Kerry James Marshall, "Frankenstein and Bride of Frankenstein"
Kerry James Marshall (American, born 1955)
Frankenstein and Bride of Frankenstein (2010).
Printed and published by Paulson Bott Press, Berkeley, CA.
Courtesy of the artist and Paulson Fontaine Press, Berkeley, CA.
- Edge of Visibility
Edge of Visibility is curated in conjunction with the September-October issue of the journal Art in Print by its editor-in-chief Susan Tallman and 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.
The often laborious, multi-step processes inherent to printmaking allow artists to maintain visual clarity before subverting this visibility in the final image. Examples include the highly-detailed, nearly imperceptible details of Chris Ofili’s multi-layered, opalescent Black Shunga (2008-15), or Walid Raad’s refined Views from Inner to Outer Compartments (2013).
The visual hurdle posed by low-visibility prints urges viewers to be more conscious of their sight upon entering the exhibition space. Rare historical works of virtuoustic micrography by Levi David van Gelder, Johann Michael Püchler, and William Pratt, use minuscule text to create images, escaping the conventional dichotomy of text and image. Matthew Kenyon’s Notepad (2007) and Fiona Banner’s Top Gun (1996) bring the tradition of micrography into the present.
Edge of Visibility Exhibiting 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.
Edge of Visibility curator Susan Tallman is the editor-in-chief of the international journal and website Art in Print. An art historian, she has written extensively on the history and culture of the print, as well as on issues of authenticity, reproduction, and multiplicity. Her writing has appeared in Art in America, Parkett, Public Art Review, Art on Paper, Print Quarterly, Arts Magazine and many other publications. Her books include The Contemporary Print: From Pre-Pop to Postmodern (Thames and Hudson), The Collections of Barbara Bloom (Steidl), and numerous museum catalogues. She currently teaches in the Department of Art History, Theory, and Criticism at the School of the Art Institute of Chicago.
October 4 – December 19, 2018
International Print Center New York