Talespinning: Selections Fall 2004

TAL E S

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T n e DR Awr NeCetren S e p relagen 9 - Ocrogea2 3 ,2004

Edward Hallam TuckPublication Program

N o n rro AM a e ln tg99,afterfirst learningaboutthe conceptof the "emptyself,"I begana seriesof worksusingpaper, Proiectsby Drawingand Cutting."Theworkslook liketree rings,topographical whichI called"Linear-Actions maps,or oceanwaves,but they are not any of thesethings.Theyarethe tracesof the actionsof a person: myself. so to speak.I want landbetweenphysicaland emotionalgeography, Withthesepieces,I mapthe mysterious process I useseemswe[[ precise Atthough the detail. it by way of into entering sublime, attain something to perfect all the lines my work.

Instead, lines in I do not try to drawor cut intervention, suitedto mechanical subtlenaturaldistortionsthat conveythe nuancesof humanemotions, aredrawnby hand,embracing habits,and rhythms.

I choosemy materials-whitepaper,a metaphor automatically, Becauseprintedmaterialsconveymessages materialssuchas paper; and whitebooksand readymade of the subtime,to drawon or cuq layeredtracing betweenthe [inearactionof cuttingor drawing Therelationship atlasesand newspapers-verycarefulty. a environments, betweenhumanbeingsandtheir restricted and the materialsis likethe retationship that is alsoof greatinterestto me. connection

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with "doing."Theprocessof creating lesswith end resultsand morewith process, I find that I am concerned is as importantas the finishedwork.WhenI am drawingor cuttinglines,I am interestedin observingthe the powerof the changing,growingshapes.In a sense,the emptyspaceis me,andthe materialsrepresent geographies. other in and of themselves: entities or"sentworld.Thedynamicshapesbecome

ANDwo RKsltt Sltr n ltn ANDNEwY oR K 'N Y. BoRN1967, r r S n t r n m l , I A P A NLlvEs ;

Landof Emptiness,2ooo-o2 papeL Housho"shi 427J8x 3t x 2 3J4 in.

Bienvenu Gallery Courtesv Cristinerose/losee CuttingProiectt2 "GeographyofJapan ll," 2oo2 Linear-Actions g 718x1911116 x1 314in.

Book, Gallery Bienvenu courtesv ofcristinerose/iosee CuttingProiecte'Geography of the World1," 2oo2 Linear-Actions 16x 1 3| 4 in.

Book,g 7I 8 x 19111 Bienvenu Gallery courtesy of Cristinerose/Josee Linear-Actions Cutting Proi ect " voyag e," 2oo) gook,a ! 4x17314x3Bl16inBienvenu Gallery courtesv of cristinerose/Josee

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Ar -rcEA r r t e I shouldmakea picturethat wasgtobu' in pateyellow,semi-transparent. lf I werea painter,I shouldpaintthesefirst impressions I shouldmakea pictureofcurvedpetals,ofshells.I shouldmakecurvedshapes,showingthetight lar,semi-transparent. through,but not givingclearoutline.

WooLF -VrRGrNrA

whenwordsseemto takeleaveof theirhomesin a formof meditation, Therearetimeswhenreadingbecomes into new or gatherthemselves wheretheyaccruenewmeanings the pagesof booksand resettleelsewhere, forms. the the chapterentitled"TimePasses," ln the centralportionof VirginiaWoolf'snovelIo the Lighthouse, passed; years have the Ten childhood summers. their they spent house where return to the Ramsay children is air, ofthe ocean for intrusion but the Thehouse,silent deathoftheir mothercastsits shadoweverywhere. of unutWoolf'swords,likethe brawlof birds,dissolvein an atmosphere hostto the riseandfaltof memories. re-appearing, hiding and into corners, recede they strike objects;" "flutter they sideways; They tonging. terable pursuitof the elegiac. againandagain.Woolf'stextturns,withinitsetf,in a continuous fadingand re-emerging, aremelded.

Herwordsarewoveninto a textualwarpwherememoryandthe imagination

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Manyof thesedrawingsare composedof texts,or fragmentsof texts,culledfromthe poetryand proseof writVirginia Woolf,Franz of articulation. the possibilities andto re-shape erswho haveinspiredme to re'imagine whom, in the words writers for They are Kant. lmmanuel WallaceStevens, Kafka,WitliamFaulkner, JamesJoyce, of Kafka,"writingis a form of prayer,"an invocation,a gesturethat mediatesbetweentwo worlds,one that remainssilent' speaksandonethat,whilefollowingthe traceof language, on the elusivenatureof formand thesedrawingsmaybe thoughtof as meditations Neitherlegibtenor ittegibte, contiguon an aesthetically that placethe materialandthe immaterial content.I thinkof themas compositions partake weave. a single of language to and ous ground,invitingthe imagination tangible,the invisiblevisiBoththe writtenwordandthe drawingarebornof an impulseto makethe intangible eloquentthe other.However ble.Thehand,likethe eye,seemsto traveltowardsthe text'sindecipherable or intuited-is neverwhollygrasped. words,meaning-gleaned Wecreatetheseciphers,words,to drawus closerto whatis absent,to whatwe cantouch,but onlytentatively, andonlywith imagination. woutdthink howwordsgo straight I woutdthinkabouthis nameuntitaftera whileI couldseethe wordas a shape,a vesset...l just fitl a lack;that whenthe rightword (love) a shape to others: was a word tike the word knew that line...l that up in a thin cameyou wouldn'tneeda word...

WiltiamFaulkner

Bo RN1950, r N N E wY o R K ,N Y ;L lvEsANDwo RKslN NEwYo RK.

"The Burrotf' FranzKafto, zoo3 l nkonpaper, 2x23 0i n .

"As I LayDying" WilliamFaulkner,zoo3 22xJo in. lnkonpaper, "Molly's Soliloquy,from Ulysses"lomesloyce,2oo4 In konpaper, 3x02 2i n ,

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A MenEe rBuu r r layersof Mylaron whichsmalldot-tikepatternsand My recentdrawingsare built on accumulative Thetayersareworkeduponintenselyand thenstitched stylizedminiatureimagesintertwine. traditionatly together.

I usethe figureas a fusionsofculturalconfrontations. conscious worksarecelebrations, Theseimage-based performance depicted by the and enacted in ritual involved the and become venuefor viewersto enter painting, herethey but of Kangra-style drawing.Theirformalstructuresare basedon the romanticlandscape also serveas metaphorsfor a placeof defense,survival,and escape. in the series"Whatis passedor passing,or to come,"the figureis seenas engagedin In particular, the sabotage. resistance to the colonizingofthe bodyand latercelebrating Bo R N 1 9 5 9 , rN L A H oR E , P l xtsn t;

LtvEs AND woRKs lN CAM BRIoGE,M A.

6 llntitled,fromthe series'Homeand the World,"2oo1 graphite, andthreadonMylar,14x 11in.

Watercolor, Souache, Privatâ‚Ź Collection lJntitled,frcmtheseries'Whatis passedor passing,or to come,"2oo3 gouache, graphite, andthreadon Mylar,131/2x 131/2in.

Watercolor, oflackTiltonGallery Courtesy untitled,fromthe series'What is passedor passing,or to come,"2oo3 gouache, graphite, andthreadonMylar,131/2x 131/2in.

Watercolor, ofiackTiltonGallery Courtesy Untitled,fromtheseries'Whatis passedor passing,or to come,"2oo3 gtaphite, gouache, andthreadon Mylar,r3 r/z x r3 r/z in. watercolor, oflackTiltonGallery' Courtesy

llntitled, lrcm Ihe series "Home and the World," 2oo1. Watercolor,touache,graphite,and thteadon Mylat,4 x u in.

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L oE C HARLToN in varioussocialsituationsby matchingthemwith historicalimages.Thedilemmasof I placemy characters clipperships' to objects:seventeenth'century throughtheirrelationships arecommunicated the characters interactwith these toy soldiers,gardengnomes,picketfences,swimmingpools.Thewaysthe characters so miniaturized, have been the objects events.

Oftentimes particular current historiesor objectssymbolize extremely for example, theirinfluence,makingthe imagesof women, that they tooktiketoys,to undermine in anotherdrawingmay large.Shipsin one drawingmaysignifoburdens,and a ship sail headdress of the central empowerment potiticat. and The vulnerability Theagendabecomes symbolizeindependence. figuretakescenterstage.

Thecontentof my work hasdevelopedfrommy interestin class,gender,and race.Sourcesfor the current body of work rangefrom storiesabout nanniesand maidsto Gulliver'sTravels,from soft-pornposesto travet I draw,sketch,trace,and then redrawcharacters Theimagesreadas partsof storybooknarratives. fantasies. themin new,awkward,or funnymoments.Thework keepsthis drawnquality' to recontextualize repeatedty of the peopleand settingsinto furthercontrastand conversation. bringingthe visualretationships Bo R N 1 9 7 3 , r N T A LL A H A ssE EF, L; LlvEs ANo woRKs lN BALTIM oRE,M D.

I Gnomes,2oo2 x zz tl z in. oil,andlatexpaintonpaper,3o Graphite, acrylic, Onword Morching Christian Soldiers, zooz acrylic, oit,andlatexpaintonpaper, Graphite, 50x 60in. lJntitled(TheArriva\, zooS acrylic, oil,andlatexpaintonpaper, Graphite, 50x 50in' ThankGod4 Lincoln,zoo4 oil,andlatexpainton papell,ox22ll2in' Graphite, acrylic, HomelondSecurity,zoo4 x 40in' acrylic, oil,andlatexpaintonpaper,42 Graphlte,

Homeland Security,2oo4. Graphite,acrylic,oil, and latexpaint on paper.42 x 40 in.

A l e J n N D R o Dtnz PoveraLitetTheTextDrawingsof AleiandroDiaz at the mediaandwhosework dwellsnomadically, artistwho crisscrosses AlejandroDiazis a conceptual Makingsomethingof verylittle,layeringin bricolagestyle,bringingtogether bordersof culturalconstructs. ..high"and ..tow,"his oeuvrecanbe characterized or hybridof forms. as a mestizaie, of poverty.Whilereferringto Diaz'suseof text as a formof drawingis groundedin the borderaesthetics of adversityand hungerthat otherart worldcurrentsand proposalssuchasArte Poveraand an aesthetics economicforms,and politicalconcepts,Diaz'stext drawings proceeds throughthe useof everydaymaterials, politicatyet yet Reductive exuberantin theirwebsof signification, area liteversionof thesestrategies. campy,poeticyet pathetic,seriousyet banal,his corpusof text drawingscanbestbe describedas Povera Lite.

Utilizingusedcardboardas a supportsurface,Ihe Poveralife drawingsaretextualquotations.Relyingon and at hand,the drawingsareeconomicand havea dialogicquality:Theytift,verbalize, what is tinguisticatty of quotations to an array and apostrophes As ofeverydaylanguages. drawfrom broadsocietalframeworks figuresof speech,and poeticand politicat of registers, the text drawingspickup a heterogeneity utterances, dictumto the historianto listento everyfleetingquoteand bit of gossip,the stances.LikeWalterBeniamin's drawingsfunctionas a historicalindexof what is goingon in societyat large. and "covers"as retatedto his ongoinginterestin quotation,translation, Diaz'sdrawingsare dynamicatly devicesby whichto producedrawingsthat areopentexts,and whichinviteas well as incitethe readerby nature,the drawingsare porous,incomplete, them.Allegoricat and complement viewerto supplement unfixed,and unstabletextsthat referto othertexts,therebyproducingopenwebsof meaningthat canbe playful,and ironic. paradoxical, contradictory, out ofcontext,the drawingsaresnippetsoflanguage.Theyhaveno intentionof like utterances Fragmented, they seeknot to recountstories.Whatthe drawingsdo relyuponis a muttiplicityof becomingnarrative; the imagesas if eachtext wereutteredby a Diazachievesthis effectby generating Formatly, meanings. appearas if madeby differenthands, effortsto havehis caltigraphy differentsubject.Akinto CyTwombty's voicesin a varietyof dialects different by produces spoken that appear words Diaz'sworkingmethod practices, gender, and potitics. sexual inflectedby diverseculturalmarkerssuchas class, are informedby Mexican-American pristine,Diaz'saestheticstrategies impureyet conceptuatty Formatty as well as by modernism(asseenthroughthe prismof of rasquachismo, expressions vernacular that resultfroma mix,a postmodernism) and queercriticism.Thetext drawingsarc mestizoconstructs of mestizaie-namely, btend,a melange,a fusionof sources.As such,theyarticutatethe contribution informcritical borders;widenhorizonsof signification; that chatlenge impure,shifting,and openpossibitities politics. poetics and practices; to contaminate and tend -Victor Zamudio-Tavlor BoRN1953, rN S A NA N T o N t oT, X ; L lvEsANDwo RKslN NEwYo RK,NY. Worksfromongoingseriesof cardboardsigns,zoo3-o4 variable dimensions Marker oncardboard, s

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Grorr GRo e R ru CHA P T E RI X "Fam iliar G lim ps eosf Ye l l o wJ o u rn a l i s m " It haSbeensaidby thosecatmstudentsof humaneventswho wereuntroubledby the criesof oppressed Cuba.that the war betweenthe UnitedStatesand Spainwas the workof the "yellownewspapers"-that energywhichis not contentmerelyto printa daityrecordof history,but seeks formof Americanjournalistic decisiveagent. to take Dartin eventsas an activeand sometimes Europefrowned Thatwas a sayingof high reproachwhenthe armedstrugglebeganandwhenContinental uponthe Americancause."Yellowjournalism"was bloodguilty.lt had brokenthe peaceof the world.lts ministersof passionand disorder.lts tyingclamors editorswereenemiesof societyand its correspondence and dishonored the dignifiedpoliciesof government, hadarousedthe credulousmob,overthrown law... international ...Howtittlethey knowof "yetlowjournalism"who denounceit! Howswiftthey areto condemnits shrieking its intrusionsuponprivatelife,and its occasional pictures,its coarsebuffoonery, its exaggerated headlines, guardianship of pubticinterestswhichit maintains!

But how slowthey areto seethe steadfast inaccuracies! of crime,its costty its detectionand prosecution againstrascality, Howbtindto its unfearingwarfare fundsfor the quick its endless of humbug, its exposures earth, the knowledge throughout for searchings reliefof distress! the l/erarYorkJournalsent Sometime beforethe destructionof the battleshipMainein the harborof Havana, artist,to Cuba.Hewas instructedto remainthereuntilthe war began; the distinguished Remington, Frederic had an eyefor the future. and was alert "yellow for iournalism" sentthis telegramfrom Havana: Mr. Remington Presently " W .R.HE A RS N T,e w Yo rk l o u rn aNl ,.Y.: "Everything is quiet.Thereis no troublehere.Therewill be no war.I wishto return. " RE MI NG T O N, " Thiswasthe reply: " RE M I NG T OHA N , V AN A: "Pleaseremain.Youfurnishthe pictures,and I'll furnishthe war.

"W. R. HEARST." Theproprietorof thelournalwas as goodas his word,and todaythe gitdedarmsof Spain,torn fromthe frontof the palacein Santiagode Cuba,hangin his officein PrintingHouseSquare,a [umpof meltedsilver, takenfromthe smokingdeckofthe shatteredSpanishflagship,servesas his paperweight,and the bulletto him in the field by General piercedheadquarters ftagof the Easternarmyof Cuba-gratefullypresented h i sw a l l ....

G ar c ia- ador ns O n t h e Gr e o tHig h wa y:T h e Wo n d e r in g sa n d Adventuresofi speci al C orrespondentbyl amesC reel man(Boston:Lothrop ,Lee& Excerptfrom SheperdCo.,rgor).

NY. BoRN1950, rN B T N G H A M T oNNY,;LtvEsANDwo RKslN BRo o KL YN, "TheDailies"no. 6, zooS 22x 27in.

Newspaper andacrylic, "TheDailies"no. 8,2oo3 x27in.

Newspaper andacrylic,22

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J o ru n rn RH H ERDER qualities-their I am drawnto work with postagestampsfor theirdualand somewhatparadoxicaI pragmatic. their Moreover, of the exaltedand the mundane,the idealand the embodiment simultaneous colorintensity. of exquisitedetailand incomparable formalquatitiesare beguiling:Eachcontainsengravings revealthe that chronicles are unique function, they for a mundane ideats nobtest of evokingthe Curiously melodrama of a nation'shistory. from minutelydissectedengravedstampsprintedmostlybetweenthe r93o'sand r97o's,these Cottaged of worksofferpixel-likemosaicswith a gravitythat perhapsbeliestheirsmallsize.Thethematicscenarios hours of scrutiny long through reveal themselves emerge and that from the linkages derive individualworks paidto a vastcatalogof stampdesigns-linkagesin scale,subject,andlorcolorthat emergebetween that a particularwork out of a singularlinkageor kernelof information disparatestamps.lt is generatty GotdStrikeCentennial unfolds.Forexample,a mountainrangedepictedin the backdropof ary48 California Territory Nebraska in with a mountainshown a 954 stampalignsalmostperfectty commemorative tree,w hi ch,as ofan evergreen is s ue.In th e fo re g ro u nodfth i s mo u n tai narethe upperbranches C ent ennial lssue.

Centenary pines 1935 Michigan in a as shown stand of mingte with a out, convincingty it turns it is that the (though violet.

So shades of printed different) slightty in similar Moreover, atl threestampsare imagesthat arevisuallycohesive, discretefragmentsextractedfromvariousstampdesignsyieldaggregate themesof resultantworksaredistilled air.Thenarrative albeitwith a somewhatdigitizedor "microcubist" fromthe manynarrativetropesimbuedin individualstamps.

Theuseof stampsas raw materialfor my currentwork is a functionof my desireto visuallystagethe drama purpose. confinesof bureaucratic oftheir graphicpotency,onceit has beenliftedfromthe prescriptive fixtures,theyallowthe observer Strippedof theirfamitiarheraldicslogansand textualand denominational grandeur.

Despitethe way these iconic realm of in or inhabitthe minutebut supercharged to masquerade stamps,they alsoseekto retainthe suretyand officiatityof the vernacular worksfragmentand reconfigure investigation and introspective Theworksaim,also,to allowfor a moresubjective engraving. of bureaucratic of the rhetoricalgroundssupportingofficiathistories.

Bo RN1965, rN N E wY o R K ,N Y ;L t v EsANDwo RKslN NEwYo RK. lJntitled(Night Desert),zoo3 17x 14in. onPaper, Postage stamps Soldierb Dream,zoo4 x 144n.

Postage stamps onpaper,17 Untitled,zoo4 Postage stampson pape\t x14in.

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N n ucvJn cr so ru pai nti ngs i n the W est,i nspi redby the curi ous Nanc yJ ac k s on'ar s t re mi n d su s th a t th e e a rti e slta n dscape imagesof the icons,werepicturesof imaginaryplacesand,morespecifically, terraindepictedin Byzantine of spaceand of hetl,with its puzzlingconfigurations Offeringa vividand disturbingiconography underworld. general -a pai nti ng i n l andscape of conventi ons fo r the b l u e p ri n t a n i n d e ti b l e l i ght ,t he im agesp ro v i d e d lhus revivefor GoldandCauseway to nature.Jackson's blueprintproduced,at its origin,withoutreferences featuresof archaiclandscape-notarchaicin moral viewersthe hightystylizedand altegorical contemporary (in contrastto and symbolicexperience imaginative to render capacity or thematicterms,of course,but in its morecommonfigurativeand pastoraIassociations). landscape's canbe viewedthroughnumeroushistoricallenses:GermanRomanticism; marvelousunderworlds ,;ackson's and Remedios (includingpainterssuchas LeonoraCarrington Surrealism Shakervisionsand testimonials; and landscape); nocturnal or notturna, (especiatly seventeenth-century genre painting the Varo);Venetian painting).

The very [andscape with early (whichsharescertainconventions ittumination medievalmanuscript boththe as a sourceof l umi nescence-as pr inc ipt of e gr aph i ci l l u mi n a ti o ni n, w h i c hth e i m a g efuncti ons representati on i ts o w n v i s i b i ti ty -h etpsvi ew ersunderstandthecondi ti onsof gr oundf or andt h e me d i u m o f (though not of ofshadow The absence work. broughtto tightin Jackson's sharedby the variousunderworlds

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(particu tarlyin the tieredtableor counterfencingthe mouthof the shading)in imagessuchas Causeway i n manuscri pt appeari ng Forthe phenomena o f a rc h a i cl a n dscape. ti g h t a b s tra c t cav e)c allst o m in dth e of the paintingspace the (andin earlyrepresentations of hett)remainunilluminated-within ittuminations by any sourceof tight,naturalor artificial,until the fifteenthcentury,whichwasaboutthe sametime that imagespossesstheirown in Jackson's topographyfirst appearsin easelpainting.lt's as if the phenomena of the figures character and symbolic abject the a conditionthat heightens internalsourcesof itlumination, in theselandscapes. work,whichdescends-at in Jackson's paintingsurvivesatavistically The..darkperiod"of Westernlandscape and Giorgione, (favored especially Venetians, by the [andscapes nocturna[ of a subgenre leastin spirit-from between The correspondences Jackson's painter Etsheimer).

Adam perfectedin Romeby the German lux of the underwortd, paintingsand the Venetiannotturnahavetheirfoundationin the antithetical yet to the cultureofthe masquerade also extend they poet "darkness visibte," Milton as by the characterized paintingsarefrequently in individuats faces of Forthe Jackson's and nighttifeenjoyedby the Venetians. effects,tikethe Venetianbaufe:maskedfiguresin capesandtriobscuredby veilsof hairor atmospheric by the latestcuriosities corneredhats,seenstrollingthe city at the heightof the batlseason;or captivated Canal.

Grand on the diversion as a summer erected of the luxurytrade;or by a cameraobscura - DanielTiffany

B o RN 1 9 5 6 , t r C utce co , l L; Ll vE s AND woRKs lN Los ANGELES,CA. .E

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untitled,79gg co u a c h eo n p a p er,y rl 4 x4 tl 4 i n. and MariaRudolph collectionof Alexander Couseway,part I from the series "Telescope," 2oo1 on papet,\ 714 x 20 714 in Gouache of JamesF.Jensen Collection The Need is Great,2ooT P e na n di n k o n p a p e r,13x 1 8 i n. of ElaineBerger Collection Gold, patt ll from the series "Telescope," 2oo2 on pape\ $ 114 x22 tJ 4in Gouache of Wiltiamand MarisaBerry Collection Passage,2oo3 on paper,21114 x 14 in.

Gouache of DavidZifkin Collection Scintilla, parl lll from the series "Tetescope," 2oo4 on paper,19 7/8 x 15 3/8 in.

Gouache FelsenGallery of the artistand Rosamund Courtesy

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R rc n n o o L n N z A R rN l TheMicrophysics of Power Duringthe r96os,Uruguaywentthroughan artisticperiodknownas "Et Dibujazo"(thebig drawing).Artists throughthe i conographi c d e u rg e n c o y f thei rsoci alcri ti ques wor k ingdur ingt h i s p e ri o de x p re s s eth perversion of the humanfigure. miniaturizes this big subject,the fateof drawingas somethingto be Fortyyearslater,RicardoLanzarini Hedoesn'treferto dibujazobutto dibujito(titttedrawing);he doesn'tspeculateaboutthe constructed. of his daitylifewith an deathof the modernsubject.Rather,he tellsaboutthe vicissitudes transcendental one mightevensaydiminutive,humor.That"little drawing"is not servedby a gesturallineunderstated, carefully writingtime.Instead,the lineis homogenous, that quicktraceof a pen or a brushthat dramatizes l t i s the pri sti nedry-poi ntl i ne,w hosegoali s a c ont aining andhid i n gth e ti mei n v e s te di n i ts e x e cuti on. nor construction, but as ecstasy. crystallized narrativebody.lt is intendedneitheras expression that hasbi g unl easha parodyof mul ti cul tural i sm e e rti n e n c eth, e s es m a l Ic h a ra c ters In t heirf igur at iv p of diversityseenfromthe ubiquity,the hallucination effects.Theyarticulatethe dreamof postmodern . h eg a z ea l l u desto the sl owpassi ngof ti meoveran undetermi ned m ar ginalitof y our p e ri p h e rawt o rl d sT a sheetof rollingpaper,or just a watl.This can be a sheetof whitecardboard, spacewhosematerialization kindof time is integratedinto the drawingto the pointthat it seemsto haveauthoredit. lB

of the e l i ngpaperi s the bestsupportfor a di scussi on B ec aus of e it s m a te ri afll i ms i n e s sth, e d i s p o s a b lrol space;it installs,as problemsof socialfragmentation and the lossof ownedptace,of secureand identifiable

by PautVirilio,the placefor a metaphorabouthumaninsecurityin the midstof a "progress"that suggested inscribes(andwrites)on an art supportthat by its In otherwords,Lanzarini leadsto globalcatastrophe. naturedemystifies art. museum.Two"histories"cohabitate of the ethnographic In Job's'litttebooks,thereis a recuperation the in to the fate of the object the market(rottingpaperfor cigarettes), diatogicalty there:one corresponding to drawingas a parasiticnarrationthat is introducedinto the obiectand corrodesits othercorresponding originaIdestiny. d e ri tu a lo fth e b o o kby reduci ng i t to the statusofdi sposablobj e ect,onethat l f t he r ot t ingpape rp e rv e rte th " obj ectthat pages i nto archai c bi bti ophi l i ofthe a the book the t h ro u g hu s e ,L a n z a ri nre i i n tro d u c es l os esit s the auraticquatityof the artist'sbooks. instructs,"thus guaranteeing (where existingbetweenthe drawingsof the series"Cartographies" connection Thereis an interesting arbitrary order)and humanmasses aredepicted as crushedby the powerof a spaceimposing miniaturized represented in the Bookof Job. name designates the sea monster a bookwhose ThomasHobbes't65t Leviathan, powerof the stateand the forcesthat orient Theimageof the leviathanis usedto visualizethe omnipresent (anddisorient)the witt of the masses.lt is the mathematical calculation apptiedto the raisond'etatand its visibleformsof massdomination.In Hobbes,the theoryof powertakesthe shapeof a theoryof the "body"; ty the systemsof domi nati on. d y th e th emeof the (i n)vi si bi tiof i t is an ant hr opo m o rp hth i ce o ryo b s e s s e b of the invisibilityof raises:problemsof scale,of temporality, Thesearethe sameproblemsthat Lanzarini glass,not unlikeHobbes,who not only powerin timesof globalization.

Theartisthasto usea magnifying i n opti cs.Lanzari ni"' lsi ttl edraw i ng,"seenthrough wasa polit ic ian an d m a th e m a ti c i abnu, t a l s oa s p e ci al i st of of the commonw eal th, the absence di spersi on the opt ic sof Hob b e si,s a m e ta p h oor f th e p o s tm o dern with the world'sorder. with the lackof orotectionof the individuaIconfronted senseconfronted - GabrielPeluffoLinari note). r. Jobis the brandnameofthe rollingpaperbookletsusedby Lanzarini(translator's

L tve se to wo RKslN M o NT EvlDEo. Bo RN1953, rx M o r r e v r o e o , U R UGUAy; EighteenUntitled books, zoo3-o4 paper, 2 314 x 4 3l4 in.each lnkandpencil oncigarette

4l:r

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FiveUntitled books, 2oo3-o4. Inkandpencilon cigarettepaper,2 314 x 4 3l 4 in. each

Tu c rEn NtcH oLS r i c h o l si s n ' tmu c hfu n.H edoesn' lti keto chatw hi l eyou' rew ai ti ngfor the G oingt o a m ov iew i thT u c k eN previews;sometimeshe doesn'tevensit with you.He'stoo busylisteningin on otherpeople's with the restof the crowd,then Whenthe fitm is over,he strollsout towardthe restrooms conversations. pockets of hisjacket,he findsa new hands sunk into the loopsbackto the theaterdoor.Headlowered, groupand trailsalongbehindthem.Later,afterthecrowdhasthinned,he writesdownsomeof the things theysaidin his tittteorangenotepad. drawings,thoughit's difficultto separatethe truly snippetsof dialogueoftencropup in Nichols's Overheard phrases "No Way Your DadDid My Sister'sBraces"hoversovera fromthe inventedones. eavesdropped gtares picketfenceof orthodontiain one piece."AndI Likethe WayYourMom ls Kindof Passive-Aggressive" or grocerylists; the text feelsas if it's beenpluckedfromhighwaybittboards out fromanother.Sometimes appears on a large The word on his own brain. "errands" othertimesthe artistseemsto be eavesdropping on the s heetof paperwi th a s i n g l e[i n ed ra w nth ro u g hi t. Mi ssi nghubcapsandcontactl ensesareannounced pol es.In anotherrecurri ng p i n n e dto s u b u r ban seri es,the streettel ephone k indof " Los tCat"fty e rsty p i c a tty are paintedto mimicthoseof nearbycardealerships facingwindowsof art galteriesandvacantstorefronts year-endblowouts,the nine-foottall letterscalIout less and carpetstores;insteadof announcing like "ThinkAboutFloating"and "YourCarls LikeYourFace." messages, commonplace

20

we seeon streetcorners workconfrontsus with what is commonplace-words ln a broadersense,Nichols's yet become, staringout froma And how evocative they about. never think twice or hearon the subwayand dog,or a handgun,or the slender gatterywatl in his fragitehandwriting, standingabovea frightened-looking tree."No WayYourDadDid My Sister'sBraces"alwaysmakesme laughfor of a plum-btossom branches betweenthe dentist'sdaughter somereason,but it atsodragssomethingpatheticbehindit. Theconnection seems i s so empty." Thi nkA boutFl oati ng" a ndt he pat ient ' s i s te ri s s u c ha s h a l l o wo n e ;th e irenthusi asm ask us to think about? but is it anystrangerthanwhat regutaradvertisements likea ridiculoussuggestion, MissionStreet,the idea windowaboveone of the seedierblockson SanFrancisco's ' Framedin a fourth-story actuallyseemsratherappealingto me. they are,but the moreI return Oneof the thingsI like aboutthesedrawingsis how seeminglyuncomplicated everyday wordsand imagesbecome to them,the moretroubleI find.Strippedof their usualsurroundings, appearstrangeor horriblymisspelled. the way yourown namecanoccasionatly foreign,evenindecipherable, fromtheseunfamiliarangles,to reexamine work invitesus to seeeverything I think Nichots's Uttimately, whatwe'reusedto ignoring.lt makesme wantto readthe signstapedup in shopwindows,and look more closelyat the linesthe treesmake,and listenpatientlyto the chattyotd coupleswho alwaysmanageto find the seatsbehindme at the movies.

- DavidKhoury

ARE AC, A. Bo RN1970, rN B o s r o N , M A ; L t v EsANDwo RKslN T HESANF RANclsco

untitled,2oo4 withdrawings Installation Dimensions variable

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= \ q l! l{

Eu N e H o P R R r in nature.Whitewalkingin a Brooklynpark,I drawingon paperRoofshasits inspiration My ballpoint-ink was immediateandvisceral.I identifiedwith theseroots cameacrosssomeexposedtree roots.My response ginseng Korea.I saw myselfin theserootsand I felt my own native roots of my the of laid bare,reminiscent changes,both naturaland social. as a humanbeing.I felt exposedto the world'sunpredictable vulnerability to the Exptoring the word rootsas a meansof a foundation,I thoughtof AlexHaley'sRoots.As a newcomer of a familytree, countryl'd foundthis r97ostelevisionseriesabouta man'ssearchthroughthe generations latchedontothe present, I'd a revelation. prosperous to be American past its to triumphantly its African from life in this country. myselfinto my new hopethat it offeredas I transplanted I spentsix monthsdrawingthese of the sourcesof identityand self-discovery.

My drawingis an exploration yet alsopremeditated and disciplined. repetitivelinesin this work.Theprocesswas extremelymeditative, '

the Feeting the animisticspiritsof the tree,I wantedto revivifytheserootsinto humanform.I transformed ofa in the shape roots depicted of system into an intertwining roots natural tree image ofthese foundobiect they system; not a closed paper.

They are never-ending.

Theserootsare humanheaddrawnon zz sheetsof to generation. continueoffthe page,as humanlife continuesfromgeneration

N,Y. Bo RN1957, rNWo o N c H u NS, o u r x Ko n te ; L lvEsANDwo Rxs lN BRo o KL Y N

22 Roots,2oo3 x 114in. lnkonpaper,135

Roots, 2oo2. Ink on paper,135x 114in.

C nrnv Wn n o Hairas Text drawingsof mounds,waves,and curlicuesof humanhair detaitedscratchboard CathyWard'simpossibty fusing centuryeccentricity, centuryart practicewith a nineteenth informedtwenty-first conflatea historicatly unifiedfietdof locksand tresses.Hairis oneof the mostfetishizedparts-certainlythe it into a seamlessty and orchestrated mostpubliclyfetishizedpart-of the humanbody.lt is molded,edited,removed,extended, pol , and personal , , soci al , i ti calsexual al l mannerof i nt oa t hr ee- dim e n s i o nsac lu l p tu rasli g n a el n c o mpassi ng mythotogy and folkloreare rifewith spiritualinformationaboutits fleshpedestal.FromSamsonto Rapunzel, early 5o's and portent, through the who tived and anyone as 7o'sknowsthe depth examplesof the coiffure just a coupleof inchesof the stuff. and intensityof importthat can be gleanedfrom to text-as an retationship Hair'scapacityto act as signifierderiveslargelyfromits metaphorical fromthe innerbodyto the outsideworld,deadrecordsmarkingtime in of linearexpressions accumulation entireperiodsof our livesin a few subtleand ephemeral proportion chronicling lived experience, to direct indicatesthat hair'slinguisticmodeIis that of the oraltradition:Hairsignatsmust twists.Thisephemerality Documentary or modification. subjectto elaboration maintained, and theyare constantly be continua[[y is a trickier itself fixing the [anguage but language, evolving of a constantly moment may record one media pr opos it ion.

24

seenin Victorianhairwreaths-wherethe grief eulogization Ward'swork is partiatlyrootedin the obsessive recodedinto a narrativeartifact,a mandalawovenfromthe laboriously of the bereavedis methodicatty, cyclicalsenseout of a suddenlytruncatedstoryline. making contained, one's tife, of the loved detritus [inear vistas,no suchtidy resolutionis sought,at leastnot as a finalform. detineated In Ward'smethodicalty the folticletransmissions-allowing Instead,elaborateornamentalknotsemergefroma chaosof uncensored rational,Apoltonianimpulseits place,but refusingto identifyit as TheSource. the literal,in the drawingsthat in two directions-towards the metaphoricaI Ward'swork alsotranscends hair hair; andtowardsthe transpersonat, vacuii of as imposeor extractno imagerybeyondthe all-overhorror and dreamvistasemergefromthe tangledskeins.Theselandscape symbot-laden whereimprobabte, psychicrootsof story.Likean fantasiesreunitehairas a textuaImediumwith the preverbaI architectural of a mother'sor lover'stresses,the vista eideticmemoryof a twitightvisionglimpsedthroughthe cascades that shouldcomewith sucha translation, the awkwardness transcending opensuponmystery,miraculously physiology. yet inextricably in mammalian entrenched -D oug H arvey

L lvEsANDwo RKslN L o NDo N,EN GLAN D ' Bo RN1960, r NA s H F o R DK, E N r ,ENGL AND;

Domain,zoor 76in. onboad,D tll 76x 11131 lnkandgesso LovesLaboursLost, 2ooj o b o a r dr 1 , 1 3 / 1x61 91 r /1 6in .

I nkandges son Rise,2oo3 Tressure

;

Ink and gesso on board,11 13/16 x 19 11/16 in.

Meanderine,2oo4 76x 71131 76in. lnkandgessoon boad,rg 171 Sanctuary,2oo4 lnkandgesso onboard, ry 1rl16x 23518in.

-o N

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Jr H n rEW H r r E S hor tS t or ies throughwindows,repeated Famitiar wordsand phrasesfloat in and out of our lives,flashingby on screens, alonggroceryshetves,on the kitchencounter,in the medicinecabinet,heardfromthe nextroom.Though we tendto ignorethem-unlessthe contextshifts. theyare part of our landscape, inscribedwith words, JennieWhiteprovidesthe simplestof contexts:a plainsheetof whitepaper,letter-size, phrases,and designs,bothfloraland geometric.

Theseinscriptions and designsare not laiddownwith ink or paint,but, rather,aredrawingsformedby tiny hotespiercedthroughthe paperwith needles.

LATEX...KOTEX...BLISTEX.., .,.TILEXWINDEX]AVEXPLAYTEX Runningalongthe pageoff the edge,carryingoverto the nextline,that rhythmicrepetitionof EXsmight the the l ushsurface, , a womanof endl esscycl es-bel yi ng s peakt o a hous e k e e p eorf e n d te s cs h o re sto velvetytexturewherethe needlehaspushedthroughfromthe backof the pageand raisedthe edgesof the phantom-like, seemto appearand disappear, letterspickedout by thesepin-pricks holes.Theevenly-spaced page in positive with block capitals, read, all.

They fitl the decipher, to them closer in an effort to drawingus

26

with holesmadeby directingthe needlefromthis sideof the relief.Thespacesin betweenare smoother, of this work,if paper.Theeffectis suggestive of a background againstwhichthe wordsrest.Theimplications one considersprocessand languagetogether,suggesta lackor a void,a repeatederasing,cteaningup, t a ppeari ng. hiding- a c y c leo f e x -i n go u t a n d p e rs i s te nre CANYOUFINDYOURWAY? Thisquestion,posedat the bottomhatfof the sheet,seemsweighteddownby the elaboratefloraIpatterns of landscapewith a questionemerginginto spacewith a suggestion aboveand aroundit. We are presented texts in these reader. lt is surprising that the it resonates for any open-ended that above, and so sky outsideof any perforatedpaperworksseemso momentous.

Theyhoverthere,lackingdirectreferences, readin a newsarticte, Theyarewordsand phrasesnoticedin advertisements, specificcontextor narrative. heardon television,or imaginedby the artist.Workingnot in herstudiobut at her kitchentable,with the perforates the pageusingneedlesofdifferent whitesheetofpaper pinnedto a tablecloth,she painstakingly sizes,workingfromdifferentdirectionsand bothsidesof the paper.Thetexturesand surfacescatchthe light design. colorfulpositive/negative in a varietyof waysand the resultis a richand surprisingly HURTANYMORE IT DOESN'T the y carefutlas y mai ntai ni ng W ec anim aginet h e a c t o f p u s h i n gn e e d l eth ro u ghpaperrepeatedland The elementsof the planneddesignandthe text.Thecreativeact becomesritualisticand torturous. finished yet so personalthat thereare momentswhenthe artistseems ideasthat areephemeral, worKscommunicate the evidenceof the processis therebeforeour to speakdirectlyto the viewerreadingherwork.Because we areencouraged to sharein the processof making to readand consider, eyes,and thereare messages basedon meaning.

As the artistpondersthe words,and we ponderthe works,theytakeon significance incidentsin her life,or in ours.Sheworksthem into visualcontextsand they becomeautobiographical piercing.lmptiedstorieshoverin the atmosphere between throughthe veryprocessof choosing,designing, us - we ar enev e rs u reo f w h a ts to ryi s i n h e r m i nd.W ei magi neour ow n.

-Madeti neLennon

, n r l o a ; L r vEsANDwo RKstN L o NDo N. Bo RN1959, r N L o N D o NC

Protonsilex,Pyrex,Tilex,Windex,lavex, Playtex,Latex...,2oo2 Paper, 11x 8 1/2in.

CanYouFind YourWay,2oo2 Paper, rt x 8 r/z in.

Permed,Shaved,Plucked,Waxed,Dyed,Painted,Nipped,,,,zooz

CloseYourEyes,zooz

Paper,11 x 8 1/2 in.

Paper, 11 x 8 1/2 in.

tt Doesn'tHurtAnymore,2oo2 Paper, rr x 8 r/z in.

ln A RoomWithAThing Of Beauty,,,,2oo2 Paper, u x 8 r/z in.

Thisis My Body Thisis My Voice,2oo2

WhenDoes the PhysicalBecomeEmotional?,2oo2

Paper,11x 8 1/2 in.

Paper, 11 x 8 1/2 in.

WhenI RealizedI CouldBreathe...,2oo2 Paper, 1rx 8 1/2in.

Perhapsthe Strong ConnectionYouFeel...,2oo2 Pape(11x 8 1/2in.

11x 8 1/2in. ft Doesn,tHurt Anymore,2oo2.paper,

Ann vW r L s oN Theseriesof drawings"A Glimpseof WhatLifein a FreeCountryCanBe Like"takesits title from commentsmadein zoo3by GeorgeW. Bushwith regardto the war in lraq.Theyare representative of a largerbodyof work I havebeenmakingfor severalyears,in whichtextsfrom politicatsourcesarefusedtogetherto createan ongoingnarrative. both teft-and right-leaning againsta backdropof imagescribbedfrompoliticaland daity Thistext is then interspersed newspaper cartoonsof the rSoosand earlyr9oos.

28

Forthis particularbodyof work,the text is liftedfromsourcessuchas TheAtlanticMonthly, and severalmembersof the www.indymedia.org, www.whatreallyhappened.com, www.rense.com, to namejust a few.Althoughthe textsare likelyreadcloselyby ontythe Bushadministration, of hard-[ine, mostengagedviewers,theyare meantto reveaIthe timitationsand possibitities diametrically that existin supposedly reductivethought,and to showthe complexsimilarities Skimmingthe texts-the approachfavoredby mostviewers-gives opposedlinesof reasoning. whilewatchingthe TVnews:Wordsftoatby,a few notable one a sensesimilarto that experienced namesor phrasesstickin one'shead,and the opinionsthat viewersstartwith areconfirmedby or as pro-something whatthey believethey'veseen.lt's not unusualfor my workto be interpreted who haven't actually ways by viewers interpreted in two different work anti-something-thesame readthe text-when a closereadingof the piecesmakesclearthat I set forth no suchopinions(at Rather,I striveto giveequattime andvoiceto as manypoliticat leastnot with suchsimpticity). eachoneto as i t comesi n, usheri ng v iewsas pos s ib l eu, s i n gm y w o rkto l a yo u t e a c ha rgument its own logicaIconclusion.

Ctr Y,NJ Bo RN1973, rN N E wY o R K ,N Y ;L r vEsANDwo RKstN JERSEY A Glimpseof WhatLife in a FreeCountryCanBe Like #4 zoo4 x 24in.

Pencil andwatercolor onpaper,6

A Glimpseof WhatLife in a FreeCountryC1nBe Like #4, 2oo4 orpaper,6 x 24i n.

Penci and l w atercolon

A Glimpseof WhatLife in a FreeCountryCanBe Like #2, zoo4 Pencil onpaper, 6 x 24in. andwatercolor

A Glimpseof WhotLife in o FreeCountryCanBe Like #5, zoo4 x 24i n.

Penci and l w atercolon orpaper,6

A Glimpseof WhatLife in a FreeCountryCanBe Like #3, 2oo4 Pe ncand il wat e r c o o l onrp a p e r ,x62 4i n ,

A Glimpseof WhatLife in a FreeCountryCanBe Like#6, 2oo4 x 24in.

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for theirgenerosity. the followingsupporters acknowledges TheDrawingCentergratefulty

Benefactors FrancesBeattyAdterand AltenAdler Learsy and Raymond MelvaBucksbaum Foundation TheHoraceW.Goldsmith R. Hedges,lV Mr.and Mrs..lames Ninahand MichaelLynne lrisandlamesMarden for the Arts TheNationalEndowment The NewYorkstate councilon the Arts Orentreich Catherine lnc.

RohatynFoundation, TheFelixand Elizabeth Fionaand EricRudin lnc.

MayandSamuelRudinFamilyFoundation, laneDresnerSadakaand NedSadaka for the VisuatArts TheAndyWarhotFoundation TheA. woodnerFund MaiorSponsors

30

Inc. Foundation, LilyAuchincloss R.Dittmer Frances Foundation TheCharlesEngelhard S. Futd,.lr.

Kathyand Richard TheGettyGrantProgram WernerH. Kramarsky TheHiteFoundation TheAbbyand MitchLeighFoundation

Fund TobyD. LewisPhilanthropic lan MactaggartTrust Inc. lasonMcCoy, McSweeney Jennifer GeorgeNegroponte Foundation samuell. Newhouse Gallery Nolan/Eckman TimNye LisaPevaroffand Garycohn Poses Nancyand Frederic GeorgeR.Roberts Inc. Arts Foundation, RushPhilanthropic LouisaStudeSarofim Slesinand MichaelSteinberg Suzanne Trust V.andClareE.ThawCharitable TheEugene LitYTuck Marshaand LeonWagner lsabeland BruceWilcox Anonymous Friends ShelleyFoxAarons,M.D.and PhilipE.Aarons Foundation TheAmerican-Scandinavian TheAutdFoundation Reneeand RichardBarasch AnneH. Bass

Mrs.PaulMetlon EdwardJohnNobleFoundation

TheBetterlmage MaryBillardand Barrycooper

of Art and of the Department Committee ThePubtication University Princeton Archaeology,

Lauraand StaffordBroumand R.Caplan Constance

DorothyschiffFoundation

suzanneand Bobcochran in NewYork TheConsulate GeneralofTheNetherlands

Sponsors FamilyFoundation Alexander AltriaGroup,rnc.

DitaAmoryandGrahamNickson Foundation TheAnnenberg Mr.and Mrs.PeterArmstrong MahnazandAdamBartos Lauraand LloydBlankfein and DanietNir JitlBraufman lamesM. Clark,lr.

Trust TheCowlesCharitable Etizabeth and MaltoryFactor of Betgium Community Ftemish

and GregTornquist DanaCranmer and Loicde Kertanguy Rebecca Miller ,lamesDinanand Etizabeth EastonFoundation MargaretHolbenEllis Fund EverettPhilanthropic LizandJayFensterstock Art Fund TheRichardFtorsheim Arts Performance for Contemporary TheFoundation GeminiG'E.1.

GeminiG.E'l.at loni MoisantWeyl and StaceyR.Goergen PamelaM. Goergen Foundation TheEdwardand MariorieGoldberger

Gattery Gagosian

Barbaraand KeithGotlust

EltenGatlagner TheHowardGitmanFoundation

A' Gordon .lames Foundation TheCalouste Gulbenkian

Galtery MarianGoodman GrantSelwynFineArt, lnc.

P.C' Levinson, Gulietmetti Mimiand PeterHaas

AgnesGundand Danielshapiro ludithandlohn I. Hannan

Lynnand MartinHalbfinger Hill Mr.and Mrs.J.Tomilson

Mr.and Mrs.JamesHoughton Familyof Companies & .lohnson Johnson

Ministryof Culture Instituteof Arts-Portuguese TheltalianCulturalInstituteof NewYork andW. BruceJohnson RudinJohnson Madeleine

J.p.MorganChase TheJ.M.KaptanFund

Mr.and Mrs.JamesJ. Latty

Staceyand CurtisLane The Luso-American Development Foundation RobertMangoldand SylviaPlimackMangold Mr. and Mrs.ThomasMarino Reneeand DavidMcKee The PaulMellonCentrefor Studiesin BritishArt MondriaanFoundation NewYorkCity Departmentof CulturalAffairs Oppenheimer andJohnOppenheimer JudithLevinson MorrisOrden AnnaluPontiand GeoffreyR. Hoguet WilliamP.Rayner ElissaandJamesRichman Susanand ElihuRoseFoundation Kathyand KeithSachs Shearman & SterlingLLP and EliotCarlen JohnSilberman Melissaand RobertSoros AnnTenenbaum andThomasH. Lee Fernand LenardTessler Mr. and Mrs. DavidM. Tobey VerizonFoundation MadelineWeinrib AngelaWestwaterand DavidMeitus In Memoriam Michaetlovenko EdwardHallamTuck With thanksto all of The DrawingCenter'smembers.

exhibi' DrawingCenter's documentingThe Thisis number47 of theDrawingPapers,aseriesof pubtications drawing. of providing for the study programs forum public a and tionsand to the EdwardHallam Thezoo4-zoo5seasonof theDrowingPapersis madepossiblethroughcontributions RobertDuke,Elizabeth BeattyAdler,Maryand RobertCarswell, Programfrom Frances TuckPublication H. Kramarsky, Werner R. Houghton, JoanneLyman, Mrs. Mr.and KathyFuld,EllenGaltagher, James Fondaras, Inc., RohatynFoundation, TheFetixand Etizabeth MichaelLynne,JohnJ.Madden,GeorgeNegroponte, & StertingLLBand LilyTuck.

Shearman

Catherinede Zegher,ExecutiveDirector GeorgeNegroponte,President

32

B onno or Dt nE c to n s FrancesBeattyAdler,Chairman EricC. Rudin,Vice-Chairman DitaAmory MelvaBucksbaum Frances Dittmer ColinEisler Factor Elizabeth BruceW. Ferguson JamesR. Hedges,lV WernerH. KramarskY* Abby Leigh WilliamS. Lieberman MichaelLynne lris Marden Orentreich Catherine Rohatyn* Elizabeth JaneDresnerSadaka AllenLeeSessoms MichaetSteinberg JeanneC.Thayer* AndreaWoodner *Emeriti

D R A w T NCGE N T EPu R BL tcAT to Ns Adam Lehner,ExecutiveEditor Luc Derycke,Designer Ann Tarantino,Coordinotor The DrawingCenter 35 WoosterStreet NewYork, NY1oo13 Te[ 2r2-2t9-2t66 Fax: 272-966-2976 www.drawingcenter.org @ zoo4TheDrawingCenter