Render Visible at Present Company

 

 

 

 

 

 

 

 

 

A Loss of Place but a Fragment of Time, 2011, (2) Gray ink, magnetic tape, on 300lb, khadi cotton rag paper, 5 x 5 1/2 inches each

Render Visible
organized by Blonde Art Books in collaboration with Matthew Walker

September 30 – October 28, 2012
RECEPTION:  Friday, October 5  (7-10pm)
GALLERY HOURS:  Saturday and Sunday, noon to 6pm

WORKS BY:
Lea BertucciShelley BurgonSeth CluettEve Essex & Juan Antonio Olivares, Guy GoldsteinBen Hall & Nate WooleyMatt MarbleDaniel NeumannElliott Sharp, Jo-ey TangHannah Whitaker, and Philip White
FEATURED PUBLISHERS:
Frog Peak MusicTheresa SauerJSBJSwill ChildrenLittle Paper PlanesShifterFO A RM MagazineMIT PressContinuumARTBOOK | D.A.P.The KitchenMiguel Abreu GalleryErrant Bodies PressDuke University Press Books, TriLiteral, LLC, and others.d
PERFORMANCES:
Friday, October 19 – Shelley Burgon, and Eve Essex & Juan Antonio Olivares  (8pm)
Wednesday, October 24 – Nate Wooley and Philip White  (8pm)


“Should I switch over to the invisible world?”
– Fischl and Weiss, Will Happiness Find Me?

Recently I wrote a letter that was addressed to ‘Render Visible’ in which I claimed that graphic notation and other visual documents of sound are respondent to Pauline Oliveros’ question ‘Why can’t sounds be visible?’ I am still convinced that she must have been making a statement rather than asking a question. In fact I originally called it a proposition. Yet it is now clear that I do not see Oliveros’ question as a challenge to artists as much as a proclamation of the potential of sound and the act of listening. The proposition was mine.  

Render Visible’ is a multifaceted presentation of books, works on paper, and performances organized by Blonde Art Books in collaboration with Matthew Walker. In his book Francis Bacon, The Logic of Sensation (1981) Gilles Deleuze wrote, “Paul Klee’s famous formula – ‘Not to render the visible, but to render visible’ – means nothing else.” He applies Klee’s quote to Francis Bacon’s paintings in order to highlight the artist’s sensitivity to non-visible forces and his ability to render them visible.