Edge of Visibility, curated in conjunction with the September-October issue of the journal Art in Print by its editor-in-chief Susan Tallman, focuses on low-visibility strategies in printmaking. With over forty works spanning the 17th century to the present, the exhibition features laborious microengravings and subtle watermarks to evanescent images printed with UV-reactive inks.
Artists: Fiona Banner, Barbara Bloom, Jacques Callot, Megan Foster, Levi David van Gelder, Samuel Levi Jones, William Kentridge, Matthew Kenyon & Douglas Easterly, Glenn Ligon, Christian Marclay, Boris Margo, Kerry James Marshall, Chris Ofili, Philippe Parreno, William Pratt, Johann Michael Püchler, Walid Raad, Ad Reinhardt, Art Spiegelman & Françoise Mouly, Timorous Beasties (Alistair McAuley & Paul Simmons), and Susan York.
Press: The Guardian, The Art Newspaper, Widewalls, Untapped Cities, Gotham to Go
Susan Tallman’s Introductory Text:
Art is meant to be looked at. And yet for centuries artists have made art that is literally hard to see—too small, too dark, too intricate, too ephemeral.
They have done so for many reasons: to hide things from prying eyes, or to reward those who stay; to tease the viewer by hinting, withholding and revealing in turns; to point out how certain things and people pass unnoticed; to call attention to what hovers just out of sight. As a remedy and a pleasure, they invite us to slow down and look.
The twenty-four artists in this exhibition span four centuries, from the 17th to the present. They have employed microcalligraphy and phosphorescent pigments, watermarks and inkless printing, opalescence and reflectivity. They have made pictures about ghosts, monsters, Blackness, whiteness, and the ultimate mysteries of art, sex and God.
These are covert pictures. In most cases our first impressions will be wrong, and rightly so. Viewing is at the heart of this exercise—what it means to see, physically, metaphysically, socially and politically.
The edge of visibility is an uncertain place. It takes time to get the picture. In that sense, it is exactly like the world itself.