The New York City gallery has been hosting exhibitions, installations, and programs since opening its doors in 1982, each accompanied by a leaflet—which evolved into the current broadsheet style—sent out to nearly 3,000 avid and active “friends and followers.” Bound together, along with interviews and previously unpublished original pieces, these newsprints trace the history of an establishment that developed from hole-in-the-wall to dynamic cultural landmark.
Founding director Kyong Park opens the anthology with an essay titled “Beginning or End,” explaining that Storefront was to be a place to interact with others and with the built environment, a “forum for artists and architects who would solicit new engagements with the physical and social evolutions within the at-large landscape.” Originally favored for their relative cheapness and easy production values, the newsprints that announced the shows soon became features themselves, folded down to postcard size and mailed or picked up by patrons. The black-and-white notices were designed with archiving in mind, and the series, Park says, represents “the biggest body of work Storefront has produced,” a true testament to the staying power of print.
Jordan Kushins is happiest when crafting but also enjoys drinking tea, swimming in outdoor pools, and Singin' in the Rain, and once baked a very large cake that was shaped like a hamburger.
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