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t5 The DrawingCenter r7-October 29,2oo5 September

LrurAar SelectionsFall zoo5 C nnTnnRCA RTA NNE

Su s e n D'A mnro F R e r u x l rH E vR tts A o n mF o w l e n M o r u r r RGR zY rvrR l n M o r - r -Lv R nxe Y J u o YS r eve rus D R v r oT Rl l rrscn Sr r r n r ur r V rcro n

Program Edward HallamTuckPublication

CnnrnrunCARtANNE i mpl i ci tl yquesti onedthe l art, " col l aborati ons"have T hr oughoutt h e h i s to ryo f tw e n ti e th -c e n tu ry t r adit ionof au th o rs h i pb y c o m p ri s i n gtw o (o r someti mesmore)peopl ew orki ngundera si ngl earti sti c w ho occupyone body C ari anaand C ari anne, i seth e n a m eo f tw o indi vi dual s, ia n a C a ri a n n ident it y Car . and m ak ework i n re s p o n s eto a n d fo r e a c ho ther.Theyare not conj oi nedtw i ns,not a spl i t personal i ty, H ydecondi ti on.The basi sof thei r w ork i s l not a m ult ipt ep e rs o n a l i tyn,o t s u ffe ri n gfro m a Jekyl and ex pr es s edin th i s s ta te me n tb y th e a rti s ts :" Gi venthat w e both havethe abi ti tyto be i n the sameski n s , e c o n d i ti o nof l i vi ngbecomesa compl exdw etl i ngw hereevery and ex per ien c ce o n s c i o u s n e s th m om entf eelsl i k e p o te n ti a td e a th .Bu t d e a thi s not j ust about dyi ng,i t i s aboutthe possi bi ti tyof l i fe and of t iv ing.An d I c a n n o t l e t h e r d i e b e fo reshe has l i ved(throughpubl i crecogni ti on)." throughthe i deasof dual i ty, sp Car ianaCar i a n n e e c i fi c a l lay d d re s sth e q u e sti onof i denti tyconstructi on permeates soci al w ork i n w hi ch thei r nam ing,and w h a t th e a rti s tste rm " s o c i a Id ra w i ng," c ons c ious ne sasn d c h a n g e sth e w a y p e o p tevi ew the w orl d,recal l i ngthe " soci alscul pture"of Joseph g e n e ra l l yacceptedbi narydi sti ncti onsbetw eenl i fe and death,mi nd B euy s V . is ualp a i rsth a t c h a tte n g e

1.Thislist maybeginwith MarcelDuchamp's alterego RroseSelavy,and continuewith performance artistsof the 196os suchas Gilbertand George, on to Abramovic, Ulay/Marina activistgroupsof the 198os s uc ha s G e n e ral ld e a ,e n d i n g with the numerouscollaborativesthat emergedin the 199os, rangingfromthe Japanese groupKyupi-Kyupi, to the AssumeVividAstro Brazilian Focus,andto the Mexican and artistsLosSuperElegantes to the ChicagoDerraindrop, basedartisticgroupssimparch, and New Services, Temporary Catalogue.

and body ,pub ti ca n d p ri v a te ,s a n i tya n d i n s ani tycan be found i n al l aspectsof thei r draw i ngs,w ri ti ngs, tegal l yadoptedthei r new name,omi tti nga l ast . z o o 3 ,C a ri a n a Cari anne v ideos ,and in s ta tta ti o n sIn of thei r nam eanc rc omb i n i n gth e tw o fi rs t n a me si n to one,as the fi rst steptow ardpubl i crecogni ti on beingt wo ind i v i d u a tsi n o n e b o d y .U s i n gth i s i deaas the foundati onfor thei r i denti ty,thei r w orks and l egalavenues. ques t iont he m e a n i n go f d e fi n i n go n e ' ss e l f-especi al l ythroughsoci atl yrecogni zed How DoesOne BecomeWhatOnels?

TheirMCAChicagoinstaltationMonogementof Expectations: of theseobi ectsafterdeath di ssemi nati on how the and w h o w e a re ex am inedhow b e l o n g i n g sd e fi n e si gneda l egal w i l lfor f ur t herex pan d sth e s en o ti o n s .At th e e n d o f the exhi bi ti on,C ari anaC ari anne eac hs ell Car i a n aa n d C a ri a n n eo, u tl i n i n g theappropri atedi spersaIof thei r personaIpossessi ons, many of which were on view in the gallery.

Cont inuingt o p u rs u eth e l i m i tso f c u rre n tl e galsystemsto adequatel ydefi neal l typesof i denti ti es, t hey ar e bec o mi n ga n o ta ryp u b ti ci n o rd e rto l egal l yw i tnessthe si gnatureand acti onsof one another, eit herCar ian ao r C a ri a n n eA. t th e s a meti me, researchi nto the earl ycavedraw i ngsof Lascaux,France, has ted them to trace their body on paperas anothermeansof documentingit. For Witnessto a Social and the ae d d re s sd ocumentssuchas the U .S .C onsti tuti on Dr awing( z oo 5 ),C a ri a n a C a ri a n n peopl ehaveoverthei r I nt er nat ionaBi l l to f H u m a nR i g h tsth a t g o v e rnthe ri ghtsof sel f-determi nati on to ti fe a n d death. bodies ,es pec i a l l yi n re l a ti o n s h i p T heyhav edete rmi n e dth a t a l l d o c tri n e sh a v eneverbeenadequatel yreal i zedi n soci etyand therefore ar e wr it ingt he i r o w n d o c tri n eo u tl i n i n gth e natureof thei r body and the ri ghtsthat shoul dbe granted on parchmentpaper,then notari zedand si gnedby t o it . T hisdoc tri n ew i tt b e s c ri b e db y a c a l ti grapher bot h of t hem . Se p a ra teo a th s ma d eb y e a c h ,stati ngthei r possi bl ei nabi ti tyto l i ve up to thei r Theyeachw i [[ notari ze(w i tness) s t andar dswi , l t b e re c o rd e do n v i d e oa n d w i l l pl ayi n the i nstal tati on. t he s ignat urea n d s ta te me n tsma d eb y th e o t heras they attemptto ful fi l tthe doctri neand to grantthe w i l l be thei r " tool s" -notary publ i c . l so i n the i nstatl ati on ot hert heir r ig h tso u tti n e db y th a t d o c tri n e A certificate,suretycertificate(whichis the requiredinsurancecertificatethat insuresthe notarypubtic's honesty),notarystamp,notaryjournal,notaryforms,iurate stamps,and typewriters.

W or k ingwit h i n b o th a rti s ti ca n d l e g a lc h a n nel sto l egi ti mi zethe exi stenceof tw o i n one, thei r goat.W hi tethei r to accompl i sh ee x p l o rev i s u a la n d te x t-b a s edformsof expressi on Car ianaCari a n n that i s general l y ki nd of empathy for a a model c ollabor at io a n n d d i a l o g u ei s p e rs o n a li,t a l s oservesas lackingin societytoday: to bypassthe paradigmof lookingto markersof differenceto defineothers and ins t eadt o th i n k a s We ra th e rth a n l .

W l oxoLrvt -Jul l e R oontcues Bo RN 1971, r r . rO l e e r u , N Y ; L t ve ANo wo RK lN CHlcAGo ,lL .

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di m ens i ons v ar i abl e M anogem ent of Expectations: How Does O ne Bec om e W hat One l s ?,2oo4. M ul ti - m ediians tal l ati on, C A R IA N A C A R IA N NE,

Witness to a Social Drawing, zoo5 MuLti media installation, dimensions variable

D ' An n n t o Su s Rr.r As if seenat duskfromaboveby a snowgooseflyinghigh,a circleof water(neithersmallnorlarge), farmlandcombedthroughlikefreshly-scrubbed by newlyplanted(butnot yet sprouted) enveloped drawing of a outsized madesmoothby lasttight-SusanD'Amato's shadows skin,richin charcoal-gray in a hot-air naveIis a bird'seyeviewof a beltybuttonwrit large.As soaringbirds,or passengers glider, of a brightyellowPiperCub or astheaeronaut or asthe pilotof a quiet,motorless balloon, yellow-iacket whenspottedfromthe earthsix plane(whichlooksandsoundslikea tiny,buzzing drawing of a navel nearly highly-layered, photographic feetbetow), ourviewof D'Amato's thousand 1996photograph of a AswithEmmet Gowin's of theworldbelow. miniaturization a to-scale becomes give human of artists us the scars from nuclear testing, both a crater blossomed Nevada "moonscape," is horrifying andlife of the bomb.WhileGowin's cord,thedropping activity: thecuttingof the umbilical giving, Yet, beauty. a disconcerting, terrible tife both share is technicatly D'Amato's and threatening lt is a giantnavel norlake,noranyotherearthylandscape: navelis nota bombcrater, D'Amato's (lndeed, D'Amato's navelmightkeepgood if beautifully so,throughmagnification. turnedgrotesque, in Brobdingnag.) nippteseenby Guttiver withthe humongous company ph of the (zooS)hailsphotographicness, it lookslikea photogra notonly because D'Amato's Reflection A navelis an prairie, scaris indexica[. everyumbilical themoon,or theWest,butalsobecause mother wasoncethere,like navel us that our maternal body.

Our tells of indexical traceof the loss the is a similartraceheldnotby skin,norsand,butby the photograph in thesand.Likewise, footprints takenwhenwe comeintothe tightof the world.)D'Amato tight.(Thenavelis a primitivephotograph, of the navels withattthe precision tightbteedfromthe hillsandthefoldsof hercharcoal letscaressing (Theword"photo-graph" Thefirst means"light-drawing.") froma reolphotograph. lightthat emanates navelannounces mirror:HowfittingthatD'Amato's weredescribed as Daguerre's "light-drawings" whenfacinga hernavel Likewise,D'Amatocouldonlyseetheflatlandscapeof itselfasReflection. gazeat your (Even your you betty to photograph. look down at if when thin, mirroror lookingat a lostin flesh.) lostin foldsof skin;if ample,the naveIbecomes nave[,its shiftedshapebecomes with a projectlikeMarceIProust's associated namesthe self-absorption "Navel-gazing" 4,3oo-page wayof goingaboutthings. a flattering tn Searchof LostTimeandis hardlyconsidered tabyrinth monumental navel.From monumental novelandof D'Amato's I amveryfondof Proust's Nevertheless, hisfamous of a tifethatbecame soakedin teasprungall thememories Proust's biteof madeleine scaraspoeticallydrawingonlifeandloss. novetof [oss.In Reflection,wecontemplatetheumbilical andvice intoan epic(theaerialsurvey) close-up) turnthetinydetail(the BothProust andD'Amato perfection.

Reflection speakto patience Both Search and for the for tedium,a drive versa.Bothsharea twowaysat onceras milesaway, loss.And,bothenableseeing asthe mostpoignant the maternal divine.l in sanctuary nestled asif novelled the and hovering, and as tiny liftedand -Crnor Mnvon

especiallyin a hollow,as well as to cometo a center.

1. Foraccordingto the OxfordEnglishDictionaryto "navel"is to be situatedin the middleof a landscape,

B onru1963 ,rruNe w HnveH,CT;Lr v EsANDwoRKst H Sv nr c us e,N Y .

Departure,2ooo C h a rcoaon l p a p e r,60x 42 in.

Hierophonym,zooo cha rcoaon l pa p e r,60x 42 in.

Reflection,zoo5 charcoalon paper,60x 42 in.

Paragon,zoo5 Charcoalon paper,60x 42 in.

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Ev n r u s FRn ru rl t H situate drawings painting,Franklin Evans'ink andwatercolor Rootedin the traditionof landscape fantastic, bird-among a trunks, world-thestopeof a hill,tree of the natural features recognizable process.

WhileEvansuses produced targelyby chanceduringthe creative forms indecipherable often theflowof he also allows compositions, for hisevolving asthe underpinnings elements landscape andthe unexpected formsandspaces.Intention of wondrous paintto leadhimtowardthe invention places, nearandfar, between in unlocatable "located generate that are works to therebyconverge to nature in his Thereferences representation." andnon-narrative paintinganddrawing,narrative processes steeredEvansin hisdesignof thewalldrawingon viewat andto its regenerative drawings Thisformnotonly a treearoundwhichsmalterworksareorganized.

Center, TheDrawing witha familytree,its up associations butalsosummons in landscape hisinterest communicates pastandpresent. ofthe to artists hissenseofconnectedness genealogical expressing branches He landscape. ol the Renaissance on,or outgrowths canbe readasvariations Evans'drawings paintingin the Louvre,St.leromein the Netherlandish admiresan earlysixteenth-century especialty thatdrawmein." perspective and"micro-worlds peculiar in shifts its for Patinir, by1oachim Desert personal aredense fantasy, viewof nature,muchof it shapedby expansive withinPatinir's Tucked on top of a a windmillperched figures,clustersof houses, of pictorialinterest:diminutive segments grow."

The viewer can it, "worldsbloomand in Evans'work,as he summarizes mound.Similarly, mergeinto fieldsandwater,but theseinevitably of greenandbluesuggesting discernbroadexpanses concentric coiled tightly flowers, of forms:vegetalshapesthat suggestoversize suddendensities circlesthat callto mindrippteson a pondor the ringsof a cut treetrunk,rowsof parallel[inespacked a figure-sometimes wood.Theoccasional of petrified likethecolorbandsin a crosssection together grow from to throughfloralpastures-seems or dancing giant,othertimesa tinybodyrunning looming forms. organic surrounding the activates energy that same with the andto move the landscape thereprevails wheredespitethe spatialinconsistencies landscape, ln contrastto Patinir'sRenaissance ambiguities more startling for allows order,Evans anddivinely-imposed senseof wetl-being an Edenic content:"Shiftsin spacearebothtyricalandabrupt,the resultsof my searchfor in formandemotional of stress indications worlds."Therearesporadic of incongruous acrossthe intersection the unexpected (zoo4),a birdperches on a fragilebranch,danglingan upsideln Outtrapped andthreatin his pictures. seem in fromthe left.Worldssometimes wave rolls Tsunami-like downhumanfigurein hisbeakwhilea precarious framework likea stainedglasswindowin a or shattered, on thevergeof comingunhinged that coutdftYaPartat anymoment. poeticvision- Boschand natureintoan unsettling Aswiththe workof eartierartistswhotransformed familiar, onlyto findthe are that elements landscape E[Grecocometo mind-theviewerwilldiscover formsthat mustbe readon an intuitiverather that cannotbe reconciled, Spaces familiaroverturned. world thana rationalleve],remindusthat we haveenteredan enticingyet onlypartiallypenetrable landscape. of an elusiveconstructed wherethe artistis architect - C n n r s r o p r e R Wt L s o N

LlvEsANDwoRKsr H NewYonr , NY. , B o RN1957 ,tN RENo NV;

Reg eneration Wall: rdekref, 2oo4-2oo 5

variable and ten individualdrawings(eachwatercolorand ink on paper),dimensions waii drawingwith waterbasedmedia,silk,tape,graphite,color penciL,

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A o Rn n FowleR withthe edgeof a bladefrom AdamFowlerhasmadewhathe calls"papercuts"sincezoo3.Excavated intersecting elevations-looping, arcinglinesintosinuous paper, translate thesedrawing-sculptures lightandfragileas abstractions, Despitehis piquantmonikerfor them,Fowler's in miniature. skyways true. inevitable, are essential, His lines creation. theyare,gaingravityfromthe intenseritualof their patterns in circling makingcontinuous on paper, Fowler beganworkingin graphite Whilestitla student, to workrigorously, he felt fromteachers of the pressure a free,bodilymotion-thispartlyin defiance patterned he adopteda breathing, and movements repeated his drawing to Entrusting undercontrol. theseemingly Buddhist, is nota practicing hand."ThoughFowler ritualknownin Zenas "unconscious of his linesembodythe conceptof mushin: of hisstrokeandthe casualperfection limittessrepetition thancanbe done thought.(Zenstudentsoftendrawa bettercirclefreehand actionwithoutconscious call one;andit allowsthe hand,freedby whatadherents Thispracticeis a meditative witha compass.) motion. within "puremind,"to findstillness playedin Surrealist art (andits embrace is not unlikethe roleautomatism of chance) Thismethodology of manyAbstract mindin the practice of unconscious to the importance andcanbe furthercompared paintings, their Po[[ock's surfaces of to the an attraction The artist admits Jackson Expressionists.

194osideographic iconicformsechoPollock's Fowler's skeinsof paint;andindeed, textured the onesenses (Hiscirctes ofthearchetypica[; havethesamecharacter andetlipses obsessions. radical Fowler's At same time, visuaIsystemto language.) the of an alternative expression in canvas [inesof exposed to FrankStella's for example, to Minimalism: seemsindebted simplification patterning, to and repetition shapes, of elementaI or AgnesMartin'searlyuse hisBlockPaintings, are ritualistic stickdrawings cal[igraphic, BriceMarden's of nature. andthesubtimity evoketranscendence progenitors. morerecent WhenFowlerrecentlybegancuttingawaythe paperbetweenhis lineswith an X-Actoknife,literally or by by thickness space,hisworkbecamenothingBUTtine.Differentiated the negative eliminating Fowler's [ines of the graphite), (varying appliedduringapplication withthe pressure darkness rather an but imitation of anything dictumthattheart obiectis notan PietMondrian's exemplify Whatremainsis revelatory. surplushasbeeneliminated: reatity.Everything autonomous andwhen work.Thoughhe mustdecidewhereto placehispencil, in Fowler's ever"becomes" Nothing No motion. of unbroken a record continuous, naked eye are to the lines to lift it away,hissculptural pieces, layered trueof Fowler's Thisis especially no origin,no destiny. no surcease; emergence, arcs,asthough ellipses upon upon We see circles the other. one atop stack sheets whereinlace-thin in relief orbits,interlocking celestial of innumerable appearance witness to thesimultaneous suddenly a markmadein fluidmotion; Fowler's line-as drawn-isthetraceof thepresent, the universe. across past.

Pinnedto mountslike a fragileremnantof the its surroundcut away,it becomes but preserved, of castshadow,Fowler's in theirownnetworks suspended museum, in a natural-history butterflies to standbothin the moment These works seem [ife. of stilled papercutscarrythe strongsuggestion recordsof journeysoutsidetime. andbeyondit: cartographic - PA UL R orH BoRN 1979 , t r u F n t n r a x , V A ; L lvEs AND wo RKs tt.lWa su ll.lcr o H, D .C .

Untitled,2oo5 , cut, 33xz4r lzin.

G ra p h i teon p a p e r hand

Untitled, zoo5 , cut, 33 x 23 in. on p a p e r hand G ra p h i te

Wishfor a YoungWife, zoo5

Graphiteon paper,hand cul,33x21712in.

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Mo n t rR GRzvnnRlR Viewingthe presentas a steadilygrowingimageof the past,whichis trappedanddraggedbehindit, we realize Trueduration thatmeasurable timeis notableto graspthe phenomenon of duration. follows movements an innerrhythm.lt canbe shortaswellas long,measuring throughtimeandspace continuously, as if followingan invisible trace.

In my artisticwor( | focuson drawingin space.I usethe movement of my ownbodyin three process, dimensions asan analogy whichitselfmakesvisiblethe mapping to thedrawing of ideasand pathways paper information registered in my mindby externalizing these onto or walls.My "temporary" drawings, whichpeoplecanpassaroundandthrough,createnewspaceswithinthem, guidingthe viewer'seyein unforeseeable directions.

Myworksarelessdrawings or sculptures-at hanging leastas classically conceived, and/orstanding autonomousty withinspace-thantheyare redesigned for a limitedtime. constructions In zooo,I madethe drawingtitledOneDegree AboveZeroat the skatingrinkin Hamburg on the ice itself.Overten days,I drewa networkof linesin red,yellow,green,blue,andbtackpaintspanning threemileshorizontally on the surfaceandten layersdeepintothe ice.Peoplehadthe opportunity on the nightof the openingto skateon the frozenwatercolor, weavingtracesof theirmovements intoa newdrawing.

Thissharedexperience, the seasonfinale,wascelebrated by turningoff the cooling (Theonlyremnantof the drawingwasa kit I developed devices. witha teamat a university in Japanto produceicecrystals.

Thiscomponent focusedon the mediumof the drawingitself-the icecrystalandemphasized its ownindividual form.) thatthestructure of eachonefollowed Formy drawingsin space,I preferto workin publicplacesthatarebusyandpre-coded, so to speak.

There,by usingmy ownmovements, I detectdirections, spatialcircumstances, andcontexts that I then recordin the drawings.

OftenI usethe lengthof my armor a sequence of stepsto measure the areaof the drawingor the lengthof the drawingmaterialanddiscover a newchoreography betweenmy body, the medium, andthespecific space.

Myvagabonding wayof drawingattaches to existingcoordinates in the builtspace,andI usually describe the sizeof my drawingsin termsof kilometers or miles.Eachnewdrawingis alwaysalready invested with my presence in the drawingprocess on that spot.Therepresentation of a place accumulates throughdrawing traces, signals, codes,andthesumofall thegestures thathavebeen madeby meandprevious visitors.Thedrawingfollowsits innerdurationuntilthe networkof linesand tracesto be traversed againtakesa newrhythmwitheachnewspectator.

Bo RN 1970, r N Z A B R z E ,P o u r o;

L r vEs AND wo RKs r N HAM BURG,B E R LTNl no , Bneurscxw ere, Genrul N v.

Twisted,zoo5 Adhesivepapertape, Z km.

Materialsprovidedby TESA/Beiersdorf AG Hamburg, Germany.

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LRRrev M o r-r-v Center: ToTheDrawing to write I alwaysfindit alienating because I'mwritingthis tetterto youin tieuof an artist'sstatement frommyself.Soif thirdperson;it makesmefeelanxiousandseparate aboutmyworkas an abstracted give you background it witl some you hope instead, with the that nobodyminds,I willwrite thisletter andalsogiveyoua senseof whyI do whatI do in general. on the projectyou'veincludedin LineAge, background aboutme.Sohereit Thisworkbenefitsfromtheviewerhavinga smallamountof personal rural ldaho.Wewere cabin in I moved to a log and brother, my mom, stepfather, I was seven, is: When (electricity, indoorptumbing, of modernlife isolatedthere,with noneof the usuaIamenities extremely to contactus exceptviathe stores,etc.),so therewasno wayfor my dad,wholivedin LosAngeles, to the nearesttown,thirtymilesaway. mail,whichwasdelivered of thistime,andI triedto findthe lettersthat I Lastyear,I wasthinkinga lot aboutmy memories writingto my dad.I didn'tfindthem,but insteadfoundthesedraftsof lettersthat he remembered that that he keptthemafterall thistime.NowI understand wroteto my brotherandme.I wasamazed andby hisinabilityto talkto us by my brother'sandmy suddenabsence, my dadwasoverwhelmed never sentwerea wayfor himto cope he wrote but letters that that these how we were, and know and withthesefeelings. of hisletters,as a wayto try to be in the placethat he was I knewthat I wantedto makedrawings him,andalsomyselfin relationto him.Butas soonas I whenhe wrotethem,to betterunderstand that I alsowantedto writeback,to respondto the personthat he was beganto drawthem,I realized thenfromthe personthat I am now.Thetwo setsof lettersdirectlyembodythe thingsI thinkabout andtry to workout by makingart: the natureof the spacebetweenpeopleandhowart,andlove,can cancarryand weightthatthe actsof writingandmark-making that space;the psychologicat transcend person closer to them, made, I can become has marks another the by tracing the feeting that convey; human of ouruniquely is an enactment Forme,thisprocess maybeevencanBEthemfor a moment. withotherswouldbe impossible. communication withoutwhich,meaningful for empathy, capacity -MoLLY Lanxev

BoRN 1971, r N L o s A N G E L E s,C A; L tve s AND wo RKs tl Bn o o xt- vl,|,N Y.

Lettet #2 (Jon.S, zooil, zoo5

Graphiteon paper,50 x 38 in.

Letter#3 $ept. zt, tg77),zoo5 Graphiteon paper,5o x 38 in.

Letter #7 @ov. t, t97il, zoo5 Graphiteon paper,50 x 38 in.

Letter#8 (lan. t3, zoo), zoo5 Graphiteon paper,50 x 38 in.

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JuovSrrvsr u s in the springof zooo.I hadbeenusingsixtiesandseventies Thisworkstartedas an experiment craftprojectsas a startingpointin myworkfor aboutfiveyears,andwantedto try American to findit actuallya formof meditation. lmagining it wouldbe tedious,I wassurprised crocheting.

Often,but not always,workedintothe piecesarethingsfrommy lifesuchas my father'shair,a hat my froma skirtmy sister mycat'swhisker, or a colorscheme andthendiscarded, daughterSaracrocheted Wendywore35 yearsago. yarnas a painterwouldchoosea tubeof paint,I onetypeof stitchandchoosing Usingbasically in the andjust makedecisions it as I do with anynewwork- I let go of anyexpectations approach momentas I go along. l'm drawingwith a softftexibleline,very,veryslowly.Theearlieronesweremade Whencrocheting, yarns,whenI fettthe needto, by cuttingandthenattaching the next line,changing with a continuous previous yarnto the on. oneandcontinuing Youstartdrawingandneverlet yourpencilleavethe paper exercise: It remindsmeof an art-school parts.At timesI get bored Themorerecentonesaremadeup of accumulated untilit's completed. space,as I momentarily andskipsomestitches-akindof hiccup,whichcreatesa hole,or negative continuearoundandpassthat spotagain.Thestringsthat hangdownshowwhereI cut oneyarnand or whereI ended.Theyarelikedripsof paint. attachedanother, TheLessonis oneof a numberof worksI did aboutspecificcolors.Thereis a blackone,a redone,a thatwas pinkone,an orangeone,et cetera.Thisoneis green.Thatis, anyyarnI hadon myshelves At the stitchesareloose-my handhadrelaxed. evenremotelygreen,I usedin that piece.Sometimes get no room between was so that eventually there tighter and tighter, othertimesI madethe stitches onestitchandthe next.ThenI let themget looserandlooser,andso on.

BoRN 1950, r N M r . K r s c o , N Y ; Ltve s AND wo RKs tN NEwYo RK, NY.

TheLesson,zoo3 Yarn,1o2x 45 in.

Orange,zoo3 Yarn,86 x 81 in.

Pink, zoo3 Yatn,60x 49 rl2 in.

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D R v roT n l l t r s c n graphite, Theirtools-charcoal, draftsmen. the drawingtablesof imaginary Forthis project,I recreate Otherobjectsmaysit a drawingin progress. inks,andbrushes-lieon the table,oftensurrounding Oftenabovethe tableare clay,books,smallfigurines. there,too: a wineglass,blocksof modeting But de [aTour,andCranach. pinnedsmallreproductions of workby artistssuchas Botticelli, produced hand, usingthe by one thatarepinnedup abovethetable,all predominantly it is drawings andphotographs. foundbelowthem.I explorethe drawingtabteboththroughinstallations implements elements-the All of these worked. draftsman the studioin whichthe ln the latterI seekto document standalone,as muchas anything themselves-can andthe drawings the photographs, installations, Butat the same to providemeaning. information no other needing canstandalone,as singularobjects, alonein life,thatnothingis withoutcontext. thatthereis no standing time,theworkalsoacknowledges were or as if thedrawingtable canbe readasa kindof tableau, lfind thateachof thesedrawingtables pointto the who, a stage,andthe itemsaboveit wereactorsin a play.Ctueswithinthe photographs young,old, female, ma[e, theyare whether where,andwhenof thosewhomightinhabitthestudios: Parisin the r9ros. nudesandcont6crayonperhapsindicates of academic black,or white.Thepresence perhaps we'relookingat desk, are on the anda flaskof schnapps renderings architectural lf abstracted of the artistcanbe inferred: fromBerlinin the r9zos.Or perhapsonlythe character something of portraits, for orderedrowsof drawings facing left, or alt for rendered witha fascination someone geometric formsanda tabtefiltedwith orderedrowsof clayblocks. significant someculturally I havelonghadthe desireto be partof a groupthat establishes suchdesignationswho arbitrate from those require acknowledgement would To do so breakthrough. myself anddo myown Fareasieris to createthe wholecutture andunliketyprospect. a cumbersome I am drawn as significant. insertmyselfintoa groupalreadydesignated or to retroactively designating, it is a static imagination; the only through to the notionof an idylticworld,onethat canbe accessed of the mosthopeless by artistsin searchof a nobletruthwith all the sincerity world,populated in a museum. artifacts it only as We see elusive. work remains Themeaningof their Romantic. , A ; L l vEs AND wo RKs tn Oa xu n o , Bonn 1964, r N U P L A N D C

TheDrawing Toble,zoo5 variable mixedmedia,dimensions lnstallation.

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S rr rRu reV t c r o n andas abstract images ascomplete thatcanexistsimultaneously in makingdrawings l'm interested basedbothon an originalfabricanda constructions, partsandspaces.

Theyarethird-degree distinctandsometimes l'm tryingto pulltogether photograph of thatfabric.Byusingbothsources, depthsof field.Thephotograph at varying change visualideas.As a result,mydrawings opposing graphic furtheraway,but I inspectthe from and an imagethat appearsrealistic helpsmeassemble andfractures of abstractions fabricitselffor smalldetails,hairs,andholes,whichpresenta composite I want at onceto dominant. visually might become intricacies these closeup.I hopethatat thisrange, thatfabricso that of whatit wasthat I foundbeautifulin the fabricandto recreate heightenawareness marks in a drawing. parts or as spaces uniquely its canfunction havetheirownpatterns(aweaveor a knitis the My primarysourcesaretextiles,whichnecessarily Despitemy stitch);fromtheseI createnewpatternsin my drawings. patterning of onegeometric identical, the drawingI end btocksareperfectly "copy"a patternwhoserepeated effortsto accurately in imagedeviates drawn the pattern.

I draw my source, Eachtime up with is not a truecopy,nora true of my hand. of thelimitations arethevisibterecords Thevariations somesmallwayfromtheoriginal. reproduction. mechanized not a and work is a drawing, reinforce that my Thesenuances to onewhenits whathappens myworktendsto subvertthe togicof a pattern,examining However, infinite-it canbe tiled A patternis intrinsically drawing. by the formatof a conventional appropriated its predetermined undermines plane borders picture with closed it to a Restricting forever. on andon composition. natureas limittesssurfacedesignandforcesit intoactingas a finiteandconsidered blocks,I alterthe original intorepeated themselves the sourcephotographs by manipulating Similarty, of knitandweavethat of the ends cutsoff some the photograph fabric'sintendedtogic.Cropping it. holdtogether:ThestructureI forceuponthe fabricdeconstructs wouldotherwise produced.

Eachpieceis madeslowlyoverseveralmonths areplannedandmethodically My drawings myworkis the work.In theend,although feeting of process to the is bound andI feellikethis I hopethatmydrawings normechanical. detached whitemakingit is neither my practice calculated, personal sensitivity. a of with and suggestive invested areboth

BoRN 1982, r N N E w Y o R K , N Y ; LtvEs AND wo RKs lN BRo o KL YN,NY.

Untitled (Knit), zoo5 Coloredpencilon paper,14x 12 in.

Knit,2ooj Colored pencil on paper, 12 x 10 in.

Weave,zoo4 Graphite on paper,12 x 10 in.

Weavez, zoo4 Graphiteon paper,12x 1o in.

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The DrawingCentergratefullyacknowledges the fotlowingsupportersfor their generosity.

Fundfor the Future Benefactors Tre Honlce W. Gor-osrr,rrtx FoUNDATToN Slna x-Arr n no W gnr en H. Kum lns x v A B B Y A N D MIT CH LEIGH

Mn . rro Mns. Felr x G . Rox nr Yr ANDREA Woo DNER Patrons Furces Burrv Aolen lr o Ar - ler Aolen FRANCES DlrrMER ESTATE oF Peuu Vrll LEMPERT NrNAH ANDMtcx lel Lv r x e Smvno s S. Nr lnc x os Four olr r ox Mnv lro Slmu el Ruor NFaur r yFour olr r or , lr , r c .

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An nu al Fu nd Bcncfactors Txe A. Wo oo ren Fur o F R A N cE S B E IT T Y ADLER AND ALLEN ADLER

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Sponsors D r r e A m o n v A ND GRAHAMNr cKso N A s r l n C u l r u n nl Co u r ,r cr l T H E B A R B R oOSHERPRo Su e cr n F o u Ho e r r o N M A H N A ZA N D A DAM Bln r o s L a u n n a r o L L o vo BL Ar xr e r r u BLooMBERG AND L EE Bo L L T NGER J E A NM A G N A NoBo L L T NGER B o o r H F E R R T5 F o UNDAT T o N J r r - l B n l u r n n n n n o Da r r r l Ntn T H E C o w L E s C Hn n r r n e le T n u sr E L T Z A B E TaHn o M a llo n v F n cr o n A r . r c g l r r r F R A N Go U L I N D AA N D A r u r xo lv Gn e n r T x E G n r e r w r c H Co L L Ecflo N L T D. M r M r A N D P e r en He n s H o n e B o x O r rr ce T H E I . M . K A P LANF UND J o H N s o N & . l o r - ilr so r .rF AM r r yo F Co M p ANr Es WE R N E RH . K RAM ARSKY S r r u o H e n t . l o Dn vr o W. L e vr t.lso r T o B y D . L E w r s PHT L ANT HRo PT FC UND THE LIMAN Founoerron T n e M A T C H A R T T ABLFEo u NDAT r o N.lNc. R A Y M o N DJ . M c Gu r n e A n r n o u v M E | ER F | NEART S S A R A HM T L L E RM Er Gs E l r z l e e r H R . MT L L ERAND IAM ESG. Dr Hn H G E o R G EN E G R o p o NT E D A N T E LM . N e r o r cr - a r r u o Bn o o r r G. NEr Dr cHF o UND ATToN JuDrrH NErssEn S n m u e l l . N e wxo u se F o u r u o n r r o H L l s A P E V A R o F F - Co xH n r u o Ga n v Co r r N A N c y A N D F ne o Po se s P n o H e l v e r r e ART s Co u Ncr L o r Swr r ze n ln n o T H E R E E DF o UNDAT Io N Cnnre RoerNs M R . A N D M R s . F EL r xRo HAT YN J o n n r n n n F . P .Ro sE R u s H P H T L A N T HRo p T ART C S F o u r o n r r o n . lr u c.

L o u r s e S r u o e Se n o r r m Sr e r Ne e n c S u z a l H e S l e sn r lr .r o M T CHAEL M E L r s s A e N o Ro e e n r So n o s A H N T e N e H a n u M AND T Ho M AS H. L EE T H E E U G E N EV . n r u o Cu n E E. T xlw CHn n r r n sle T nusr Lrlv Tucr l s l e e L S r a r N ow Wr L co x Friends M e n c o A l e x a no e n o UNDAT T o N A M E R T c A N - S cANDT NAVTFAN R E N E EA N D R r cn n n o Bn n n scr D o u e l a s B n x te n B R o o K A N D R oGERBERL IND Manv Brr-leno L o R r A N D A L E X ANDRE Cr e n le S u z n H n e e N o Bo e Co cn n lN T H E C o N s u L A T eGe r u e n n l o r Swe o e r P e u u C o o p e n e n o la cr M a cn n e D A N A C R A N M ERAND GREGT o RNQUIST

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LYN NA N D MA R TTNH ALB FTN GER A N D ToMrLsoN H ILL JAN TN E B nuce H onrex MAD E LE TNR E U D |NJoH N soN AN D BR U cE.l oHN s oN S racrv eno C unrrs Leng D oMrN reuE LE vy D onorny Lrcxrerusretn C A R oLMA C K MAR TN oFemtv C nnntrnal e Tnusr MATTH E WMA R K s JAsoN McC oy R ncxel L. MELLoN H E R MTN A nruo Srol ev MTGD oN B ersv WrrreN eonru Mtl en N E w Y oR K C ITY D EP A R TMENoF T C U LTU R AA L FFA IR S JuD rrH A N D l oxr.r Opperuxerruen E rtssA A N D IA ME5 R TC H MAN JEA N N EAN D N rcoLAs R oxaryru K A rH y AN D K E rrH L. S A cH s A Ll soN AN D .l acr Scrretoen Lrse S corr ano D . R oH al o D arrel S nrnnmrru & S TE R LTN LLP G l oxr.r S rLsenMaN S oTH E B Y 'S Fenn nl ro Lerul no Tessl en V E R rzoNFoU N D ATToN C nntsropxen V noott MAR S H AA N D LEoN WAGN ER C uuoe AN D BR U C EWA ssE R srE rN MAD E LTN E WE TN R TB LrsA A N D LAN C EWE sr Tnen WEsrnercx ano E runn Wacnen

l n Memori am MTC H AE L l ovE N K o E ow ano H . TucK

Wi th thanks to atl of The D raw i ng C enter's members .

This is number55 of the DrawingPapers,a seriesof publicationsdocumentingThe DrawingCenter'sexhibitionsand publicprogramsand providinga forumfor the studyof drawing.

The zoo5-zoo6seasonof the DrawingPapercis madepossiblethroughcontributionsto the EdwardHallamTuck PublicationProgramfrom FrancesBeattyAdler,Maryand RobertCarswell,RobertDuke,ElizabethFondaras, KathyFuld, EllenGallagher, Mr. and Mrs.JamesR. Houghton,WernerH. Kramarsky, JoanneLyman,MichaelLynne,JohnJ. Madden, The Felixand ElizabethRohatynFoundation, GeorgeNegroponte, Inc.,Shearman& SterlingLLBand LilyTuck.

LineAge:SelectionsFollzoo5 is madepossible,in part, with the supportof the GreenwallFoundation.

C A T H E R T ND EE Z EGHER ExecutiveDirector G E o R G EN e e n o p o r r e President

Boardof Dlrectors F nnr c esB elrrv A o l e n Chairman EnrcC. Ruo rr ' r Vice-Chairman Drrn Amo nv Bor - r - r r ueen JEANMAGNANo MEL vABUcKSBAUM Sre pxer S. DANTEL FRANcES Drttl t en Co LrNETSL ER ELrzneerxFncron BRUCE W. FERG USoN BARRY M. Fo x lV Jrme s R. HEDG ES, WERNER H. Kum nns x v * ABBY LEIGH* M r c r l e l L v N ne lRrs MARDEN C l r n e n r H e O R ENT RET cH E r - t z a e e r H R o xltvtit* J A N ED R E S N ERSr o r r a A L L E NL E ES E sso M s Mrcrlel SrerNeene JenrHe C. Txlven* A N D R E AW o o DNER *Emeriti

DrawingCenterPublications ADAMLEHNER, Executive Editor Luc DERYcKE, Designer Coordinator IoANNABERMAN, The Drrwing Center 35 WoosterStreet NewYork, NY1oo13 Teli 2r2-2t9-2t66 Fa,l 2t2-966-2976 www.drawingcenter.org @ zoo5The DrawingCenter

Cover: Motttxl

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Cocooned (detaiD, 2oo3. Adhesivepapertape,installedat Hamburger Botschaft,g km.

I nside cover: DAvt D TALL|TSCH , Drowing Table III, 2oo5. Gelatinsilverprint,16x 20 in. Photo:PatMazzera.

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