphics of Scan-Tron become mentally charged with viable questions and patterns of decision-making. During the months of November, December, and January 2003, Jennifer Schmidt responded to a series of test forms-- filling in answers with a #2 pencil-- according to a given set of rules and unknown objectives. SCAN-TRON 2003 Digital Video 3:00min:Scantron Tests: designed and offset printed by Jennifer SchmidtVideo Animation of Scantron Tests: Jennifer SchmidtSound co-produced by Colin Asquith  
info
prev / next