Internal Excess: Selections Fall 2003 by The Drawing Center

41. The Drawing Center's

DRA\7ING.P+PERS 39 IN T E R N A L EXC ESS S e te c ti o n sFat t2oo3 A nrn u n A c HA J A tNA N

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The DrawingCenter September 18,2oo3 9-October

I NTE RN A L E X C E S S SelectionsFall zoo3 Anr n u R A cHA JA NTA N Asr n r D B owLB Y

Al rx D ew ns L o R Er-lDnrC rrurro D o u eu s Fl onrR u H TE B E R T Cn n rsrrue Jer r KoUTGS B E RG

AsreRrtLnzroz Je n r u nLoR e eruz C n n tsrtnR MR ttc us o L a m n nPereR s ott KRrsrr NReoerN s oN Yu r e nT enuv R M reYrn Introductionby Catherinede Zegher,LuisCamnitzer, SusetteMin, and MarisaWhite

Program EdwardHaltamTuckPublication

l u r n oD U cro N and between theinterna] relationship hightight thedynamic Excess" in "lnternal Theworkspresented asthespaceof the notionof theinterior thewayin whichtheconventional registering, subtty, external, The by recentevents. hasbeendisturbed enclave ofsafety, a hightyprotected domestic andpersonal, putit, on September !7, 2oo!,brought "curtain asJerryFalwell of protection," rippingof theAmerican many Americans to impact led The resulting emotional to us." downthe mythof "thiswil[neverhappen livesandworld theireveryday between thedistinctions realize thattheycouldno longermaintain portraying it asthe nation by Mobitizing the making. accustomed to eventsthattheyhadbeen to protect the on a campaign guardian hasembarked of familyandhome,the U.S.government reactionary hand, this nations. On the one of "evil" "liberation" the benevolent innocent through notionsof theinterior to a binarytogicthatmaintains according operates response by thenation-state Yetgovernmental versusthedomestic. theforeign the publicversustheprivate, versustheexterior, private livesthroughincreasec on our Act,"thatimpinge crusades, suchastherecent"Patriot to so-catled responses thatthethreat[ieswithinaswe][.Suchparadoxical underscore surveillance exterior might interior and fraying divisions of on whatthe "outsideinterferences" warrant a reftection in whichit is leaders, wars,andfanatical unfinished of globatization, meanin thecurrentcontext point from chaos of theworld.ls oneself the impossibte-to separate of being to the difficult-almost onethat a validterritory, one?Doesit stitlconstitute evenstilIan operative thenotionof the"interior" protecting? it were, worth is, as of the withthequestion inspireusto wrestle in thisexhibition of drawings selection Thewide-ranging whatwe thinkwe know.Eachworkoffersa thesetfandother,to thinkbeyond interiorandexterior, of "inside"and"outside" contests thesimpticity of thesetermsthatvisually conceptuaI understanding places with,oneanother, create,andofteneventrade waysin whichthetwo concepts by suggesting and Theselected artistsexplorecorporeal interface. formingwhatonemightcalla generating providing to alternatives internaI spaces, metaphysicat, and aswellas immateriat architectural, insularplaceof spaceor someotherwise imagining theinteriorsimplyasa retreatintoa physical world.They relation the external in to ways of tocating oneself different while also suggesting order, it is process of turningtheinsideoutandtheoutsidein. In thisregard, theconstant underscore an provocative metaphor of thefold,whichsuggests perhaps bestto makeuseof GillesDeleuze's theoutside of subiectivity, conception of theformation retations. In Deleuze's all internal externalityto the is invitedto imagine astwosidesof a fotd.Theaudience andthe insideof theselfarevisualized folds and surfaces twisting asa spaceof an infinitenumberof exhibition asiustsucha fotd-indeed, function of the intrinsic to thearchitectural Thus,for example, throughtimeandspace. andweaving persons. protects The wa[] asa objects and locates, and thatdivides, mechanism waltis an ideologicaI an worksliketheoutsidebendof thefold.Astheoutsideis folded,it undergoes structure regulatory relationship points of a possible one to conceive of resistance, allowing engendering internalization, Di Lorella of JeffKonigsberg, frombinarylaws.Thedrawings insideandoutsideremoved between andmoreasa bearerof usethewalllessasa barrier Hiebert, for example, Cintio, andChristine presence. information andtransformative Room's internal structure TheDrawing exposing meticutously cutsintolayersof Sheetrock, Konigsberg personaI of fourinterpretation elements...a architecturaI andinvented "unseen andrevealing thereby Through the use of reveated." andexterior aresimuttaneously whereinterior space, dimensional of geometric thewhitewallof thegalleryintoa mosaic transforms incision andintay,Konigsberg more direct way,DiCintio In related and patterns a by lslamic architecture. informed withftourishes

of the Herunpeeling drawing. digsintothe layersof paintto createa kindof archaeotogicaI literalty intimate an it solicits texture, not onlycallsattentionto the surface wallin suRFAcEpuLL maingallery's sheusesthe surfaceof thewallasa As for Hiebert, Center. Drawing The of strata viewof the historical btuetapein an obliquereference home. Using for herideal asshesearches for inspiration foundation thewal[ transforms Shemetaphorica[[y throughspace. indeterminatety burrows Hiebert to blueprints, ontothe andthoughts herfeelings throughwhichsheprojects membrane intoa porousandtransitory withtheviewer. spacesheshares formalized spaceof focuson thearchitectural andAstridBowtby LamarPeterson, ArthurAghajanian, ln contrast, of a homeasa bounded in hisor herownway,howtheconcept Eachexposes, household. thefamiliat privacy' and of passivity, a sphere as of thedomestic theconcept interiorspacereinforces andordered diagrammatic Aghaianian's homes, for single-family CuledfromreaIestatebrochures neutrality. Upon interiors. of lifeless btueprints in Schematics drawings for Buildingo Homeinitiattyresemble to the functions different thatassigns structure botha cookie-cutter theyhightight closerinspection, aswellasthedramathattakesplacewithin et cetera, livingroom,thediningroom,the bedroom, privacy of violatethesanctioned drawings Aghajanian's thoserooms.In theveinof realitytelevision, peopte tryingto of several dynamics andtheneurotic theintimacies sphereby exposing thedomestic and absurd as serve drawings "snapshot" Peterson's famity. perform theirroteswithinthenuclear RockwellNorman blissfut on thetheoreticatty commentaries andclass-based racial, sexual, hilarious colors of saturated his use by tensionarebothevokedandstifted anddomestic esquefamity.Boredom in theyard'at the of a familyconvening interactions of theday-to-day renderings in funhouse-like edgewhere sinister on a take soon thedrawings Atlsmitesat firstgtance, dinnertable,on vacation. of drawings to thecontained sun.In contrast alwaysshining rulesundera metaphorical, happiness other and of utensils peterson, drawings cut-out black-ink installation, in Bowlby's and Aghaianian havingblasted cooker, froma pressure ground walls,as if exptoded and the on lie scattered objects thedomestic home.Shechallenges of thewetl-kept andsuperficiality domesticity, theorderliness, literally that the modelof a space instead andpromotes as beinga placeof containment sphere andtakesover. expands withinit (stuffed andtheobiects space-herapartment usesherowndomestic Robinson Kristine out intoa dreamworld spinning theviewer, -to disorient a stereo) a laundrymachine, animals, Alicein lmagine andassociations. references randompop-culture punctuated by seemingly usesdomestic Delmas Atix Simitarty, hote. rabbit's downa mass-media-saturated tumbting Wonderland thatareironicanderotic.Both associations to createincongruous spaceandal[its accoutrements worlds. fictional multipte createa stateof transitbetween andDetmas Robinson videoUntitled Mancuso's in Christina stateof either-or, no suspended Thereis no in-between, itselfas the artist will against we witnessa contestof herown (performance #q). Forfortyminutes, pattern weavesa flowerytrailontothe surfaceof herpalmwith needleandthread.Thedecorative yet, case' in this girl's and bedroom, a perhaps, orthewattpaperof oneof a Mehndidesign, reminds (the domesticity actof actsasa wall-as signage-inwhichcodesof feminine herself Mancuso pricks herskinneverpierces; needte that The resisted. areperversely theart of embroidery) sewing, that Thesqueamishness a senseof impenetrabitity. eliciting onlypockmarks, it leaves instead, and anxieties inner proiections of Lazkoz's Abigail is similarto thatof videoinduces Mancuso's yet scale, the areblownup to [arger-than-life characters cartoon-like terrors.Lazkoz's attendant

in a horrormovie-anassautt, say,or an abduction ontothewatttikea B-grade allegory thatunfotds private would like hitting closer to home than one and anonymous, force-is livingroomby an invisibte to imagine. homein orderto in thekitschy objects of a typicat suburban Lorenz findinspiration MieYimandJeanne puerileor surreal or growing up.Lorenz fantasies stages of adulthood aboutthedifferent unleash quasi-animist witha approach, animals lampsandfaux-porcelain infuses lifeintoherone-eyed still-tifes Themutedtonesof herwatercolor blue-gray backgrounds. situating themamidmonochrome In thesentimental. waythatultimately smothers andhumorous comealivein an off-beat uncannily in plasticbagsof richpastelcolors.Her herteddybearandrabbitprotagonists Yimsuffocates contrast, and people intimately andaresetin landscapes has known both briefly and she animals arebasedon withhumanprowess, heranimals bedroom of a child.Byendowing farfromtheprimordial situations in a psychic dreamland she realmandarereincarnated transcend thedomestic Yim'smise-en-scdnes describes as sweetandsour,naiVeandnaughty. squash-like shapes in hiscolorful andptayful merges withthecosmic Douglas Florian themundane by readings of the formsis informed Therepetitive rendering of organic drawnon brownpapertowels. permutations infinite shapes andshades of warmcolorssuggest The of theslightly altered kabbalah. whatis interiors, thepowerof artto reveaI underscoring visuaIpossibilities andconcentric-tayered not easyto see. otherwise transformation of formsin which YukenTeruya's beautifully craftedtreesmeditateon the continuous Herecycles fast-food bagsto of becoming. andeveryimageis alwaysin a process no termis definitive, of here,a treebasedon memories landscape, or,in thecaseof hisworkpresented createan ecologicat consumerism hasmadetravel Tokyo,andBerlin.Fast-food walkingthroughthe streetsof Brooklyn, yetTeruya's encounter: a treescarveouta singular experience, aroundtheworlda homogenous portable. and memory thatis bothintimate space. barriers whileproducing abstract effectively eliminating levelsoutdifference, Globat capitalism of difference, whichdemands an assimilation of the nation-state, It workssimilarly to the paradigm (where is the the only outside in some current circles of thought of a death of otherness suggestive A situation theinterior. lt is in thisgloomywortdthatwe contemplate bytheterrorist). spaceoccupied (agreatinfluence formulation of thefold), on Deleuze in thelatter's in which,to quoteMichetFoucault conduct, thereby it is theoutside thatenvelops or innerruleof conduct, "thelawis notthe principle it..."' it is thevoicethatsurrounds it is thedarkness beyondits borders, removing it fromal[interiority, gathered forthis andFlorian, aswellasin theotherworks drawings of Teruya Yetin theintimate thewaywe a moreexpansive space, to rethink exhibition, a wayis shownfor eachof usto imagine know. whatwe thinkwe already see,andto relearn -

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transl.J.Mehlmanand B. Massumi,NewYork: r. MichelFoucault,"MauriceBlanchot:TheThoughtfromthe Outisde,"Foucaultplonchof, Z o n eB o o ks,7 9 8 7 ,3 4 .

AnrH u R Ae nRJRttrRtrt Whatmakesa housea home? At onepointI wasprompted bythisquestion to paya visitto thereal estateofficeof a newhousing development beingbuilta fewmilesfromwhereI lived.I wasintrigued represented wasbeing bythewaythesalesbrochures thesehomesandhowa certaintifestyle prescribed throughrecommendations on howeachmodelmightbe livedin.lt washerethatI recognized to my practice. a convergence of two issuesthatwere(andremain)of centraIimportance The Thefirstwashowpeopleinvestobiects andimages withtheirpersonal andcollective desires. was relationship of behavior. How do we respond and influence the second the builtspaceto social to different typesof spaces thatwe inhabit, andhowmightthisprocess bevisualized? "Schematics presenting familydramas for Building a Home"consists of an ongoing seriesof drawings withinschematized architectural spaces. Eachsetof drawings chartsthe relationships between members famity, whilealsodiagramming home.The of a fictional thefloorplanof a single-family proiectincorporates foundtext,whichI editandcomposite frommass-media sources suchasonline familyandwomen's magazines. SincethetextscomefromtheactuaIreaders of thesemagazines, the drawings takeon a documentary function, witheachbecoming a kindof portraitof themodern American famity. Byptotting of thedrawings withineachseries, I amableto fully theprogression foreachfamily. Viewers describe an entiresetof interpersonal dynamics canthenmentalty andexperiences ontothedrawings in eachseries. superimpose theirownrelationships peopte Mydrawings serveto represent theinfluence andtheirhomeshaveon oneanother, aswellas thatinfluence thedesignandmarketing of residential architecture. In each to engage thenarratives depicted in theschemas is intended work,myattemptto imposeorderon theemotions asan analogy for theplanning andorganizing of people's livesthrough themass-production of domestic space. knowledge, Unlikeconventional diagrams, whicharedesigned to simptify existing thedrawings build to oneanother theydescribe aremultiplied overtimeandin relation so thatthedynamics pointsof view,andtherelationships fromvarious exponentially. Eachdrawing canbe interpreted described become layered in meaning whenconsidered in relation to otherdrawings in thesame purpose My primary is to represent Like series. thehouseasa setof processes, beliefs, andvalues. ptumbing or electrical diagrams, thedrawings chartflowsof energy through the house. Bonr 1968,rruWesxrHcrou D. , C. ;r - r v esANDwoRKsr N Los ANG E L EC SA , .

Schematicsfor Building a Home rt (Maintaining a Balance),zoo3 P e n ciol n p a p e r 24 x 3,6in.

Schematicsfor Building a Home rz (Kid's Needs),zoo3 Pencilon paper 24 x36 in.

Schemoticsfor Building a Home rl @ill and lockie Pulling Together),zoo3 Pencilon oaoer 24 x 35 in.

Schematicsfor Building a Home 14 $ibling Rivalry),zoo3 Pencilon oaoer 24 x 36 in.

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AsrnroBo wt- sY where somewhere but I did comeacrosssomethinghe saidsomewhere, know I neverreadNietzsche, And yet, welt...you you etl that'sw hathe meant.I don'tknow ,but somehow o fth in g sco m p le ted.'Dyou...w o h e m e n tio n e d ' thm e e la n ch o lia you pal i mpsests pi l e up and and tri pl e p a tim p se sts. w hat happens, doubl e g e t u s e dto livin ga m o n gth e So m e h ow that's to orderit, to locateeveryparticle keeperasing,and altering,and adding,alwaystryingto accountfor this accumulation, i n i t s ' D l a cein o n ewh o le ... B ooks,1955,599' fh e Re co g n itio nNe s. wYo r k:Pengui n W I L L T AM GADDr s,

accrual, density, contraction, themessuchasexpansion, in orderto consider instaltations I makedrawing and andsculpture in drawing frommystrongandoftenduelinginterests andscale.Myworkhasevotved on a single inkdrawings cutfrompaper.I makemanydrawings of black-and-white of installations consists determined by of the drawing withthefinaloutline sheetof paperandthencutthemalongtheoutlines, I usetheresulting piling,andtapingthemto thewallsandfloorof a gallery, layering, Through thecutting. nameable shapesoften look like The flat objects "flatobiects"asmarksto construct a largerdrawing. in whatI make,andtheworkshave I havebeen[essspecific flowers-butrecently teacups, shoes,clouds, of installation, andthissedimentation pattern-like. in more than one flat obiects I use the often beenmore I likethefeelingI havebeforeI opena of wordsin a narrative. to theaccumulation imagery feelsanalogous andtime-ridden feelsgeologic big,thickbookandbeginto read.Thereis a heftto it anda potentialthat visually. thatthisfeelingcanalsobeexpressed andI believe mygrocery listmight of simplematerial, withthe poetictransformation I amconcerned Because orderof a thejumbted else...or the patternof an oldquilt...or influence measeasilyasanything I food,anddeadanimals half-eaten of rippedpapers, smatterings site...or thestrange construction inside a holein theroadno largerthana bottlecapandnestled on thewayto the Et.There's encounter precisely in thatspot? Howdid theyarriveso arethe orangefilterendsfromtwo cigarettes. in I aminterested bumpsinto,andconsumes. Thisis whatmy bodywrapsaround, Thisis materiat. spirals, in whichmaterial-hammers, largeor sma]1, existence at its edges.I makearenas, materiaI in orderto eyeglasses, et cetera-isisolated blips,matchsticks, ba[]oons, squiggles, speech snails, factof an obiectmeetsa In mywork,the undeniable drawattentionto the natureof materialexistence. intothreedimensions. butis neverfullyrealized mark.Anythingis worthyof inclusion, bigquestion the wholestory,it is onlythrough Justas it is wordslayeredontothe pagesof a bookthatcreates Thereis a in myinstallations. is achieved dimension thatsignificant layering andaccumulation of objects. busttein the heftiest atomsperpetually Countless in thesolidityof material: contradiction object,the a discrete atoms that creates lt is the dance of meaning. atom has little of one Theisotation that andwritersdo,everything word.I seek,as physicists of lettersthat createsa discrete arrangement thatis expressed attraction andgravity lt is thisunrelenting but is stillweighable. visible, is notusually in mywork. occurring bytheaccumulation andendsup assandin theoceanonlyto be it movesdownstream Whena rockfallsfroma mountain and lt erodesandcompresses state of transformation: is in a continual Matter again. transformed anderosions-ofwhatlcansee,whatI area seriesof compressions installations Mydrawing erodes. canthink,whatI cantouch,andwhatI canfee[.

PAA., ME; ltv es ANDwoRKslN PHI LADELPHI B o RN1961,rN BATH, Fixtfall, zoo3 In sta l l a ti ow n i th i n k on PaPer variable Dimensions

A s r R l D Bo wL BY, On So m e F o r ( d e ta il) , 2 o o 3 . Inkon pape\84x 276x 324i n.

A l r x D E L M AS is them.Herchoiceof figures in herdrawings. Sheconfronts AlixDetmas doesnotdepicttheobjects moreasa if at atl.Theyalmostfunction barely, theimagination oriented towardthingsthatarouse to isolate asif it werenecessary pretiminary drawings, of motifsthanasfultyfinished enumeration much asthey do not"mean"so Herobjects eachmotifin orderto seehowtheyareall connected. of in a cuttingandpasting expression, as if included "indicate," to its simplest eachonereduced generic Thus aspect. precisely draw their reduction that they fromthis Butit is definitions. dictionary turnsone'sgazefromoneobjectto the next.Andso on.Theresultis a rapid eachoneimmediately Noneedto addanydramato seehowthedefinitions gameof back-and-forth thefigures. between become entangled. on anyanticipation Theirroleis to capture AlixDetmas filtsherworkswiththesetrapsandtitttegames. its own intention. according to gaze contemplation model the object of thatwouldseekto thepartof a itself.Here,it is is turnedagainst in advance," "to capture Anticipation, whichmeansetymologically theonlooker's makes tight of frustrates and then as Delmas makes the images, who nottheonlooker she herself. Notthatsherulesoutseriousness, a game.Shealwaysamuses as if ptaying expectations, pointsof view.Everything on a given"event."Indeed,Delmasmultiplies merelyoffersoneperspective domainbut,rather, Sheis neverwithinoneexclusive nothingis simplya symptom. is ambiguous; an permeabilities fromonedomainto thenext.Shedevelops porousborders, creating accentuates obiects space between thatis lessa matterofwideningthe of thein-between, of the interval, aesthetic connections. therichdensityof theirpossible thanof apprehending in space. Theirsignifying as isolated areneverpresented manner, theobjects In an analogous intotheir properties thanto thewayin whichtheyareabsorbed aretiedlessto theiressence in connection withthechairand(whynot?)thecat.lt Thetableis understood environment. immediate gives table a bodyandimbuesit with This relation the thisotherandcolorsit in turn. absorbs subiective bythe necessarily is modulated in thatthesignification signification-temporary temporary gazethat bringsit to tight. by past,lived enriched consciousness, workis thatof a multi-layered forthby Detmas's Thegazecatted gazedetermine whatone (thecondition Notonlydoessuchan enriched of all perception). experience presented not have a buitt-in Alix Delmas does world by The way one sees. the sees,it alsoenriches social, beforeall etseas affective, it canbe characterized Heterogeneous, System. GlobatPositioning quality momentary borders their merge with that curious mingle, and worlds unfold, Different erotic. and Thusnothingis defined, in shorta kindof transit. backandforthmovements, haveof generating nothingis definitive. -Or-rvrenBenuoer BoRN 1962. r r ' rB l v o t ' t r e , F n nHce ; L tvEs AND wo RKs lN Pn n ts, F n aruce.

FifteenUntitleddrawings,2ooo-o3 l n p a per In ka n d p e n ci o Each7 tl2 x 10 518in.

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L oREll nD r C r r u r r o creating a surface As if carving stone,I moldandsculptmydrawings, lseesurfaces asstructures. In Latin,texture-fexturo, textus-stemsfromthe wordsfor "weave," texturein the paintedsurfaces. natureof the surfacethat propelsmeto explore.By "web,"and"fabric,"andit is the fabric-like I examine the Center's existing architecture, thisconcept, embedding drawings withinTheDrawing petrified conceptof whatI cattthe fabric. thatforcetheviewerto lookbeyondthem,to get beyond Myworksshouldbe readas esotericmusings The withthewallsof TheDrawing Center's maingatlery. the artifact.I work,as it were,in collaboration with of surface and the designed to challenge viewers thethickness drawings arevisuaIconstructions predetermined Thepremise is,in a manner of speaking, to question inwardness of experience. painting a drawing can be. concepts aboutwhata or in a leaf,only a channel or a groove As I begin,I pursuea process similarto thatof an insectcreating Theskinof the paintedsurfaceis surgically whatI exptoreis the lengthandbreadthof a wall'ssurface. mark marks have been madeI attemptto drawoutthe or scored andslowtycutopen.Oncethe puttthesurface. is similarto metaI Inthiscase,theactof drawing surface-inessence, to literatty materiat is workedintoa newshape. Onceforged, theinherent forging, bywhicha softened a process qualitiesof the paintedsurfacearerevealed. structural designed to makethephysical Thesestudiesin thepetrifiedfabricof the wa[[aredualexplorations physicol. l think of this work as akinto the tinguisticconceptof the conceptual andthe conceptuol fromthesameoriginal butentering the doublet, as consisting of a seriesof pairsof actsderived whenwe thinkof surface, we are language of perception throughdifferentroutes.Thus,for example, its faEade makesusawareof it.Yettheactof putlinguponthe drawnby its outward appearance; surfacedrawsus intoits interior. As in a formof archaeology, the Thisseriesof drawings speaks abouthowmarksmakea place. petrifiedfabric-or surfocepulls-revealthe layersof history. Theactof the "surfacepull" navigates oftheerasure ofthe andregeneration, enacting a process between theconditions ofdestruction lt is a iourney to themateriality of thewa[[, etements. to an areaof experience, original architectural Tomarkor claimourspace, we leavetracesof our thelayersof thewall,andthe historyof the layers. existence. Bo nn rH ToR o N T o .C n r u n o l ; Lr vEs AND wo RKs r N T o Ro NT o , CANAD A .

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(details), 2oo3. wattsurface, 18x 24in. LoRELLADt Ctrrto, SuRFAIEPULL

Do u e ln s F l o R r n r u My Drawings My drawings Theyareotdbut behavelikelittlechildren. areabstractregressionist. My drawings arebottle-fed andbattletorn,drawnfromthe naturalandunnatural. Mydrawings hand-me-downs, hands-on andhands-off. arehomespun runin herds,bumping intoeachotherin sequences in planned Mydrawings andconsequences, and obsolescence. unplanned Mydrawings andMosaic-like aremusicinspired by muses, amusing to museupon.Theyaremosaic Moses-drawnout of wateranddrawnwithwater,but neverwatereddown. Mydrawings singpraises andpraisesinging. Mydrawings aremovingly still,butstillmoving, emotional notions aboutmotion, configurations of consfillations. gestural Mydrawings aresexualandasexuat, busybodies, inertandinertial. My drawingsareinactionpaintings, madein haste,but not hastilymade. My drawings arelightfastandfastidiously light. Mydrawings arebothdrawnandwithdrawn. Theycollecttheirownthoughts andhavea mindof theirown. Theydon'tmindtheirmannerisms Mydrawings areimportune andimpolite. andaretempertantric. In mydrawingsformfoltowsdysfunction, andfunctionfollowsfriction.Mydrawingsrub methe wrongway. Mydrawings mindfully mindless. areof the bodyandout-of-body, Theydavenon the wal[,gentlyswayingbackandforthto the rhythm Mydrawings areKabbalah-ready. of my rivers. Mydrawings areboundin an unbound book,binding andbounding to andfroandfro andto. My drawingsrevealandconceal. Theyarelostandfoundandlostagain. premature My drawingsaresightspecific, andpost-horrific. postedon a wall.Theythinkbigbuttatksmall. Mydrawings arecutandpasted, Mydrawings in scale. aremodestin sizeandimmodest My drawings area sitefor sore/'s.

BoR N1950,rr.rNewYon x,NY ;r - t v EsANDwoRKsr H NewYonr , N Y .

All worksfromthe "SeferShelOr (TheBookof Light)"series Edgeof Dredge,zooz

Ploying Tails,zooz

MiddleMuddle,zooz

Gouache on paper ro rl zxro rl zi n .

Gouacheon paper 10 712x 10 l J 2 i n.

Gouac he on paper ro tlz x to tlz in.

CasteSystem,2oo2

Loosingmy Mindless,zooz

Big Boost,zooz

C^r ' ,.hc

Gouac he on paper 10 1J2x to tJ2 in.

Gouac he on paper 10 112x to tl 2 i n,

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101l2x70112in.

SpellingE, zooz

Lostin the Crowded,zooz

Be Truism,zooz

Go u a ch o en paper ro tlz x ro tlz in.

Gouac he on paper 10!2x ao /2i n.

Gouacheon paper ao !2 x70 712in.

LostBecause,2oo2

Big Little Thing, zooz

ReadingYourPalm,Palm YourReading,zooz

Gouacheon paper to 7 1 2x 1 0tl 2 i n .

Gouacheon paper to tlz x to tlz in.

Gouacheon paper ro rlz x ro tlz in.

Demoonology,2oo2

TerribleThingto Lose,2oo2

StuckUp, zooz

Go u a ch o en paper 10 112x to 112in.

Gouacheon paper 70 712x 70 712i n-

Gouacheon paper 1o 112x70 712in-

RubbingElbows,Rubbing Toils,zooz

Poor Tools,zooz

KobukiKabbalah,zooz

Go u a ch o en paper to tlz x to rlz in.

Gouacheon papel 10 112x 10 112i n.

Gouacheon paper to112x 101l z i n.

10tl z x ro tl z in onpaper, D ouGLA sFLoR tA NC, oi nci dencer,2ooo. Gouache

Eureka ond Vicinity, 2ooo. DouGLAsFLoRTAN,

Gouache on pape( ro 1/z x to r/z in.

10tl,z x totl z i n D oucLA sFLontl ru,N othi ngS ucceedsLi keS eeds,2ooo.Gouacheo npapel

D ouc r ns

on paper r, o r /z x 70 7f2i n. F LoR IAN . 5o 5o 5o, 2ooo. G ouac he

Cn Rrs r r r uHeT E B E R T I approach a blankwallas if I werea person withouta home,searching for a placeto live. Usingcut lengths of adhesive tape,I taydowntinesof varying widths,bending andaltering them.Over time,a structure of sortsemerges-astructure to lookat,enter,andtravelthrough. Solid,shortlines, likepegs,markthetravel;areascomposed of longerlinestikerailsandshaftssuggest functional, mechanicaI motion;thin,trailing[inesspinout intothewhite. placewhere| [ive,whereI feeIat home,thenthesedrawings lf a houseis the physical constitute metaphysical houses thatallowfor thekindof mentaltivingI needto do: I needto allowfor hesitations, fitsandstartsin mythinking; I needto proceed atternatety, unhindered bydoubt;andI needto faltintoa voidof not knowing, a voidthatseemsdangerous at firstbutthenoffersmobility hope.lfeelat homein openandfluidspace-space andfreedom, and,therefore, in whichI haveroom to move-andI dreamof buitdings thatareunenclosed. In onesuchdream,I findmyselfin a large,old house. Thehouseappears to restsolidtyupontheearth,butthenthefloorfallsaway,revealing nothingbutemptyair below. Theactof drawing is not,for me,an expression of thoughts or feetings; rather, a drawing is meantto providea structure for a stateof mind,a placewhereurges,fears,distractions, andflailingscantake up habitation andIive.I ammaking, I think,an architecture forthinking. Andthereis no knowing ahead willgo;it growsoutof discovery, of timehowthebuilding lineby [ine,unti[| arriveat a placethat is...home. Twoyearsago,I foundmyselfin a temporary studioin ruralVirginia. I needed a breakfromlivingin the city,andI wanteda breakfromdrawing, too.I beganscheming to buitdmyownhouseon myownpiece of land,andI thoughtthatI wouldspenda coupleof daysmakingfloorptansanddiagrams for it. The studioin Virginia wasabout5oosquarefeet,thesizeof thefirstbuilding I couldaffordto construct, andso I boughta rollof bluehousepainter's tape,andbeganto markout,on thestudiowalls,the imagined sleeping loft,thedividing walIbetween thestudioandkitchen, andso forth.Myeffortsto quicktyintosomething makea functional diagram, however, devolved likea blueprint fora weird, whimsical livingspace:a spacethatencompassed extreme shiftsin scale,butwasnonetheless related to the scaleof my ownbody.Thatfirsttapedrawingprovided a materiallinkbetween the natureof my thinking andthemovements of my physicat bodyin space. AndtheneedI hadto construct thebuitding wassomehow-atleasttemporarily-futfilled bywhatwashappening on thewall.lt showed methat is my realhouse. thedrawing BoRN1960,rruBasel, Swrrzenllr uo;Lr v EsANDwoRKsr N Bnoor l v r u N , Y.

WallDrawing,zoo3 Adhesivetapeon wall Dimensions variable

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Je r r K o NTGSBER G withsurface [inesandmultipleperspectives combinediagrammatic wallworks Mysite-specific conveya Theinsta]lations elements. architecturaI bothunseenandinvented revealing tessellation, revealed are space,whereinteriorandexterior personal of four-dimensional interpretation simultaneously. is the surfaceuponandintowhichmyworksareformed. materia[, wallboard the ubiquitous Sheetrock, the surrounding of wallplasterandpigment,referenced frescos, composed Justas Renaissance of the wallitself. myworkis comprised architecture, brownpaperor to revealthe underlying coloredlines,I cut andremovedashesof wallboard Toachieve paper, arecut which surface whiteplaster.In addition,I employmanydifferentshadesof Sheetrock Thedashedlinesandzonesof blacks,whites,andgraysare sections. andinlayedintothe exposed to the existingspace. andmodifications extensions temporary paintedon the surfaceandrepresent marksdevelopintoa complex layersandarticulated theseoverlapping Inspiredby lstamicmosaics, between the boundaries the goalis to dissolve geometric system.Muchmorethansimpledecoration, perspectives shifting and self-reference installations' Theresulting interior,andexterior. wallsurface, of interiorspace. experience the physical endeavor to makeconscious , Y. Bonri 1969, r x N e w R o c t e l l e , NY; L tve s AND wo RKs lN BRo o KL Y N N

DrawingCenterPiece, zoo3 Paint,acrylic,Sheetrockpaperinlay,and wallpaper Dinensionsvariable

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Ag rc n rtL n z r o z is all there(sans mouths, anddistorted bodies-theusualcomicrepertoire Bulging eyes,gasping work,functioning to depictthe inexplicable sufferings of ordinary speechballoon)in AbigaitLazkoz's people.Frozen nausea, characters mutein moments of pain,fear,ecstasy, or glee,Lazkoz's seemto propelled intothe worstpossiblemomentof theirlives.Oftenstagedin two havebeenmysteriously revealneitherthe causenortheresultofthe on thesamebackground, theimages sequential scenes forcein a livingroom,an abduction by extraterrestrials on a definedmoment: an assault by an invisibte of the depicted farmroad,a strokesufferedin the middleof a field.Paradoxically, the ordinariness is whatheightens environments the work'ssurreaIovertones. moments of AbigaitLazkoz callsheruseof the pictoriallanguage of the comicstripto rendertraumatic Workingdirectlyon thewall,Lazkoz createsfloor-to-ceiling humanexperience the "magic-tragic." hertwitight-zone climaxes arefeaturedlargerwhite-on-black muralsin whichthe characters enacting ranging fromBoschto Goya-andperhaps mostof a]lthePicasso of than-[ife. Echoing sources humor and horror, articulating this workachieves an uncanny equilibrium between Guernica-her (thinklhe Simpsons). Lazkoz aesthetic Curiously, notionof the grotesque throughan absurdist painting passion foundin Baroque byemploying the typicatty or Romantic elaborates thetheatrical Rather, it Thereis no color,no chiaroscuro to pullemotional strings. technique of simplelinedrawing. jarringimagery. is the unlikelymarriage of styleandsubjectthat givesbirthto herdistinctively withoutreferring to socio-historical, allegorical events, Lazkoz evokesthe cruxof a crisisor paroxysm privateandanonymous memories, drawinginsteadfromseemingly or thosefoundin our collective activities andconsciousness-just asonestepsoutthe circumstances thatmayslipintooureveryday depicted in herline-drawn cartoonish doorto a cornerdeli.Thebizarre andoftenpoignant situations worldurgeviewersto recognize a constantundercurrent of aberrations as anotherfactof life. -Hrromr lwnsnrr BoRN 1972, r N B r L B A o ,S p l r r . r; r - r ve sAND wo RKs r N BtL BAo ,Se a tH , nro B nooxt-vtt, N Y .

DoyAfter Doy in the Tunnels,zoo3 Acrvlicoainton wall Dimensions variable

paintonwall,dimensions variable ABfGAILLAzKoz,Day Afrer Doy in the Tunnels,2oo3. Acrylic

L o n r ru z J e nrurue ourthumbs is a themeparkof flux.We'redoers,mightaswellcallushomofaber,dritling American do you Everyone asks "what of bowling. to investin theneweconomy intotownsquarecannonbalts ones, opposable do?"Theysniffat thearmpitsof yourCV.Wereallyareatlthumbs-insatiable Pound asked usto flimsiest ofjoysticks.Ezra on the operating budgets our enabling usto overspend "makeit new"andwe'rehappyto, as longaswe canmakeit newnow. is American Art,whichhasalwayshadat its corea feelingfor at thiscontradanceof revision Staring propped-up perfect proud, Timothy O'Sullivan's presences. steamships, sleek, andJohnBard's James portraitof George Washington, terseGilbertStuart'sexactlyhatf-finished civiIwarsharpshooters, (and decommissioning even through the engaged outrageously bad-assed), tippedandclench-jawed lrving chairs. electric Hopper's senseof sun.AndyWarhol's powerof hisowndeath.Sheeter, O'Keefe, on thesocial Notstycomments VijaCelmins'webs. Serra, Ryman, Smithson, Penn's cigarettes. (withwhichall Europeans musthavetheirpassports andidentities of objects andplaces construction "Reatity"comesfroma Sanskrit wordfor but let'sgo aheadandcattit awe.We'rerenderers. stamped), you when imagery. lt helps, their selltheirsoulsto own arerealists-they'll andAmericans "property," whosesecond reinvention, for history, that'scanonized livein a placewithno knackor kenor keenness poet(E (WC most important and whose poet ideas but in things" wrote"no Witliams) mostimportant eyehadhurriedby'" wrote"Deathsetsa thingsignificant/The Dickinson) a of attention, is oneAmerican artistwithouta hurriedbonein her.Sheis a lavisher Lorenz Jeanne placings passionately of horny little drafted In Lorenz's enormous, a bestower, a deemer. bequeather, we understand thattheaweAmerican empyreans, background btueshifted figuresagainst ceramic (in perfect Hurricane eBay)is atways this case storm of culture from the objects artistsfeelrescuing in finishing thedecorating Network, frisson to the HomeShopping Sheis bringing filtedwithfriction. workingin watercolor, TimGardner andDeliaBrownaretwoof hercontemporaries of Eden. theGarden juvenile photographic is usingthe worlds.Lorenz handon disposable a precise eachlavishing by paperin very,verymanylayersandwashes, areabsorbed As pigments for its saturation. watercolor air. intotheviewer's steams of theartistby hersubject theoddabsorption in a 990store,lftashahead5ooyearsandthinkof thewaresaroundme,eacha pure Sometimes, paintings are product vitrine.Lorenz's on displayin a Louvre froma far-flung outpostof capitalism, thoughttheterm projection. Beforelooking at herwork,I hadalways of a similarimaginative evidence Matteris subject. Since,I seeit'sa simpleequation: "subject likea badtranslation. matter"sounded of The heat of controversy, said "thing." whenthey controversy" meant"court,council, TheOtdEngtish Thethingis theptay.Thereis no pervades relationships. thesefigurine/ground council, of thingness, piggy inside a bank. estaterealerthanthespace -Trm Dnvrs Bo nr 1969, t r u D e n v e n , C O ; t - tve s AND wo RKs lN CANYo N,CA.

Untitled,2oor Watercolor on paper 7 2 x6 4 i n .

BunnyHole,zoot Watercolor on paper 72 x 64 in.

RedWhiteond Blue,zoot Watercolor on paper 72 x 54 in.

JEA N N E Lo R E N z, U ntitled,

2oo1. watercotoro n pape\ 72 x 64 in

C H nrsrrnM n n r u cus o world thatthe mentalinterior according to one'spsyche, canchange Thenotionthattheenvironment within mind/body interests me. The schism the outerworldsensedby the body,is what cantransfigure is immaterial. My desirefor a andcontrola dividethat in essence leadsto a searchto reintegrate personaI realitybutcan within somatic/mental reflects a dislocation not only continuous stateof being life.Whether these"divides"stemfrompsychologica[, withincontemporary alsobe foundgeneratly of rituaIas a perspectives, materialfor myexplorations are a]l source they or environmentaI spiritual, meansto bridgethisgap. is explored via setactions.lt is manipulation Movements areprescribed; Art andritualareformalized. is to succumb to involuntary oneself in an activity To control and lose kind of mimesis. abandon alsoa of throughroteactionsandallowsfor an awareness lt provides access to the unconscious experience. normalrealityandallowsthe bodyto movefromonestate Thusritualtransfigures mentalprocesses. of beingto another. includes of dailylife.Thedomainof thedomestic in thebanal,in theactivities Ritualisalsoinherent andbanaIobjects Ritualistic actionsareperformed withthe feminine. the everyday typicallyassociated aboutto takeplaceor that hasalreadytakenplace. serveas relics,all witnessto a transformation andstatesof andritualbothforma "specialorder,"usingspecificobjects,environments, Performance is Performance boundaries of space. bodityaswellassymbolic bturthementaland being.lts actions (material) of methods, allowingfor bodilyawareness. alsothe mostphysicat shiftcreates the theseideas.Thisinteriorpsychological Sewingontomy bodyallowsmeto exercise potentialfor transfiguration withinthe realmof the bana[. , n r lo n ; L r vEsAND wo RKs tN Je n se v Ctrv, N J. BoRN 1975, r N M o N T R E A LC

Untitled (Performance#d, zoot Video 20:42 mlnS.

CxntsrtHaMlucuso, Stillsfrom Untitled(Performance #4), zoot.video,20:42 mins.

Pe ren son L nnann to the work. is anotherfaceattached My preface of LamarPeterson. to the drawings Thisis my preface preface The actual themselves. constantly Peterson's drawings since redundant, Butit is essentially Andwhatdoesthis or evenhouseholds. objects, by household aredisplaced facesin hisdrawings withthe rendered unfamiliar, familiar how do we dealwith the and how is this viewed signifyand face? unrendered work so muchis familiarin Peterson's we returnto the familiar.lt is because In the faceof uncertainty and despite transformation famity, The central object, the feel thatwe cannot unrooted. Ofcoursetheyarenot a family.Theyareactors, remainsessentialty unchanged. transmogrification, playa role.Mother.Father. Daughter. Son.They to props, from Central Casting direct they are theyare arelikeus andwe arelikethem.Well,maybetheyarehappierthanwe.Maybetheyaremorein love Theyareacting. Yettheyarenot complicit. andloving.Theycouldbe us on our bestbehavior. thateverything them-andit is in thesemoments Occasionatty theyactout-or theworldactsagainst depends. insidetheartist'smindor or dream.I willnottalkaboutwhatis happening I witlnottalkof metaphor parts playing I wil[insistthat their on paper. mindsof theactors in yourmindor in thetwo-dimensional funnyandterrifying. workis uproariously Peterson's -JusrlruTusstrue NY; WORK SIN N E WY OR K ,N Y . F L ; L IVESIN BROOKL YN, Bo RN 1974, I I . IS T . P C T C N S A UNC,

Flowers,2oo2 Acrylicand gouacheon paper 20 X 17 tn.

Sticksand Stones,zoo3 Acrylicand gouacheon paper 3txz5 tlz in.

An AwkwardMoment,2oo2 Acrylicand gouacheon paper 31x 25 tl2 in.

Like the Movie, zoo3 Acrylicand gouacheon paper 3 2 x 2 7 1 14 i n .

Sunday'sClown, zoo3 Acrylicand gouacheon paper j 3 1 1 2x3 1 i n .

L e m a n Pe r g n so r u , fh e Gu e sto fHo n o r ,2 o o l,A cryl i candgouacheonpaper,l l x14i n.

Kn rs rrN eR o e r N s o N Mydrawingsblendfigurative widety,fromanimalsto washingmachines) and symbols(ranging narratives suggestive culturaliconswith patchesof highlysaturated colorto createabstracted about in humanrelationships. Thisworkis stylisticatly andformally akinto confusion anddysfunction gouache, pastel, I sculpture, my primary medium. Usingpen,acrylic, andairbrush on paper, manipulate ofthe paperto confuse theorientation oftheworks:Turning the paperas I thez-Dsurface In draw,I createoff-kiltercompositions andunpredictable environments that evolveacrossits surface. alsocreatethe appearance of evolvingin morethantwo dimensions. thisway,the drawings colorthemes, found Thisseriesof drawings alludes to a sharedmemory of theimages, andsymbols American dream-to"biggie"friesandSUVsandour"larger therein, aswellasto the"supersized" for the fast,the cheap,andthe easy.Theseworkssometimes than[ife"consumer expectations utilize sentimental or comical images likeKermit the FrogandtheWicked Witchof theWest. self-consciously recurrent Animals-whether cuteandfuzzyor bitingandaggressive-are anthropomorphized symbols. quality palette A monster-like lurksin thecheery optimism of thisseason's fashionable of colors (inspired consumer items),withjaggedteeth, by my dayjob producing textilesfor mass-produced images,knives,anddynamite emerging as frequentmotifs. skewered motifscovering Onan emotionaI level,the decontextualized the surfaces of myworksexplore everything fromthemundane to the pathetic in personal andphysical relationships. Between the in drawings lies kind disorder, common experience created expected andunexpected these a of a by quasi-perfect, the impossible desirefor a pre-packaged, andcommercial existence. VA ; r - r v esANowoRKsr n Bnoor lv r , NY . B o R N1970,rN MANAssAs,

lnsidethe Van,2oo3 Gouache, ink, and pencilon paper 1 0 3 1 4 x1 33 /4 i n ch es

RecRoomESG,2oo3 Go u a ch ei n , k,a n d p e ncilon paper rz rlz x t4 rlz in.

BrokenButtonfly,zooz Gouache,ink, and pencilon paper 1 6 3 1 4 x1 73 1 4 i n -

TrophieFunnel,zooz Go u a ch ei n, k,a n d p e ncilon paper 17 tl2 x18 314in.

DefendingRecRoom,zoo3 Go u a ch ei n, k,a n d p e ncilon paper 1 9 x1 9 l J4 i n .

KermitBack,zooz Go u a ch ei n, k,a n d p e ncilon paper t7 x zo rlz in.

Shipwreck,zooz Gouache,ink, and pencilon paper tg tlz x zo rlz in.

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W ater Spr out,2oo2.

Gouac he, i nk ,and penc i tonpapet,v x 201l 2i n.

Y ureuTe n u Yn slowlyrising. a tree'ssilhouette, Weperceive paperbagsfor takeof discarded the surfaces A scalpelhoversover,touches,andbeginsto investigate packages for postoffices' and companies, colorfutgift bagsfor insurance out burgersandmitkshakes, slogansand textsof the corporate that emergearetotallyunlikethe geometric Thebranchstructures young Teruya, an Yu ken artist hand of throughthe theiracuteandiazzylogos.Fromthe scalpel, to outwards andresonating of hisfoundcontainers at theinterior starting beginsto spread, ambience thetipsof finelycraftedleaves. thesesculptures. pointof theobjectusedto manipulate Thetreemotifreturnsusto therawstarting tree-to produce the potentialto becomea fullydeveloped the factthatthe acorncontains ForTeruya, via a modeof natural andactuality the polesof potentiality a print,of sorts,of that sametree- marries whentrees,liningthe streetsof the citiesin which replicated Thisnaturaltrait becomes development. by the artistin orderto laterblossomintothreearephotographed workis exhibited, Teruya's paperformswithinhissalvaged bags' dimensional foundon the exteriorof the bagare the slogansandpictures styleof storytelling, Througha particular Thisimagerytoo canserveas a kindof seed,with its potentialinvertedandthe transformed. in thiscasewouldcomein of thebag.Theactuality intothe interior suckedbackwards development by the intopurecolorandshape,randomized of thevisualinformation the formof the re-configuring tree'snaturalformation. thevolumeof out to register reaching devices, of thetreearealsomeasuring the branches ForTeruya, his artist,framing In a wayhe is a classicaI thatis hisconcern. of content the bag.lt is thecontainment of sculpture where the and shape-making, betweenmaterial relationship work.Hecreatesa symbiotic pulledout however, itsetf.lt is the choiceof his rawmaterial, is framedby the container the container Teruya people, Yuken elevates passing that feet of the fromunder of the rhythmsof modernsociety, intothe contemporary. fromthe classical -AHonrw CnHHoru , Y. BoRN 1973 . t H O r t r u l w n , J A PAN;L lvEs AND wo RKs lN BRo o KL YN N

Fiveworksfromthe "Notice- Forest"series,zoo3 Paperbag variable Dimensions

Y u x r r u T r n u ve , No tice - F o r e st,2 o o 2 . T a co Bel paper l bag,I x 6 x 11i n.

MrE Yrnn and in mysubconscious memories thatimplode images of childhood Myworkutitizes thefragmented psyche for source deepintomy narrative. Reaching materialize on paperin theformof shredded fantasy visionis a fractured the past.Theresulting I fightthe desireto merelycatalogue material, dramas. wrestte withatt-too-human bears,andothercreatures worldwherebunnies, that festersin younggirls,whereintrigue,love,andbloodlust capturethe sentimentatity My drawings passionthatspillsout fromthisearlyperiodof tife,the the overlyromanticized coexist.I address Thistimeof life moments oneexperiences. andtheembarrassing of youth,immaturity, transgressions pathosandvulnerability of a whichstirsup the theatrical hasa sweetflavorbut a bitteraftertaste, possibilities like fairytales. unfurling of artmaking, youngpersonandleadsmeto endless freely; Plotsandruleschange dreamland. in thispsychic havelittlemeaning Reality andconsistency engagein of intent.Mycharacters with inconsistencies areinventedor exaggerated characters from changing oneimageto the bodysizes,anddesires theirpersonas, typesof role-play, different in another, a pinkbunnyis helpless; In onedrawing, fluctuate liketeenagers'. next:Theiremotions qualities, coming human and animal The characters blend withsuicidat tendencies. she'sa dominatrix Theyarebasedon thenatureof theiridentities. smilesthatobscure enigmatic happity to lifewearing in aremostoftenfamilymembers peopleI haveencountered-some briefly, othersintimately-and perversion Their andcomicbookinnocence. thedualityof evocative Theymanifest disguise. a personis oftenthoughtto havethe In Asianculture, autobiographicat. is particularly "animalness" from holdstrongbeliefsin reincarnation cultures personality manyEastern Consequently, of an animat. in particular a dogin of thisbetiefsystem-lremember andviceversa.Asa product animalto human, deadmother, hewastheirchitdren's my neighborhood thatwasso loyatto its familytheybelieved in myconsciousness. comebackto protectherchildren-lfindthisnotionto be embedded age.Shiftsof thatsensitive of prepubescence, archetypes wortdcontains emotional Thisimaginary yet are Theboundaries lt'ssweetandsour,naiVe naughty. deceive. illusionsoccur,appearances likea child is a kindof irreverence, Whathappens widened whenthe rulesof thegamesareblurred. interpret and frank openness, to I'm led to of a story. whorefusesto acceptan officialexplanation whathasbeen Bydigging in anddiscovering meanings of theimagecontent. digestthemulti-tayered inner of the self. to the origin for a conduit inside,I usemyartworkto search brewing BoRN 1963, r H S e o u l , S o u t n Ko n e a ; L tvEs AND wo RKs lN Ne w Y onr, N Y .

All worksfrom"luiulandSeries" GrassHouse#2, zoo3

TumblingBear #9, zoo3

Pastelon paper 1 9x 2 5 a n .

Pastelon Paper 19x 25 i n.

LostEors#3,2ooi

pink Army #to, zoo3

Pastelon paper 1 9x 2 5 i n .

pastelon paper 19x 25 i n.

RedMountain#4,2oo3 Pastelon paper 79x 25 tn.

TallMeadow#7, zoo3 Pastelon paper 1 9x 2 5 i n .

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M l E Y l M , Gr a ssHo u se # z,fr o m ".lu iu la n d Seri es,"2oo3.pastet onpaper, 19x25i n

Th isisnu mbe r39of t heDr awingPaper s , as er iespoufb l i c a t i o n s d o c u m e n t i n g T h e D r a w i n g C e n t e r 's e x h i b i t i o n s a n d pubticprogramsand providinga forumfor the study of drawing. Dr awingPoper s is m a d e p o s s i b l e , i n p a r t , t h r o u g h c o n t r i b u t i o n s t o t h e E d w a r d H a l l a m T u ck Th ezoo 3-zoo 4s eas onof t he supportis providedby EtlenGallagher. Additionat Program. Pubtication for the VisualArts. lnternal Excess:SelectionsFallzooj is generouslysupportedby TheAndyWarholFoundation the followingsupportersfor their generosity. The DrawingCentergratefuttyacknowledges Benefactors FrancesBeattyAdlerand AllenAdler Foundation TheAnnenberg Learsy and Raymond MelvaBucksbaum Foundation TheCharlesEngethard TheHoraceW.GoldsmithFoundation WernerH. Kramarsky lrisandlamesMarden TheAndrewW MellonFoundation for the Arts TheNationatEndowment NewYorkCity Departmentof CulturalAffairs The NewYorkStateCouncilon the Arts EdwardJohnNobteFoundation Inc. Mayand SamuelRudinFamilyFoundation, for the VisualArts TheAndyWarholFoundation TheA. WoodnerFund Maior Sponsors Foundation LilyAuchincloss R. Dittmer Frances S. Fuld,Jr. Kathyand Richard TheGettyGrantProgram Mr.and Mrs.lamesR.Hedges,lV LEFFoundation TheAbbyand Mitch LeighFoundation Ninahand MichaelLynne Sponsors ThomasAmmannFineArt AG DitaAmoryand GrahamNickson AdamBartosand Mahnazlspahani AnneH. Bass Inc. Chetsfietd 387 WestBroadwaY Trust TheCowlesCharitable Inc. DedalusFoundation, Henryand EdithEverett Elizabethand MaltoryFactor KatherineFarleyand lerry SPeYer GrahamFoundation Firestone Etizabeth EtlenGallagher TheHowardGilmanFoundation LindaandAnthonyGrant AgnesGundand DanielShaPiro TheJ.M.KaplanFund & lohnsonFamilyof Companies Johnson J.P.MorganChase and RonaldS. Lauder loCarole RobertLehmanFoundation Sallyand HowardLepow MatthewMarksGallery Lisbethand JasonMcCoy BetsyWittenbornMiller Tim Nye

OrentreichFamilyFoundation Planelmage,Inc. SusannaPorterandJamesM. Clark,Jr. Nancyand FredericPoses Fionaand EricRudin laneDresnerSadakaand NedSadaka LouisaStudeSarofim Kitty and StephenSherrill Suzanne Slesinand MichaelSteinberg Melissaand RobertSoros The EugeneV. and ClareE.ThawCharitableTrust LilyTuck Anonymous Friends AltriaGroup,Inc. Reneeand RichardBarasch lean GriffinBorho Christie's Fexy LaurenCramerand Demetrius DanaCranmer and GregTornquist CrozierFineArts, Inc. DiandraDouglasandZackBacon EastonFoundation AaronFleischman Arts, Inc. Performance Foundationfor Contemporary The Edwardand MarjorieGoldbergerFoundation Ginaand RobertF.Goldhammer Lornaand LarryGraev GailGreggandArthurO. Sulzberger, Jr. PC and Gesmer, Gulielmetti PottyW.andJohnH.l. Guth Mimiand PeterHaas Hill JanineandTomlinson Mr.and Mrs.JamesR.Houghton EllenKern TobyD. LewisPhilanthropicFund DorothyLichtenstein TheMichaetsFamilyFoundation and DavidNash LucyMitchell-lnnes Brookeand DanielNeidich PlasticWorks! AnnaluPontiand GeoffreyR. Hoguet Inc. ArtsFoundation, RushPhilanthropic TheaWestreichand AndrewRuth Kathyand KeithL. Sachs lohn Silberman lilt and RobertC.Smith Sotheby's andThomasH. Lee AnnTenenbaum Fernand LenardTessler Thayer Jeanne and LowellSchulman DianneWatlace Weinrib Madetine AngelaWestwaterand DavidMeitus ln l[emorlam MichaeIlovenko EdwardHallamTuck

Withthanksto all of TheDrawingCenter'smembers.

CnrxenrnE oe Zeeuen Executlve Director

GeonceNeenopoHrs Prcsident

Boardof Dlrectors DrrnAnonv Chairman

FnlncesBenrrvAolen MervaBucrsgeum FnnncrsDrrrMER Cor-rr,r Erslrn ErrzagerxFacron BnucEW.Fene usott R.Heoees, lV Jnltnes Wen Hen H. KR AM ARSKY*

AssYLercH WrllrnmS. Lreeenl,lnN MrcxaElLvr.rnr lnrsMnnoen ELtzngerx RoHArvN* EnrcC.Ruorn DR.ALLEN LEeSrssolls Mrcrlel SrerNsene JeenreC.Txaven* AnonenWooonen *Emeriti

Vlewlng Program Commlttee Directorand ChiefCurator CetnrntHg DE ZEGHER,Executlve Program curator Luts ClMntrzER, Viewing Art Curatorof Contemporary S USef f e M I N, Assistant Coordinator Mnntsa WHITE, viewingPro$amandExhibitions Program curator Yun-Frt Jl, Vlewlng

DrawingCenterPublications Executive Editor ADAMLEHNER, Designer Luc DERYGKE, Att r Tanarfl l,ro, Coordinator The Drawlng Center 35 WoosterStreet NewYork, NY1oo13 Tel:.ztz-ztyzt66 Fax:.ztzg6Gz976 www.drawingcenter.org @ zoo3The DrawingCenter

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