116
THE D R AWI N G CENTER
To believe
The Intuitionists
The Drawing Center Main Gallery | The Lab July 11–August 24, 2014
The Intuitionists
Organized by Heather Hart, Steffani Jemison, and Jina Valentine Curated by Lisa Sigal
D R A W I N G P A P E R S 11 6
Introduction by Lisa Sigal Essay by Heather Hart, Steffani Jemison, and Jina Valentine
Acknowledgments
Lisa Sigal
I would like to thank Heather Hart, Steffani Jemison, and Jina Valentine for their unique spirit of intuitive investigation over the past year and a half. It was a privilege to work with them on The Intuitionists, my first curatorial project at The Drawing Center and the last Selections exhibition. I look forward to continuing working with Heather, Steffani, and Jina in the coming year as Open Sessions artists. The Intuitionists is deeply inspired by the ideas of Colson Whitehead, and we thank him for his support and generous contribution. I am also indebted to Sarah Workneh, Co-Director of the Skowhegan School of Painting and Sculpture, who inspired The Drawing Center’s collaboration with Heather, Steffani, and Jina and who advised Nova Benway and me to conceive of Open Sessions, our new program. The Drawing Center’s staff proved very valuable in realizing this exhibition. Special thanks to Brett Littman, Executive Director, and especially to Nova Benway, Assistant Curator, and Chelsea Cater, Open Sessions intern, who were invaluable in organizing a million details. Thanks also to Molly Gross, Communications Director; Anna Martin, Registrar; Dan Gillespie, Operations Manager; Alice Stryker, Development Manager; Hannah Cloepfil, Special Events & Public Programs; Margaret Sundell, Executive Editor; Joanna Ahlberg, Managing Editor; and Peter J. Ahlberg / AHL&CO, Designer. Finally, I am very appreciative of The Drawing Center’s Board of Directors as well as The Evelyn Toll Family Foundation and the New York City Department of Cultural Affairs for their steadfast support of this exhibition and its accompanying publication.
9
Introduction
Lisa Sigal
From 1977 to 2014, the Viewing Program and its curated artist registry have epitomized The Drawing Center’s mission to broadly reflect on drawing as an evolving and responsive medium. Culled from an open application process, the registry—which features over 2,500 artists from around the globe and at all stages of their careers— has served as an important resource for curators, educators, and drawing enthusiasts. In addition, its participants have been featured in the annual exhibition series, Selections, typically organized by the Viewing Program Curator. For its final iteration, The Drawing Center has, instead, invited artists Heather Hart, Steffani Jemison, and Jina Valentine to develop an exhibit that engages and, in some sense, celebrates the Viewing Program’s thirty-seven-year-old archive. Hart, Jemison, and Valentine have worked together for a number of years on various projects. In the summer of 2005, while residents at the Maine artist colony Skowhegan, Hart and Valentine created the performance-event The Black Lunch Table, based on their experience of self-segregation during communal meals at residences and colonies. Realizing that no such “black table” had spontaneously coalesced, the artists self-consciously staged one, seizing the opportunity to initiate a dialogue about their existence that would raise
11
important questions regarding social divisions. In 2010, Jemison organized Future Plan and Program, a DIY publishing project featuring newly commissioned literary works by visual artists of color. Skowhegan’s director Sarah Workneh introduced me to the work of Hart, Jemison, and Valentine through “The Present Classification”— their proposal for a collaborative exhibition and performance centering on text-based art by black alumni of Skowhegan—which appeared in the 2012 edition of the Skowhegan Journal. The beautifully crafted proposition elaborates the three artists’ shared interest in collections, collectives, accumulation, and reclassification through association, via a maze of Borgesian references that poetically interweave ideas about language (a “collection” of words), observations on the associations and divisions in collectives, and the reflections of such mentor-figures as Susan Stewart, Giorgio Agamben, Deleuze and Guattari, and Michel Foucault. (In the preface to The Order of Things, Foucault imagines the meeting ground for all classified creatures in a space created by language, where the dis/similar find common ground and therein communality.) On the strength of “The Present Classification,” I asked Hart, Jemison, and Valentine to develop a method for organizing an exhibition derived from the Viewing Program’s sprawling online database that would take into account the self-identifications of its members (who must classify their portfolios under a series of searchable keywords: “abstraction,” “surrealism,” “feminism,” etc.) The result is The Intuitionists—a project inspired by the 1999 novel by Brooklyn-based author Colson Whitehead, from which it takes its name. Whitehead’s story describes a version of New York City in a time that feels both past and future, when civil rights, labor unions, and integration were new issues. The protagonist, an African-American woman, is the city’s first and only female elevator inspector. She becomes caught in the struggle between two competing schools of evaluation: “The Intuitionists,” whose method of identifying mechanical problems is entirely intuitive, and the “The Empiricists,” who employ traditional, instrument-based verification of an elevator’s condition. In the novel, the elevator is used as a metaphor to express movement, racial progress, and the limitations and power of language.
12
For their Selections project, Hart, Jemison, and Valentine picked a paragraph from Whitehead’s text. The passage was chosen for its associations with the by turns halting and accelerating pace of each artist’s studio practice (in which they see a metaphor for human communication) and its inclusion of a quotation by Surrealist poet André Breton about a train that constantly roars out of the station, but that we know will never leave. Taking a cue from the book’s labyrinthine use of language, they divided the paragraph into short phrases. Every phrase was then assigned a unique group of keywords from the Viewing Program’s database, based on a sense of resonance or affinity between the two. “To believe” was, thus, linked by the artists to the keywords spiritual, conceptual, meditative, and fantasy; “in silence” was associated with the keywords language, meditative, dreams, and gestural, etc. In this way, each keyword became one element of a newly invented poetic language. (The analog archives that predate and were not converted into the online version of the Viewing Program’s registry were also included in the process; artist statements were searched for similarly self-describing language to pair with keywords.) Matching clusters of keywords to the phrases in the selected paragraph, Hart, Jemison, and Valentine identified nearly seventy participants in the Viewing Program’s registry for their exhibition (one for each phrase). The artists—who represent myriad styles, a range of career paths, different generations, and far-flung geographies—were each asked to contribute one artwork in response to their assigned phrase. Installed according to the sequence determined by Whitehead’s organizing text, the exhibition is accompanied by a series of closely connected lectures, readings, and panel discussions, which address information organization and visualization, graphic notation, poetry, and text-based art. The project’s beauty lies in the fluid, intuitive, and empirical system that Hart, Jemison, and Valentine have devised to realize The Intuitionists as they find new ways to think about collectivity and the unique interdependence of objects.
13
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To believe
A collective is a group of people who work cooperatively toward a common goal. Our challenge is to develop a collective of objects— objects that remain individual agents with independent agendas. In information technology and database theory, “to aggregate” is to bring together individual streams that remain independent and theoretically divisible; the noun “aggregate” refers to a dense cluster of separate units that do not cohere, e.g., a flower is composed of an aggregate of florets, petals, or fruits. We imagine the constituent elements of a collection as dynamic objects on distinct trajectories, temporarily funneled into a single current. Objects are classified, clustered, situated, and affiliated in an immense web of ever-changing relations. They enlarge, accumulate, thicken with each new encounter. Every object is an archive. The exhibition proposes a synchronic analysis of general conditions. Relying on a non-hierarchical, keyword-based system to identify artists and organize artworks, TH∑ + IN + ��I� = (I�N) x IS�S imagines discrete artworks as autonomous actors and the exhibition as a generous interface. Viewers are offered a path shaped by a passage from Colson Whitehead’s speculative novel The Intuitionist that is both arbitrary and intentional. Arbitrary, because it is one among an infinite number of valid ordering systems. Intentional, because Whitehead’s playful investment in the politics and aesthetics of knowing, in the limits of observation, and in the ironies of progress, prefigures our own commitments. Relay: to receive and to pass; a switch. Our drawings trace the closed path of a relay logic elevator’s electric circuit. The diagram describes an obsolete technology that was not dead after all, but merely dormant. Can data truly be at rest? Is a picture active only when it is beheld? Why is the thought of perpetual motion so pleasing? “To play with series is to play with the fire of infinity.”1 1
Susan Stewart, On Longing: Narratives of the Miniature, the Gigantic, the Souvenir, the Collection (Baltimore: Johns Hopkins University Press, 1984), 159.
in silence a never in concert
we knew
in bubbles
one warm:
that warmth.
Sentient
speaking in chemicals articulate
Silence
secreted
never said around
your companion the womb
and
Food.
simple Fight.
words Follow.
time no sentence
mortality a fear of
nature before
provided a sla very
mistakes
Nouns
and
verbs
only,
the time the train
ent
years
train
the
Ants
and leaves
ample train plat form con
ductor the platform
accr eted
pa ces
Speak, speak
his platform
me
timetable. blight
up
and
down
the
word
departure. messy business
the battle the muck
allowed to
and
your
words
black box
elevator waits human freight
your
companion
a train.
h warm ing
your words to pass between
and
redu ced
a waits
you always leaving
Nothing is the words An elev ator
to grab
that thing between
remember
the train
true
perfec tion
ter min ates
ox leaving
per
fect
sim
ple Heaven
have not
hu man com muni cation understood excr eted chem icals
recep tors.
the soul
u
found
words find
half
the
seat
late
PL . 1
Shaun Acton, You Are Standing, Here, Here, Here and Here... , 2014
PL . 2
Valerio Berruti, Come era nel principio (as it was in the beginning), 2014
PL . 3
A.J. Bocchino, Arab Spring (Nothing is Allowed to Pass), 2014
PL . 4
Dana Boussard, So Reluctant To Leave Her Home, 2014
PL . 5
Hannah Burr, A Visit With You, 2014
PL . 6
Maria Bussman, The train is always leaving, 1 - 3, 2014
PL . 7
Enrique Chagoya, The Portentous Life of Death in Mayalandia (detail), 2012
PL . 8
Joyce Chan, Sketchbook 1 & 4 Diptych (detail), 2011
PL . 9
Catalina Chervin, Untitled, 2013–14
PL . 10
Hannah Cole, Studio Note #1, Studio Note #2, Studio Note #3, 2014
PL . 11
Kenny Cole, MDNJPN, 2014
PL . 12
Vincent Colvin, Balena, 2013
PL . 13
Hollis Cooper, Vignette, 2014
PL . 14
Cui Fei, Leaves, 2014
PL . 15
Gabriel Delgado, Muslim Woman with Sacred Cow, 2009
PL . 16
Wendy DesChene, Generation 5 DuckFeet, 2014
PL . 17
Asya Dodina and Slava Polishchuk, Day # 293, 2009
PL . 18
Debra Drexler, To Believe in Silence, 2014
PL . 19
Derek Dunlop, Fear of Invisibility (Erased oval on the back of Annie’s Drawings), 1915/2014
PL . 20
Elisabeth Eberle, A train. The perfection, 2014
PL . 21
Lisa Endriss, Intuition in the playground of intentions - self-portrait, 2014
PL . 22
Rodney Ewing, For Safekeeping (1 of 11 images), 2014
PL . 23
Tory Fair, Inside Mirror, 2014
PL . 24
Douglas Florian, Was Once, 2014
PL . 25
Nicholas Fraser, The Inexhaustible Clarity of His Screaming (detail), 2014
PL . 26
Carl Fudge, Bricklayer 1, 2014
PL . 27
Brett Goodroad, other, 2014
PL . 28
Barry Gray, Untitled, 2010
PL . 29
Stephen Grossman, 3 Luftmentsh: arriving-departing, 2014
PL . 30
Nathan Haenlein, Followed, 2014
PL . 31
Patrick Earl Hammie, Platform, 2014
PL . 32
Skowmon Hastanan, Random Haikus, 2014
PL . 33
HENSE, Shape, 2014
PL . 34
Elizabeth Hoak-Doering, Little Bitty Dive (the act) (detail), 2014
PL . 35
Cynthia Ona Innis, Secret, 2014
PL . 36
Tatiana Istomina, Alissa Blumenthal, Small abstractions, late 1960s, 2013-2014
PL . 37
Hedwige Jacobs, Tomorrow, 2014
PL . 38
Chiaki Kamikawa, 10 possible locations for secret talks (detail), 2014
PL . 39
Manfred Kirschner, Kunsttheorieuntersetzer - Lila-Mae, 2014
PL . 40
Kimia Kline, Eve, 2014
PL . 41
Nicholas Knight, Sentences (Bachelard), 2014
PL . 42
Kang Joo Lee, Untitled, 2014
PL . 43
Kate Tessa Lee, AMPUTATION, 2014
PL . 44
Cynthia Lin, neg2YCsidemouth41407, 2014
PL . 45
Hung Liu, Time Flows, 2014
PL . 46
Maess, The perfect elevator waits while its human freight tries to grab through the muck and find the words., 2014
PL . 47
Mario Marzan, Ma単ana a las 9:00, 2014
PL . 48
Linn Meyers, Untitled, 2014
PL . 49
Nyeema Morgan, Like It Is: Prelude, 2014
PL . 50
Paul Morrison, Last Day, 2014
PL . 51
Seamus Liam O’Brien, The Twin Poles, 1-3, 2014
PL . 52
Alison Owen, Rise and Fall, 2012
PL . 53
Jenny Perlin, Sequence (detail), 2007
PL . 54
Mel Prest, Mirror Ziggurat, 2013
PL . 55
Jo Ann Rothschild, 4-17-2014, 2014
PL . 56
Anna Schachte, Biological Clock, 2013
PL . 57
Fausto Sevila, In advance of a broken language, 2014
PL . 58
Jill Shoffiet, The Nature of Redemption, 2013
PL . 59
Tom Slaughter, Boy Scout Jack Knife, 2014
PL . 60
Chris Spinelli, C Wave 014, 2008
PL . 61
Karen Tam, Automata Tea Drinkers, 2014
PL . 62
Caroline Tavelli-Abar, Ag . opening, 2011
PL . 63
Scott Teplin, Save for the one nature imposes (mortality), 2014
PL . 64
Jen Urso, The Map is Accurate, 2014
PL . 65
Kris Van Dessel, AS THE CROW FLIES (the distance between my studio and the Drawing Center (3666 miles), drawn on scale 1/1, 5900000 lines of 39.37 inch), 2014
PL . 66
Kara Walker, Gone, An Historical Romance of a Civil War as it Occurred between the Dusky Thighs of One Young Negress and Her Heart, 1994
PL . 67
Margaret Withers, between light and obscurity the lush paradise breathed a silent kĹ?an, 2014
LIST OF WORKS
PL . 6
Maria Bussman PL . 1
The train is always leaving, 1 - 4, 2014
Shaun Acton
Pencil and old postal stickers on paper
You Are Standing, Here, Here, Here and Here... ,
3 7/10 x 6 2/5 inches ( 9.5 x 16.5 cm)
2014 Plaster, paper, vellum, pencil, plastic,
PL . 7
ink, and paint
Enrique Chagoya
43 x 43 inches (10.2 x 109.2 cm)
The Portentous Life of Death in Mayalandia
Photo by Brian Buckley
(detail), 2012 Monoprint with lithographic ink transfers
PL . 2
7 1/2 x 51/4 inches each (19 x 13.3 cm)
Valerio Berruti
(16 pages)
Come era nel principio (as it was in the beginning), 2014
PL . 8
Oil pastel on pure cellulose
Joyce Chan
15 x 11 1/2 inches (38 x 29.5 cm)
Sketchbook 1 & 4 Diptych (detail), 2011 Xerox copy
PL . 3
22 x 8 1/2 inches (27.9 x 21.6 cm)
A.J. Bocchino Arab Spring (Nothing is Allowed to Pass), 2014
PL . 9
Watercolor and spray paint on newspaper
Catalina Chervin
16 x 38 inches (40.6 x 96.5 cm)
Untitled, 2013–14 Pen and charcoal on paper
PL . 4
15 3/4 x 60 inches (40 x 152.4 cm)
Dana Boussard
Courtesy of the artist and Cecilia de Torres, Ltd.
So Reluctant To Leave Her Home, 2014
Photo by Pablo Messil
Colored pencil on paper 14 x 11 inches (35.6 x 27.9 cm)
PL . 10
Hannah Cole PL . 5
Studio Note #1, Studio Note #2, Studio Note #3,
Hannah Burr
2014
A Visit With You, 2014
Watercolor and pencil on paper
Mixed media
Each 7 1/2 x 10 inches (19 x 25.4 cm)
Dimensions variable
Courtesy of Slag Gallery, New York Photo by Aubrey Holland
92
PL . 11
PL . 17
Kenny Cole
Asya Dodina and Slava Polishchuk
MDNJPN, 2014
Day # 293, 2009
Gouache on paper
Graphite on paper
8 1/2 x 7 inches (21.6 x 17.8 cm)
5 x 7 inches (12.7 x 17.8 cm)
Courtesy of Aucocisco Gallery, Portland, Maine
PL . 18
Debra Drexler PL . 12
To Believe in Silence, 2014
Vincent Colvin
Graphite and acrylic on mylar and paper
Balena, 2013
14 x 11 inches (35.6 x 27.9 cm)
Oil ink woodcut on archival paper 9 x 36 inches (22.9 x 91.4 cm)
PL . 19
Derek Dunlop PL . 13
Fear of Invisibility (Erased oval on the back of
Hollis Cooper
Annie’s Drawings), 1915/2014
Vignette, 2014
Graphite on paper
Digital animation still
14 1/8 x 30 1/4 inches (35.9 x 76.8 cm)
PL . 14
PL . 20
Cui Fei
Elisabeth Eberle
Leaves, 2014
A train. The perfection, 2014
Mixed media
Ballpoint pen on Asian paper, plotter drawing
8 1/2 x 4 1/4 x 1 1/2 inches
35 3/4 x 46 3/4 inches (91 x 118.5 cm)
(21.6 x 10.8 x 3.8 cm)
Image courtesy of HC Wepfer
PL . 15
PL . 21
Gabriel Delgado
Lisa Endriss
Muslim Woman with Sacred Cow, 2009
Intuition in the playground of intentions -
Ink on paper
self-portrait, 2014
20 x 24 inches (50.8 x 60.9 cm)
Mixed media on paper 11 3/5 x 8 3/10 inches (29.5 cm x 21 cm)
PL . 16
Wendy DesChene
PL . 22
Generation 5 DuckFeet, 2014
Rodney Ewing
Colored pencil on paper
For Safekeeping (1 of 11 images), 2014
12 x 15 inches (30.5 x 38.1 cm)
Sumi ink, and ink jet print on paper 10 1/2 x 13 inches (26.7 x 3 cm)
93
PL . 23
PL . 28
Tory Fair
Barry Gray
Inside Mirror, 2014
Untitled, 2010
Bronze
Sumi ink on paper with acetate overlay
5 1/2 x 13 1/2 x 6 1/4 inches
14 x 11 inches (35.6 x 27.9 cm)
(13.9 x 34.3 x 15.9 cm) PL . 29 PL . 24
Stephen Grossman
Douglas Florian
3 Luftmentsh: arriving-departing, 2014
Was Once, 2014
Encaustic on panel
Oil on board
8 x 20 inches (20.3 x 50.8 cm), diptych
14 5/16 X 11 3/16 inches (36.4 x 28.4 cm) Courtesy of Douglas Florian and
PL . 30
Bravin Lee Programs
Nathan Haenlein
Image courtesy of Marshall Jones
Followed, 2014 Graphite on Bristol
PL . 25
9 x 12 inches (22.8 x 30.4 cm)
Nicholas Fraser The Inexhaustible Clarity of His Screaming
PL . 31
(detail), 2014
Patrick Earl Hammie
Cut black Tyvek
Platform, 2014
36 x 58 1/4 x 1 1/2 inches
Oil on Mylar
(91.4 x 147.9 x 3.8 cm)
84 x 11 inches (213.3 x 27.9 cm)
PL . 26
PL . 32
Carl Fudge
Skowmon Hastanan
Bricklayer 1, 2014
Random Haikus, 2014
Woodcut on paper
Acrylic, sand, graphite, and gesso on hardboard
12 x 10 inches (30.5 x 25.4 cm)
30 panels, 5 x 7 inches (12.7 x 17.7 cm) each,
Courtesy the artist, Ronald Feldman Gallery,
60 x 42 inches (152.4 x 106.6 cm) overall
and Gallery Richard
Photo by Stefan Hagen
PL . 27
PL . 33
Brett Goodroad
HENSE
other, 2014
Shape, 2014
Charcoal, white chalk, sumi on paper
Monoprint silkscreen on paper
5 3/4 x 7 1/4 inches (14.6 x 18.4 cm)
26 x 40 inches (66.04 x 101.6 cm)
Courtesy of the artist and Gregory Lind Gallery Image courtesy of the artist
94
PL . 34
PL . 39
Elizabeth Hoak-Doering
Manfred Kirschner
Little Bitty Dive (the act) (detail), 2014
Kunsttheorieuntersetzer - Lila-Mae, 2014
Carbon, graphite, red pencil on
Drawing with C-print
vintage blotter paper
11 7/10 x 8 3/10 inches (29.7 x 21 cm)
24 x 88 1/5 inches (60 x 224 cm) Image courtesy of Antonis Minas
PL . 40
Kimia Kline PL . 35
Eve, 2014
Cynthia Ona Innis
Oil on canvas
Secret, 2014
9 x 12 inches (22.9 x 30.5 cm)
Acrylic, ink and velvet on paper 10 x 14 inches (25.4 x 35.5 cm)
PL . 41
Courtesy of the artist and
Nicholas Knight
Walter Maciel Gallery
Sentences (Bachelard), 2014
Photo by Dana Davis
Graphite on wall 28 x 20 inches (71.1 x 50.8 cm)
PL . 36
Tatiana Istomina
PL . 42
Alissa Blumenthal, Small abstractions, late 1960s,
Kang Joo Lee
2013-2014
Untitled, 2014
Oil on canvas
Acrylic, spray paint and screen print on canvas
Three paintings, each 12 x 12 inches
10 x 12 inches (25.4 x 30.4 cm)
(30.5 x 30.5 cm) PL . 43 PL . 37
Kate Tessa Lee
Hedwige Jacobs
AMPUTATION, 2014
Tomorrow, 2014
Drawing and writing excerpts from
Pen and ink on paper
feature film, Amputation
9 x 24 inches (22.8 x 60.9 cm)
Carbon tracings scroll of 143 7/10 x 11 4/5 inches (365 x 30 cm);
PL . 38
printed text on photo paper, series of 16,
Chiaki Kamikawa
10 3/5 x 7 inches (27 x 18 cm) each
10 possible locations for secret talks (detail), 2014 10 drawings, pencil on paper
PL . 44
8 3/10 x 9 1/10 inches (21 x 23 cm) each
Cynthia Lin neg2YCsidemouth41407, 2014 Citrasolv transfer on paper 85 x 28 inches (215.9 x 71.12 cm)
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PL . 45
PL . 50
Hung Liu
Paul Morrison
Time Flows, 2014
Last Day, 2014
Mixed media on paper
Ink on fabric
9 1/2 x 15 1/2 inches (24.1 x 6.1 cm)
120 x 88 inches (304.8 x 34.6 cm)
Photo by Jeff Kelley
Courtesy of the Artist and Alison Jacques Gallery, London
PL . 46
Photo © Paul Morrison Studio
Maess The perfect elevator waits while its human freight
PL . 51
tries to grab through the muck and find the words.,
Seamus Liam O’Brien
2014
The Twin Poles, 1-3, 2014
Marker on paper
Mixed media
58 1/2 x 49 1/2 inches (148.5 x 125.7 cm);
10 7/8 x 10 7/8 inches (27.7 x27.7) each
composite drawing of 15 segments 11 7/10 in x 16 1/2 inches (29.7 x 41.9 cm) each
PL . 52
Alison Owen PL . 47
Rise and Fall, 2012
Mario Marzan
Dust, thread, pencil, and sequins on paper
Mañana a las 9:00, 2014
14 x 18 inches (35.6 x 45.7 cm)
Acrylic, graphite, and ink on panel 7 x 7 inches (17.7 x 17.7 cm)
PL . 53
Jenny Perlin PL . 48
Sequence (detail), 2007
Linn Meyers
Ink on vellum, set of 160 drawings
Untitled, 2014
Each 11 7/10 x 8 1/5 inches (29.7 x 21 cm)
Ink on paper
Courtesy the artist and
8 1/2 x 11 inches (21.6 x 27.9 cm)
Simon Preston, New York
Courtesy of the artist and Sandra Gering Inc, NYC
PL . 54
Mel Prest PL . 49
Mirror Ziggurat, 2013
Nyeema Morgan
Metallic and phosphorescent acrylics
Like It Is: Prelude, 2014
on wood panel
Media and dimensions variable
14 x 11 x 2 inches (35.6 x 27.9 x 5 cm)
96
PL . 55
PL . 60
Jo Ann Rothschild
Chris Spinelli
4-17-2014, 2014
C Wave 014, 2008
Tulip petals, handmade paper, tracing paper,
Ink and acrylic on paper
sticker, coffee, ink , watercolor, acrylic, colored
12 x 9 inches (30.5 x 22.9 cm)
pencil, crayon, graphite on paper 14 1/4 x 11 inches (5.6 x 4.3 cm)
PL . 61
Image courtesy of Clements Photography and
Karen Tam
Design, Boston
Automata Tea Drinkers, 2014 Gold paper cutout
PL . 56
15 x 11 inches (38.5 x 28 cm)
Anna Schachte
Courtesy of the artist and Galerie Hugues
Biological Clock, 2013
Charbonneau
Oil, enamel, canvas 20 x 16 inches (50.8 x 40.6 cm)
PL . 62
Image courtesy of Ariana Page Russell
Caroline Tavelli-Abar Ag . opening, 2011
PL . 57
Mixed media (one side of double sided image)
Fausto Sevila
9 1/4 x 8 3/4 inches (23.5 x 22.2 cm)
In advance of a broken language, 2014 Printed paper, performance video, Dremel,
PL . 63
stand and ink markers
Scott Teplin
44 x 56 x 56 in (111.8 x 142.2 x 142.2 cm)
Save for the one nature imposes (mortality), 2014 Pen & ink and watercolor
PL . 58
9 x 12 inches (22.9 x 30.5 cm)
Jill Shoffiet
Courtesy of the artist and Ryan/Lee Gallery
The Nature of Redemption, 2013
Image courtesy of the artist
Watercolor and ink on paper 24 x 36 inches (60.9 x 91.4 cm)
PL . 64
Jen Urso PL . 59
The Map is Accurate, 2014
Tom Slaughter
Pencil, pen & marker on paper
Boy Scout Jack Knife, 2014
30 x 30 inches (76.2 x 76.2 cm)
Ink on paper 9 x 12 inches (22.9 x 30.5 cm)
97
PL . 65
Kris Van Dessel AS THE CROW FLIES (the distance between my studio and the Drawing Center (3666 miles), drawn on scale 1/1, 5900000 lines of 39.37 inch), 2014 Inkjet print on paper 33 1/10 x 46 4/5 inches (84 x 118.9 cm) Image courtesy of Peter Cox PL . 66
Kara Walker Gone, An Historical Romance of a Civil War as it Occurred between the Dusky Thighs of One Young Negress and Her Heart, 1994 Cut paper on wall Installation dimensions variable; approximately 156 x 600 inches (396.2 x 1524 cm) Image courtesy of Sikkema Jenkins & Co., New York, and Orcutt Photo PL . 67
Margaret Withers between light and obscurity the lush paradise breathed a silent kĹ?an, 2014 Watercolor, ink, pigment and vinyl paint on paper mounted on board with string and wire 21 x 44 inches (53 x 111.8 cm) Photo by Scott Withers All works courtesy of the artist unless noted otherwise.
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ARTISTS
Shaun Acton is a New York-based artist whose works are inspired by theories of
science, both far-fetched and widely accepted. Valerio B err u ti was born, in 1977, in Alba, in the north of Italy. He set up
his studio inside a seventeenth-century church. His drawings and frescoes represent moments of transition in a human landscape. A . J . B occhino lives and works in New York City. D ana B o u ssard creates drawings, paintings, textile, and glass installations for
private and public collections internationally. She lives with her husband on their ranch in western Montana. H annah B u rr lives and works in Boston. She redescribes subtle and fleeting
elements of experience and interaction in vivid material arrangements. M aria B u ssmann works at the intersection of Art (drawing/sculpture) and
philosophy (in which she holds a Ph. D.). Curating and teaching art philosophy are also part of her spectrum. Born in 1966, in W端rzburg, Germany, she currently lives in Vienna and New York City. E nri q u e C hago ya , born in Mexico City, is an American artist based in San
Francisco. He works as a painter and printmaker and teaches at Stanford University. His art is included in the collections of the Museum of Modern Art and the San Francisco Museum of Art, among many others. J o y ce C han is interested in the inherent contradictions in her materials and ideas.
Her work combinines sculpture, drawing, and conceptual practices. She received an M.F.A. from Queens College, City University of New York. C atalina C hervin is an Argentinian artist whose works on paper evoke a never-
ending quest. Her art is included in the collections of Graphische Sammlung Albertina, Victoria & Albert Museum, and The British Museum, among others. H annah C ole is a painter who lives and works in Brooklyn. She is represented by
Slag Gallery.
100
K enn y C ole moved from New York City to Maine in 1994. In 2014, he exhibited his
interactive installation Parabellum at the University of Maine Museum of Art’s Zillman Gallery. V incent C olvin creates interdisciplinary art blending concepts based on memory,
time, place, and the viewing experience. Colvin received a M.F.A. in painting from the Pennsylvania Academy of the Fine Arts and a B.F.A. in painting and printmaking from the Virginia Commonwealth University. H ollis C ooper is a Los Angeles-based artist whose work deals with the intersection
of media, architecture, and space. C u i F ei , based in New York, is an artist who makes mixed-media work with materials
found in nature. G abriel D iego D elgado is an artist, writer, and arts administrator. He is
currently the gallery director of J.R. Mooney Galleries of Boerne, Texas. He is a freelance art critic and writer in Texas and a board member of NHOME magazine. W endy D es C hene is a Canadian artist, whose interdisciplinary projects have been
exhibited internationally in such countries as Japan, Austria, Egypt, Iceland, Finland, Holland, China, and Italy. A s ya D odina and S lava P olishch u k , based in New York, work in
collaboration . Their recent exhibitions include BAC Gallery, ARTS Porta International, Maloney Gallery, and Chelsea Art Museum. D ebra D re x ler maintains studios in New York, where she regularly exhibits, and
Honolulu, where she is a professor of drawing and painting at the University of Hawai’i. D erek D u nlop has a studio art practice influenced by a variety of critical discourses.
He lives and works in Winnipeg, Canada. A nnie R ose C ollie (1890–1951) specialized in pencil and ink drawings on paper.
She was one of the founding members of the Western Art Academy. E lisabeth E berle is a Swiss artist who creates plotter drawings, sculptures, and
video animations. She is in charge of an artist-run space in Zurich.
101
L isa E ndriss lives and works in Griesstaett, Germany, and exhibits internationally.
Endriss’s large-scale paintings and drawings are inspired by newspaper stories and images. She studied at Munich’s Academy of Art and Vermont College of Art’s M.F.A. program. R odne y E wing is an artist who creates drawings and mixed-media works. His art
focuses on intersections of body and place to re-examine human histories and cultural conditions. T or y Fair is an artist working in Boston. She is an associate professor of sculpture at
Brandeis University, home to the Rose Art Museum. D o u glas F lorian is an abstract painter who lives and works in New York City. He
is represented by Bravin Lee Programs. N icholas F raser drinks coffee, records videos of storefronts, and fails to keep up
with old friends. Almost every day. C arl F u dge , born in London, lives and works New York. He is represented by
Ronald Feldman Gallery in New York and Galerie Takako Richard in Paris. B rett G oodroad is a painter working in San Francisco. He won the Tournesol
Award in 2012. B arr y G ray is an artist and designer whose work traverses multiple disciplines
including painting, sculpture, photography, and printmaking. S tephen G rossman is an artist; perhaps, he is a luftmentsh. He makes drawings
and paintings. N athan H aenlein is an artist who works on paper. His work explores economy,
repetition, and place. He is a professor of drawing and printmaking at Sonoma State University in California. Patrick E arl H ammie is best known for his monumental portraits related to
themes of identity, history, and narrative. He is currently an assistant professor at the University of Illinois at Urbana-Champaign.
102
S kowmon H astanan was born in Thailand and lives and works in New York City.
Hastanan creates mixed-media works on subjects relating to diasporic experience. H E N S E combines the quick pace and point of view of street culture with tumultuous
compositions often characterized by highly keyed color, vertiginous line, and biomorphic shapes. E li z abeth H oak- D oering is an interdisciplinary artist based in Nicosia, Cyprus.
She is an associate professor of art at the University of Nicosia. C y nthia O na I nnis is a Berkeley-based painter who explores notions of landscape
to create abstract compositions with acrylics and fabric. Tatiana I stomina is a Russian-born, North American artist working with painting,
drawing, and video. She lives in New York. H edwige J acobs is an artist who makes drawings on paper and canvas. In her
animations, the drawings “come alive for a few seconds.� She currently lives and works in Singapore. C hiaki K amikawa is a Japanese artist who makes drawings and sculptures. She
lives and works in Paphos, Cyprus, where she runs the gallery Chiaki Kamikawa Contemporary Art. M anfred K irschner is a Berlin-based artist who is influenced by neo-structural
conceptualism and engages a multiplicity of media and techniques to fulfill his personal credo of freedom. He also directs the Crystal Ball Gallery. K imia F erdowsi K line is an artist who makes paintings and mixed-media works
on panel. She is the curator at the Wythe Hotel in Williamsburg, Brooklyn. N icholas K night lives in New York and Marfa, Texas. K ang J oo L ee is an artist and an art education director at P.I. Art Center in New
York. She received an M.F.A. from the School of the Art Institute of Chicago. K ate T essa L ee is an artist/traveler based in Berlin, whose multidisciplinary
practice explores the correspondence and translation of life into forms of reality/ies.
103
C y nthia L in , from Brooklyn, makes monumental, hyper-detailed drawings of skin
and scars. She is an assistant professor at Purchase College, State University of New York. H u ng L i u is known for paintings based on Chinese historical photography. Her work
focuses on what she calls the “mythic poses” that underlay the photographic surfaces of history. M aess was born, in 1982, in Poland. She graduated with a Master’s Degree from the
Academy of Fine Arts in Warsaw, was nominated to the Grand Prix FID Prize in Paris, and exhibits internationally. M ario M ar z an ’s work explores geographical spaces between individual and cultural
identity. Born in San Juan, Puerto Rico, Marzan is an associate professor of studio art at the University of North Carolina at Chapel Hill. L inn M e y ers makes drawings and site-specific works. She is a graduate of Cooper
Union (B.F.A.) and the California College of the Arts (M.F.A.). N y eema M organ is a New York-based artist. Her art practice is developed within
an interdisciplinary framework that explores the personal and cultural economy of knowledge through familiar artifacts. Pa u l M orrison lives and works in Sheffield, UK, and studied at Goldsmiths
College, London. Selected solo exhibitions include: Las Vegas Art Museum; Rhode Island School of Design; Magasin, Grenoble; IMMA Dublin; and Kunsthalle Nürenburg. S eam u s L iam O ’ B rien is a fine artist and sign painter based in Brooklyn. A lison O wen is an artist who lives in Brooklyn. She makes installations and
drawings using found objects and common materials like thread, staples, and tape. J enn y P erlin mostly makes films and drawings. She lives and works in Brooklyn,
New York. M el P rest is an educator and visual artist based in San Francisco. Her work explores
color and perception.
104
J o A nn R othschild is an abstract painter living in Boston. She founded the art
program at Pine Street Inn, the largest homeless shelter in New England. A nna S chachte is an artist who lives and works in Brooklyn. She is a founding
member of the curatorial collective Regina Rex. Fa u sto S evila was born, in 1960, in Santiago, Cuba, and came to the United States
in 1970. “I have been trying to belong ever since, but have failed every time.� J ill S hoffiett , a Mississippi-native, moved to New York City in 1996. Her esoteric,
southern gothic drawings have been widely exhibited. T om S la u ghter was born in New York City in 1955. He first exhibited at The
Drawing Center in 1983. C hris S pinelli lives and works in Brooklyn and makes drawings, paintings,
sculptures, and videos. He received his M.F.A. from the School of Visual Arts in 2005. K aren Tam is an installation artist who divides her time between MontrĂŠal and London. C aroline Tavelli - A bar is a multi-disciplinary artist living in Vermont. She
curated art collections in New York City after traveling to the United Stated from her native Switzerland to explore her American roots. S cott T eplin lives in New York City. He draws almost constantly in his handmade
sketchbooks and on huge sheets of paper. J en Urso is a Phoenix, AZ-based artist. She creates works utilizing interventions,
drawing, writing, and video to explore persistence, compliance, language, and authority. K ris Van D essel is an artist who tests everyday elements on their potential to
crystallize into visual recordings of actions in time and space. K ara Walker is a New York-based artist best known for her candid investigation of
race, gender, sexuality, and violence through silhouetted figures. M argaret W ithers is a painter. She is represented by Arcilesi | Homberg Fine Art
in New York, William Baczek Fine Arts in Northampton, Massachusetts, and Bluestone Fine Art in Philadelphia.
105
B ibliograph y
T e x ts
13X, Clarence. “Lessons Degrees & Manifestations,” in My Book of Life ‘Peace To Father Allah,’ New York: Nation of Gods and Earths, 1964. Adams, Richard C. “Battle With the Monsters.” In Legends of the Delaware Indians and Picture Writing, New York: Syracuse University Press, 1997. Agamben, Giorgio. The coming community. Minneapolis: University of Minnesota Press, 1993. Badiou, Alain. “Some Remarks Concerning Marcel Duchamp.” The Symptom no. 9 (2008): http://www.lacan.com/symptom/?p=39. Baraka, Amiri. “Expressive Language.” The Poetics of New American Poetry, 373-7. 1963. Barthes, Roland. Image, Music, Text. “The Photographic Message.” Ed. and trans. Stephen Heath. New York: Hill, 1977. Barthes, Roland, Richard Miller, and Richard Howard. The pleasure of the text. New York: Hill and Wang, 1975. Benjamin, Walter. “Unpacking My Library.” Illuminations: Essays and Reflections. Trans. Harry Zohn. New York: Schocken Books, 1968. 59-67. Bergson, Henri, and Nancy Margaret Paul. Matter and memory. New York: Zone Books, 1988. Borges, Jorge Luis, and Margarita Guerrero. “Celestial Emporium of Benevolent Knowledge.” In The book of imaginary beings. ed. New York: Dutton, 1969. Jen Boyle. “Treading the Digital Turn: Mediated Form and Historical Meaning.” Journal for Early Modern Cultural Studies 13, no. 4 (2013): 79-90. Breton, André. Nadja. New York: Grove Press, 1960. Brown, Bill. Things. Chicago: University Of Chicago Press, 2004.
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Cole, Teju. Open city: a novel. New York: Random House, 2011. Melinda Cooper. “Vitesses de l’image, puissances de la pensée: la philosophie épicurienne revue par Deleuze et Guattari.” French Studies: A Quarterly Review (Oxford), LVI(1), January 2002: 45-60. Cooper, Melinda. Life as surplus: biotechnology and capitalism in the neoliberal era. Seattle: University of Washington Press, 2008. Crimp, Douglas, and Alvin Baltrop. “Disss-co (A Fragment): From Before Pictures, a Memoir of 1970s New York.” Criticism (2008): doi:10.1353/crt.0.0057. Delany, Samuel R. Babel-17. New York: Ace Books, 1966. Deleuze, Gilles, and Félix Guattari. A Thousand Plateaus: Capitalism and Schizophrenia. Minneapolis: University of Minnesota Press, 1987. Derrida, Jacques, and Eric Prenowitz. Archive fever: a Freudian impression. Chicago: University of Chicago Press, 1996. Doane, Mary Ann. The emergence of cinematic time: modernity, contingency, the archive. Cambridge, Mass.: Harvard University Press, 2002. Featherstone, Mike. “Archiving cultures.” British Journal of Sociology 51 (2000): 161-184. Foster, Hal. “An Archival Impulse.” October 110 (2004): 3-22. Foucault, Michel. The Order of Things: An Archaeology of the Human Sciences. New York: Pantheon Books, 1971. Freedman, Jonathan, N. K. Hayles, Jerome McGann, Meredith L. McGill, Peter Stallybrass, and Ed Folsom. “Responses to Ed Folsom’s Database as Genre: The Epic Transformation of Archives” Pmla-publications of The Modern Language Association of America 122, no. 5 (2007): 1580-1612. Gaines, Charles, “Reconsidering Metaphor/Metonymy: Art and the Suppression of Thought,” Art Lies 64 (2009): 48-57. Gell, Alfred. Art and Agency: An Anthropological Theory. Oxford: Clarendon Press, 1998.
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Hall, Stuart, “Encoding / Decoding.” In Hall, Stuart Dorothy Hobson, Andrew Love, and Paul Willis (eds.), Culture, Media, Language: Working Papers in Cultural Studies, 1972–79. London: Hutchinson (1980) 128–138. Hampton, James. Hamptonese. Notebook, accessed 2014. ca. 1950-1964. Hayles, N. Katherine. How We Think: Digital Media and Contemporary Technogenesis. Chicago: University Of Chicago Press, 2012. Joselit, David. “What to Do with Pictures.” October 138 (2011): 81-94. Lippard, Lucy R. 557,087: An Exhibition. Seattle: Seattle Art Museum, 1969. Lippard, Lucy R. Six Years: the Dematerialization of the Art Object from 1966 to 1972; A Cross-Reference Book of Information on Some Esthetic Boundaries. New York: Praeger, 1973. Manovich, Lev. The Language of New Media. Cambridge, Mass: MIT Press, 2002. Packer, Jeremy. “What is an Archive?: An Apparatus Model for Communications and Media History.” The Communication Review 13, no. 1 (2010): 88-104. Rammellzee. “Ionic treatise Gothic Futurism Assassin Knowledges of the Remanipulated Square Point’s One to 720° to 1440°.” Artist writings. 1979. Raqs media collective. “Stammer, Mumble, Sweat, Scrawl, and Tic.” e-flux 0 (2008): http://www.e-flux.com/journal/stammer-mumble-sweat-scrawl-and-tic/. Rotman, B. Becoming Beside Ourselves: The Alphabet, Ghosts, and Distributed Human Being. Durham: Duke University Press, 2008. Lash, Scott. “Objects that Judge: Latour’s Parliament of Things.” In Another Modernity, A Different Rationality. Oxford: Blackwell Publishers Ltd., 1999. Stewart, Susan. On Longing: Narratives of the Miniature, the Gigantic, the Souvenir, the Collection. Baltimore: Johns Hopkins University Press, 1984. Thévoz, Michel. “Dubuffet le casseur de noix.” In Détournement d’ écriture. Paris: Éditions de Minuit, 1989.
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Virilio, Paul, and Sacha Goldman. “Celebration: A World of Appearances.” Cultural Politics: An International Journal 8, no. 1 (2012): 61-72. Virilio, Paul. The Vision Machine. Bloomington: Indiana University Press, 1994. Whitehead, Colson. The Intuitionist. New York: Anchor Books, 1999. E x hibitions and O ther projects
Brucennial, Bruce High Quality Foundation. New York, 6 Mar 2014. Exhibition. Chain Letter, Global Group Exhibition. Chain letter art blogspot. 16 Jun 2011. Exhibition. Alba, Elia. The Supper Club, Recess. New York. 2012. Beckwith, Naomi and Huey Copeland. “Black Collectives,” Museum of Contemporary Art, Chicago. 3-4 May 2013. Conference. Cyrus, Jamal, and Steffani Jemison. Museum as Hub: Alpha’s Bet Is Not Over Yet, The New Museum. New York, 4 Dec 2011. Artist project. Gaines, Malik, and Alex Segade. The Meeting, courtesy of the artists. 2013. Curation as Collaboration. Gates, Theaster. Dorchester Projects, Chicago, 2009. Gilbert, Aaron, and Deana Lawson. 68 Months Discussion Group, New York, 2012. Collaboration. Hart, Heather, Jina Valentine and Steffani Jemison. Sketches Present Classification, Pinterest Website, 2013. Joo, Eungie, and Kara Walker. “6 to 8 Months,” New York, 2010. Collaborative and participatory project. Roysdon, Emily. “Ecstatic Resistance,” Grand Arts, New York (Nov. 13–Jan. 16 2010) and X Initiative, New York (Nov. 21– Feb. 6 2010). Artist project and exhibition.
109
CONTRIBUTORS
Based in Brooklyn, New York, Heather Hart has been an artist-in-residence at the Skowhegan School of Painting and Sculpture, the Robert Blackburn Printmaking Workshop Program, Santa Fe Art Institute, Open Sessions at The Drawing Center, Fine Arts Work Center, Lower Manhattan Cultural Council Workspace, and the Whitney Independent Study Program. She has received grants from the Joan Mitchell Foundation, Harvestworks, the Jerome Foundation, and a fellowship from New York Foundation for the Arts. Her work has been exhibited at Socrates Sculpture Park, Seattle Art Museum’s Olympic Sculpture Park, the Studio Museum in Harlem, Art in General, The Drawing Center, No Longer Empty, Museum of Arts and Craft in Itami, Portland Art Center, Figure One at University of Illinois, and the Brooklyn Museum. She studied at Seattle’s Cornish College of the Arts, Princeton University, and the Mason Gross School of the Arts at Rutgers University, from which she received an M.F.A. Hart will be an artist-in-residence at Bemis and the Hermitage in 2014. Steffani Jemison is based in Brooklyn, New York. Her work has been exhibited nationally and internationally at the New Museum of Contemporary Art, the Royal Danish Academy of Fine Art, LAXART, the Studio Museum in Harlem, Laurel Gitlen, Team Gallery, and the Elizabeth Foundation for the Arts. She has presented performances and lectures at such venues as the Museum of Modern Art, Philadelphia’s Institute of Contemporary Art, and the Menil Collection. Jemison has been an artist-in-residence at Project Row Houses, the Core Program at the Museum of Fine Arts Houston, the Skowhegan School of Painting and Sculpture, the Studio Museum in Harlem, and the International Studio and Curatorial Program. She is a 2013 Art Matters Foundation grantee, a 2014 Louis Comfort Tiffany Biennial awardee, and a 2014–2015 artistin-residence at Smack Mellon. She received a B.A. in Comparative Literature from Columbia University and an M.F.A. from the School of the Art Institute of Chicago. Jina Valentine was born in Pennsylvania and is based in North Carolina. She has exhibited at The Drawing Center, the Studio Museum in Harlem, the CUE Foundation, the Elizabeth Foundation for the Arts, the DiRosa Preserve, Southern Exposure, Marlborough Gallery, and the Fleisher Ollman Gallery. She has participated in residencies at the Atlantic Center for the Arts, Women’s Studio Workshop, Sculpture Space, the Skowhegan School of Painting and Sculpture, the Santa Fe Art Institute, and the Cité Internationale des Arts in Paris. She has received a Joan Mitchell M.F.A. Grant and a San Francisco Arts Commission Fellowship. Valentine received her B.F.A. from Carnegie Mellon University and her M.F.A. from Stanford University. She is currently an assistant professor of studio art at the University of North Carolina, Chapel Hill.
BOARD OF DIRECTORS
ACKNOWLEDGMENTS
Co-Chairs
The Intuitionists is made possible with the support
Frances Beatty Adler
of The Evelyn Toll Family Foundation and with
Eric Rudin
public funds from the New York City Department
Jane Dresner Sadaka
of Cultural Affairs in partnership with the City Council.
Treasurer Stacey Goergen Secretary Dita Amory Brad Cloepfil Anita F. Contini Steven Holl Rhiannon Kubicka David Lang Merrill Mahan Iris Z. Marden Nancy Poses Galia Stawski Pat Steir Barbara Toll Isabel Stainow Wilcox Candace Worth Emeritus Melva Bucksbaum Bruce W. Ferguson Michael Lynne George Negroponte Elizabeth Rohatyn Jeanne C. Thayer Executive Director Brett Littman
E D WA R D H A L L A M T U C K P U B L I C AT I O N P R O G R A M
This is number 116 of the Drawing Papers, a series of publications documenting The Drawing Center’s exhibitions and public programs and providing a forum for the study of drawing. Margaret Sundell Executive Editor Joanna Berman Ahlberg Managing Editor Designed by Peter J. Ahlberg / AHL&CO This book is set in Adobe Garamond Pro and Berthold Akzidenz Grotesk. It was printed by BookMobile in Minneapolis, Minnesota.
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T H E D R AW I N G PA P E R S S E R I E S A L S O I N C L U D E S
Drawing Papers 115: Len Lye: Motion Sketch Drawing Papers 114: Lebbeus Woods: Architect Drawing Papers 112: Rashaad Newsome: FIVE (The Drawing Center) Drawing Papers 111: Deborah Grant: Christ You Know it Ain’t Easy!! Drawing Papers 110: Ferran Adrià: Notes on Creativity Drawing Papers 109: Dickinson/Walser: Pencil Sketches Drawing Papers 108 Drawing Time, Reading Time Drawing Papers 107 Alexis Rockman: Drawings from Life of Pi Drawing Papers 106 Susan Hefuna and Luca Veggetti: NOTATIONOTATIONS Drawing Papers 105 Ken Price: Slow and Steady Wins the Race, Works on Paper 1962–2010 Drawing Papers 104 Giosetta Fioroni: L’Argento Drawing Papers 103 Igancio Uriarte: Line of Work Drawing Papers 102 Alexandre Singh: The Pledge Drawing Papers 101 José Antonio Suárez Londoño: The Yearbooks Drawing Papers 100 Guillermo Kuitca: Diarios Drawing Papers 99 Sean Scully: Change and Horizontals Drawing Papers 98 Drawing and its Double: Selections from the Istituto Nazionale per la Grafica Drawing Papers 97 Dr. Lakra Drawing Papers 96 Drawn from Photography Drawing Papers 95 Day Job Drawing Papers 94 Paul Rudolph: Lower Manhattan Expressway Drawing Papers 93 Claudia Wieser: Poems of the Right Angle Drawing Papers 92 Gerhard Richter: “Lines which do not exist” Drawing Papers 91 Dorothea Tanning: Early Designs for the Stage Drawing Papers 90 Leon Golub: Live & Die Like a Lion? Drawing Papers 89 Selections Spring 2010: Sea Marks Drawing Papers 88 Iannis Xenakis: Composer, Architect, Visionary Drawing Papers 87 Ree Morton: At the Still Point of the Turning World Drawing Papers 86 Unica Zurn: Dark Spring Drawing Papers 85 Sun Xun: Shock of Time Drawing Papers 84 Selections Spring 2009: Apparently Invisible Drawing Papers 83 M/M: Just Like an Ant Walking on the Edge of the Visible Drawing Papers 82 Matt Mullican: A Drawing Translates the Way of Thinking Drawing Papers 81 Greta Magnusson Grossman: Furniture and Lighting Drawing Papers 80 Kathleen Henderson: What if I Could Draw a Bird that Could Change the World? Drawing Papers 79 Rirkrit Tiravanija: Demonstration Drawings
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