Common Destination by The Drawing Center

C o m monD esti natio n Selections Fall 2006

The Drawing Center's

\rING PAPE,RS .r-1" .-

*o$lf,tl"

'ffi

.'r' 'l:ri "1;-

eWt {o'-;n'' /:S>

ryrz \

c o M l u lol{ D E S T I l { A T I Ol{ SelectionsFall zoo6

B o eo ln A c nrmes c u Torvrrslev ernnntt Vn o r mF r5rrn l vnn G RUB A Nov O l nler Rn JE vrro u s Yunr LetDE RMA N

Hrr o rNets oH Nu sn RLR rrrQunes nt S re p xE nJ .S x nx A B R ooK Dl n r o 5ow nn S o p n r ETorrte Jrr nVn l enrrne Cn n l C ur ated byK nrn e n rne The DrawingCenter r5-October 28,zooS September

Program EdwardHallamTuckPublication

--i;+!=:.: hJ.(ts;

l:::

iii i-l

iiriffi

!i l:r s 11 r'i' I gs r tl ll

r il11'lll

I l {T R O D U C T T OI{ B y K A T H E R IN E

CARL

drawanderaseborders forcesof geopolitics andcentrifugal at a timewhenthecentripetal Operating sense theirexpanded employ Destination in Common artists twetve intensity, the withever-increasing in paper, and on tracinglinesin space, andarchitectures, terrains to craftfantastical of drawing geography andlanguage.

E o

.= E o N

-= I

s = i:

E L

= o

&. o

NewYorkand bringstogetherartistsfromdifferentbackgrounds-from exhibition ThisSetections basedon drawings making of sharethecharacteristic Europe andAustralia-who SanFrancisco, geopolitics. Theirworkis withcontemporary encounters of andtheirimagined boththeirexperience geography through to address generation who tended prior of artists, fromthatof the distinguished oftenaimingto andresearch-based, or documentary thatwaseithersite-specific a methodology the artistsin Common By contrast, viewer. for the phenomenological situations given a set of recreate thatoften ftightsof imagination if youwill,putintoptay-thehumorand emphasize-or, Destinotion to themselves do not confine They in culture transition. and with history own brushes stemfromtheir anddigress. to comment theyallowthemselves anddepicting; witnessing diversearrayof aesthetic deploya strikingly Destination Atthough the artistsfeaturedin Common asthey concerns theirconceptual asthe methodfor expressing altofthemusedrawing strategies, Olalekan Grubanov, Fi5kin, lvan Vadim Jeyifous, structures. relateto political,spatial,or symbolic of gaininga singtecomprehensive, on the impossibitity Dario5olman,andSophieTottiemeditate on theotherhand,envisions eeranii, purchase Tomislav on reatity. definitive or ethnically visually if onecouldstandbackfarenoughto takein gtobalperspective mightyieldvisuatly whatthisimaginary thescene. theartists perspective, letalonedestination, a common of achieving Inthefaceof thedifficulty tent paper with acetate, textures different engagethe sensesthroughdrawingby handandcollaging tactilelayers, createmultiple andJinaValentine HeidiNeilson, tape.Jeyifous, fabric,andmasking Leiderman creates Yuri imagery while layers NusraLatifQureshi pilingmanyperspectives together. andStephen Achimescu, Tottie,Bogdan J.Shanabrook of imageandtextwithcotlage. an interplay Drawing Center. The space of in the collages drawing createthree-dimensional analyses thecultural witha senseof placein general, artistsareconcerned theexhibited Atthough geopolitics life. in everyday with fromtheirspecificencounters in theirworkaregenerated expressed anda numberof them otherthantheirnativebirthplace, Nearly altof theartistsnowlivein a country from theclaimmade is taken Indeed, thetitleof theexhibition Europe. werebornin formerEastern founditselfto bethesingular Unionhasalready thatthe European teaders by manyinternational Bythis,it is meantthat countries. communist and socialist for manyformerly "common destination" groundeconomically and arenowfindingcommon andSlovenia Hungary, as Potand, suchcountries not necessarily does new configuration However, this Union. of the European as members sociatly withtheterm associate thatonewouldnormally or migration entaiIthekindof movement wellasthe ubiquitous as "old" Europe, the "new" and the between relationship This "destination." determine the limitsof geography of whether raises thequestion presence of virtuaIglobalnetworks, and of political fromothersituations aregenerated Theseimplications the limitsof destination. loose from Destination, in Common Thedrawings andextendfar beyondEurope. transition economic the represent plansfor interstellar outposts, to outlandish of ruinedchurches of fragments contours is of destination of our nature where the in a world for community of ourhumancapacity spectrum asthatof ourplaceof origin. necessity as uncertain

Bocon uA cHrm e s c u lf BogdanAchimescu possesses a slighttyabsurdsenseof the nomadic, he is wellentitledto it. His familylivedin Ukraineandthenbecamecitizensof Potand, but this migration tookplacewithoutthem movingan inch,a matterof theredrawing of tineson a mapratherthananykindof journeyon their part-a notuncommon experience in thetwentieth century, andonenowechoed in the"move"of join Eastern European countries to the European Union. Achimescu himself wasbornin Romania and recently migrated "back"to Poland, whichis nowpartof the European Union. Achimescu's workis ofteninstallation-based. Hemakesdrawings bothon paperandon tentsand othernomadicstructures, sometimes arranging theworksso thattheyhangin massive quantities. Histouchis verylight,andhisdrawings conveythe impression of beingfinelywroughtwithoutbeing detailed.Forhisimages, Achimescu tendsto sketchdifferentkindsof architectural elements: ziggurats, Gothiccathedrals, ancient Greektemples-structures thathavegonethrougha decay process, beenoverrunby foliage,abandoned, andtransformed. Eachdrawingis quitesmall(though theybecomevastwhenaccumulated, eitheron a pieceof paperor on the exteriorof oneof histents) andhislight,quick,small-scate styleseemsalmostdesigned to be madeon the move-fittingfor a manobsessed with nomads. Withhisfloorpieces,in whichAchimescu pilesdrawings on the floor,the viewerfindshimor herselftoweringoverthe depictedspaces. grand Onehasa view,as if overseeing the expanse andterrainof thesevillagesandcities.Withthe tents,however, theviewerfeelsas if he or shecouldalmostgo insidethestructure-and henceinsidetheexperience itself. Theplaces thatAchimescu depicts areutopian. Hecallshispieces "absurdmonuments," macabre mockups of cities.Theyarefantastical, withoutreatlybeingfantasies, if onlybecause theyareso drenched with necessity: peoplewho haveno choicebut theydepictmigrants, nomads, andrefugees, to usesuchlivingstructures. Heis proposing meansfor themto shelterthemsetves. Ultimately, for all the lightness of histouch,Achimescu makesdrawings out of a reaction to the futilityof the medium or at leastthe hopelessness of everdrawing something withanyimpactin theworld.Drawing is a side effectof thisfutitity.Hemakesutopianstructures for whatoftenseemsto be a dystopian world.

B o nr 1965 tH Trrvrrso enRo r, m lt r a; Lt v EsANDwoRKst N Knex o w .P o L A N D .

g .q .9

d j

.9 o N

.<q. s o tl'

= Ol

...\ o rl' ln

= z o

uglyplaces.com,zoo5

Mediumand dimensionsvariable

I OMISLA V LE RA NI C

ln hisSfarCifyseries(zoor-o4),Tomislav Ceranie makesdrawings that lookin partas if theycouldbe eighteenth-century engravings of civicandreligious buildings, skiltfulty evokinga process that in previous centuries wasusedto presentexactknowledge of a structure or a site,but doingso for his owncreative ends.Ceraniâ&#x201A;Ź's buildingsarebothunidentifiable andunlocatable; theyhoverin mid-air, likeUFOs. Hemultipties andpartially mirrorsminuteelements of hisdrawings, thereby creating what planets sometimes looklikemandalas, or madewhollyoutof buildings andspunout intoorbit.They suggestboththe wortdof science fictionand,especially in hisuseof perspective, the Renaissance. Sometimes seenin cross-section, thesedream-like mazesproducea claustrophobic effect:it is not possible to movethroughthesebuildings-there is notenoughspaceandthereis no meansof portraycompletely enteringor exiting.Althoughrendered in greatdetail,the drawings impossible proposals formsandspaces.Insteadof being for buildings, theyarefancifulandfinelywroughtobjects in themselves. Self-contained andwithouta clearorientation of top or bottom,theycreatetheirown stabitityandsenseof place. Thesedrawings findtheircommon destination in historyinstead of in contemporary Witha space. closerlook,it becomes obvious thatthedrawings combine incompatible moments in architectural history. A medieval stainedglasswindowco-exists with Romanarchesundera domethatcouldbe the Pantheon's. Hereeeraniâ&#x201A;Ź layersthe sortof references thatarecommonin architectural historyas,for example, in Washington DC,whichwasintended to recallthevisionof democracy embodied in the buildingsof ancientGreece. Veryoften,thesepicturesof the past,be theyartistic,philosophica[, or political,aremadeto lookevenmore"typical"thanthe originals At the otherendof the themselves. spectrum, Ceranie's representations appearto be moreprecise thana realbuitding evercouldbe.

BoR N1961 rN5re eNrx,Cn oa r r n;Lr v EsANDwoRKst N Sr eeNlr Cn . onrra.

E N

; 6

+ I

o o N

.o 6 i:

E o ri .9 z

Star City seties, 2oor-o4 Pencilon paper,39 318x27 9116inches(1oox 70 cm)

E =

Vnornn Fr5 rlru VadimFiSkin puzzles createswhimsical that experiment withthe waysthatwe gatherknowledge. ln the Geo-graphic series$989-zoo5),he presentsthe viewerwith geographicat depictionsthat initialtyappearto be lesspragmatic thantheyactuallyare.Oneuntitteddrawingfromthe series consists of foursmallcircles whoseinnerboundaries contain tinylines.Thelinesmakethecircles look furry,givingthema miniature, organicappearance. A peekat the handwritten caption("fourhills"), however, reveals the natureof whatwe'reactuallyseeing:the moundsarenot depictedfromthe side, as onewouldexpectin a conventionally artisticcontext,but ratherfromabove,in the mannerof a topographical map,withthe furrylinesactuallyconveying degrees of elevation. Thisconceptual sleightof handis typicalof FiSkin's work;it leavesthevieweruncertain of what conventions to applyin thereading of hisdrawings-thereby highlighting theexistence of these conventions in the firstplace.Anotherdisorienting topographical drawingin the seriesdepictswhat mightat firstappearto be an unreliable EKGgraphwith roundededgesunderneath fourshootingstarchunksof mass.Again,a smallhand-written textat the bottomof the imageis enlightening: thisis a rendering of "two activevolcanoes anda smallinactiveone."Thework,in otherwords,is simultaneously a kindof fielddrawing,a diagram, an abstractpattern,anda representational drawing. Thedrawings in thisseriesofferoddandsubtlebiological andsexualconnotations, all the while punningon oneof the mainstays of art history, the landscape sketch. InsidehisconceptuaI conundrum drawings arefull-b]own prolects research scientific waitingto be born.Sucha workis Sun-Stop(zoo3),for whichFi5kinbuilta softwareprogram thatwhimsicatty tracks the locations on the earthwherea personcouldstandandbe ableto keepthe sunconstantty in view. Fi5kin diagrams the planet,highlighting thelinesof latitude andplacing hand-drawn cameras in the locations he proposes the sunbe recorded. Nextto the diagramarePhotoshopped thumbnailimages of thesunandits outline. Addinga dashof theatricalillusion to low-tech andhand-drawn approaches, Fi5kincleverlyinfusesnaturalwonders, boththosetoo bigto touchandthosetoo smallto see,witha directandhome-made kindof experience.

= 9

o I

-: BoRN1955 rH Peru zaUSSR; , r - r v esANDwoRKslr , rL, ugL, aNn, SLo v E r , r r r . I

: N I 6 6 o

Geo-graphic series,r989-zoo5 Ink on paper,311/2 x 39 3/8 inches(8o x 1oocm) Courtesyof GregorPodnarGallery,Ljubliana,Slovenia

Sun_Stop,2oo3 Screâ&#x201A;Źns, video,computersystems,dimensions variable Courtesyof GregorPodnarGallery,Liubljana,Slovenia Producedby Association DUM,Ljubljana,with supportfrom the Ministryof Cultureof the Republicof Slovenia

o z

\ Cati c-

u' r t h

t ulo sta {aet lT a- ana( am< sTa da gunt t e

l v n ruG RUBANov in The Milosevic attended the triatof Slobodan Grubanov Forhis 2oo2-o3projectTheVisitor,lvan (whowasin the parties.lt wasinteresting to Grubanov Hagueanddrewportraitsof the participating hadendedup in the that bothhe andMilosevic at the Rijksakademie) countryon an artist'sresidency for them,a countryinextricably it wasa commondestination Netherlands for verydifferentreasons: whois visitingwhomlinkedto thefutureof theirown.Thisnotionof thevisitorhauntsthedrawings: visitingTheHague? Or butwasMilosevic visitedthe courtroom, andto exactlywhatend?Grubanov This is a site of Serbia? certainly community-"visiting" theinternationaI wasthe Netherlands-and argument. of drawsthe lightthatglintsoff the surfaces Forhis mostrecentseries,begunthisyear,Grubanov pictures, as the buildings themselves Theartistworksfrom housesof worshipin the WesternBalkans. by waror simplyfallenintodisrepair(theartistnever arein factno longerextant,whetherdestroyed andCatholic churches, drawn fragments of SerbianOrthodox The results of his efforts are specifies). jewishtemples, Sometimes thelighttraceson a givenpageamountto andMuslimmosques. thedomeof a mosque something almostfamiliar-onemightmakeouta bit of a crossin onedrawing, abstract: the scaleof the originalimagesis in another. Butmoreoftenthe resultsareunrecognizably Oneknowsthatsomething of theviewerin relationto the fragments. unknown, as is the perspective the spaceof the Thevieweris disoriented, but how?Whatwasit originatly? hasbeenfragmented, biomorphic loops,startto Indeed, on the page,unconnected theshapes drawing seemsdislocated. generically; bear no distinctive only they Theyareidentifiable looklikeislandsor territories. characteristics. of lightanddark Afterimages, a reference to the btotches Grubanov callshisseriesof churchfragments persist image of whatonewas stare,tracesimprintedlongafterthe in the eyeafteran extended that Thisis a metaphor in partforthe housesof worshipwhosereflected lookingat hasbeendestroyed. you put as theywere,woutdtheybe whole?Would lf them back together, simpty lighthe captures. whatsocietyis today?Liketea leavesor coffeegroundsat the bottomof a cup,these theyrepresent portendsomething for the future-but what? drawnleftovers

Bo RN 1976 r N B E L G R A D ES,e n stl; L r vEs AND wo RKs tN L o NDo N, U ttttgo K tH eoom.

.; a I

.9 o

a o E

t z o E

Afterimagesseries,zoo6 Ink on paper, 11 11/16 x 16 1/2 inches (29.7 x 4z cm)

\ ntq qh

NdF

D F 6- i 0A

Vu D

ft) v

OlnlerRru Je vrr o u s plansforthebuilding Olalekan creates mysterious of compellingly strange structures. His Jeyifous useof handdrawing andcomputer rendering reveals histraining asan architect, asdoeshislayering imageson tracingpaperandvellum.Jeyifous's of construction drawings areverypreciseandcalculated renderings thathavethelookof blueprints. Theyworkin thevisualvocabulary of science fiction, thoughtheyaremorefantasticaI andidiosyncratic thanhyperrea[. Plunged intothe intersections of intensedetailsin Split-Brain Process #ot (zoo5),theviewappears to be extremely closeup.Onthe rightof the page,two roughspheres composed of linescontaina numberof sheerwhiteplanes. Theimageis flatanddoesnotrelyon perspective; instead thereis a planeincluding strictforeground thecircles anda background regionof a minutetopographical maplikedrawing. There, sma[[tineslikemicroscopic citia,whichin someareastaketheformof a gridand in otherslooselymeander andcurve,arefit tighttytogether, accompanied by a fewtypednumbers and givea senseof mathematical measurement scales. Thesefigures authority andconcreteness but hold no meaning for theviewer. Sucha diagramwith no readable markings is associated yet a tensionpersists morewithabstraction, in thesensethatthe imageshouldbe readable, comprehensible on an informational levelthatwe do not haveaccessto. Andyet,thisis not an empirical drawing. Wedo not knowthe context,but it looks likethisterrainwiththe hoveringvessel in theforeground is ontya smallportionof a sphere thatcould extendfar beyondthe frameof the drawing.Howcouldonenavigate to thisremotedestination, or is it perhaps something elsealtogether, ptumbing a commonplace location tikethe underthesinksimpty madestrange. well-planned imaginary scapesareso thoroughly rendered thattheycould Jeyifous's just be executed. Andin fact,theyhavebeen:the drawings areworldsin themselves.

Bo RN 1977 r r { l e l o a N . N T G E RT A: L r vEsAND wo RKs tN BRo o KL yN.NY .

â&#x201A;Ź .;

o o-

'...Fishin the Sky Are CalledBirds," zoo6 Pencilon paper,30 x zz inches(75.2x 55.9cm)

*'' A,,

,+ + ,".

."n:

..-i,'"*:'

*""ffi

',,1,;- . :

Yu n r L e T D ERM AN for his of the r97os,that accounts earlydays,as an artistin the Russia Perhaps it wasYuriLeiderman's movement, Moscow Conceptualism force in important A the loveof crypticcommunications. tife-long in private exhibitions mounting unannounced actions, underground in manycomptetely he engaged exposing for a facility simultaneously Developing in countryside. making art the open and apartments climate. in sucha politicat on themwasa necessity commentary iconsandmasking whichaddresses hasbeenworkingon a seriescalledGeopoefics, Forthe pastseveralyears,Leiderman performance The engages metaphors. series geopoliticat and textual visual issues through current in for example, the artiststageda performance Bullet(zoot+), mediaas wellas drawing.ForTraveling rugs in dialogue, drinking tea,sittingon traditional engaging mujahideen whichthreemenportrayed is not Whatexactty theywerediscussing andcarmats,andlookingat slidesof the cityof Cologne. andhatred?In a related for relocation-orfor envy,derision, known.Wasthe citya desireddestination garb,withthreebrightly againsittingin theirtraditional Leiderman drewthethreemuiahideen, collage, a flatspaceto therightofthe page occupy aroundthem.Themenandsnakes cartoon snakes colored of the imageis dashed. or translation Any hope of description tettering. Cyritlic nextto typewritten astheyreferto a Russian theywouldnot makesenseto a non-native Evenif the wordswerein English not the meaning. but which can be translated, words of the saying, the whethervisualor textual,prevents pointsout wherean excessof information, Leiderman of a certainkindof Eastern it. Thisis thehatlmark ratherthanenabling of meaning transmission questions in society by using visual representation rote of the one that European conceptualism, of a utopian confounds anypossibility At everyturn,Leiderman andmeanings. materials commonplace the sharesimilarpredicaments, thateventhoughcertainenclaves by showing destination common andsympathy. interferes withcommunication proliferation andideologies of icons,symbols, Theyareveryboldandhavethe lookof andrepresentational. drawings areoftenfaux-naif Leiderman's withinsistence, andyetit is presented Theinformation representation of a typology. beingthedefinitive in thefir trees,in the is baffling.In oneof his mostrecentworks,A goggleof geesefoundthemselves by a head-surrounded deepforest,in thedeeporafat(zoo6),he drawsa pictureof YasserArafat's you geese. do associate Well,what Whatdoesit mean? gotdenaura-floatingovera forestfilledwith proliferate dreamsgone likeoneof Freud's Thereadings withArafat? Whatdo youassociate withgeese? generation hasgrown his whose meaning Russian fairy tale, workoftenhasthefeelof a wild.Leiderman's thatremaindeeplypowerful, up withandyet no longerquiteknowswhatto makeof: storiesandimages faceof thefactthatthere in the yet eruption of laughter disquieting Weareteftwiththe and inscrutable. moralof thestory.Wehaveto makeonefor ourselves. is no pre-packaged

.d 6

2 I

E E

N 6

B oR N1963 rr Ooe ssn.Urna t He:Lt v EsANDwoRKslN Cot - oc HeG, e n m a n vA, N DM o s c o w ,R u s s t n .

o N

o o

3 \9 @ E

E o

A gaggle of geese found themselvesin the fir trees, in the deep forest, in the deep arafat,2006 variable Drawinginstallation,dimensions Courtesyof GregorPodnarGallery,Liubliana,Slovenia

Geopoetics series,zoo4-present variable Mediumand dimensions Courtesyof GregorPodnarGallery,Ljubliana,Slovenia

z E

H et otN e n so ru In HeidiNeilson's work,the meanderings of language areguidedandtidiedby marksthat bothsignal directionandprovidetonalinflection. Theartistfirstpainstakingly drawsontoacetatesheets individuatpiecesof punctuationfrombooksinctudingAlrcein Wonderland, Flatland,InvisibleCities, ThePoeticsof Space,andTheLittlePrince,andthen pilesthe drawingsoneon top of the other.The groundcovered formsan atlasof the narrative complete stackof drawnpunctuation by the books' process. punctuation, variousauthors,mapsof the flowof the story-telling ln thiscacophony of the storyis liberatedfromnarrative systems-purepercussion with no lyrics.Previously linkedto stringsof words,the marksarenowa jumbteof directions with no actorsto playout the story,a litteredterrain periods,andsemicolons insteadof a meansof orientation. In theirnewisolation, thesecommas, are transformed intoa visualabundance likedensefoliage.Neilson's marksrecallthe blurredboundaries lettersandthe ornatedecorative lineof lslamictextiles,metalwork, of catligraphic andmosque facades. Theysymbolize itself,removed fromthe systemof symbolic structure language andbecome purepattern.

B o nn 1968 rruPo nru ro, OR: r - r v es AND woRKsr r . LoHe r ls laHo C r r v ,N Y .

; .:

: o o N

E o

\ z I z

Atlos of Punctuation,zoo4 lnk on acetate, I 1/2 x fl inches (2t.6 x z7-9 cn)

lLrJ4r,-t' ! r*i{*

*_Jnl*

grfittl

--l-,..;

N usnnLnrr rQu n e sH t territories of Pakistani withthe negotiation NusraLatifQureshidrawsthe shapesandlayersassociated trophyimagesof locaIpeople, fromthe colonialeracapturing Outlinesof photographs andidentities. metaphors for memories of a pastthat has appearoftenin herdrawings, animals, andthe landscape placesaroundthe globe. as in manydisparate shapedlife in hernativecountry, on the partof the colonialpowersby erasingthe the attemptat visualdominance Qureshireshapes in the Mughaltradition.Detailsof drawings andby addingfinelyexecuted contentof the photographs spacein the flat pictureplane,her birdfeathersandprofilesof timelessfigurescreatean alternate forms of two artisticgenresandpolitical the shapes and between [inescapturing an interaction For thatflirtswith iconoclasm. intermingle in a composition references Thesedisparate traditions. (zoo4), Mughal love reconceives lsland Dreams lll including in many of her works, example, Qureshi storieswiththe womansharingequaleroticdesireandaction.By pilingup imagesfrommanysources in somecasesvoidingthe contentandtracingonly of eachonlypartially, andusingthe language complete authority. Qureshire-negotiates outlines,sheallowsno singularimageor genreto possess manytraditions and the "us andthem"binarywithina singlestyleof herown,onethat incorporates globalty. resonates

BoRN 1973 rr L n x o n E , P a x t s r l r ;

tl . , L r vEs AND wo RKs tN M EL Bo URNEAusrnnl

lslandDreamslll, zoo4 Gouache, acrylic,and watercoloron illustrationboald',79714 x 26 I /2 inches(48.9x 67.3cm)

Sitesof Abstraction,zooz Gouacheon wasli,rr il q x t ll q inches(29.8x 40 cm)

EnduringFreedom,zoo4

Acrylic,gouache,and paper on illustration boad, p 718 x 17 314 inches (32.7 x 45.1cm)

OrientalMemoiles,2co,6 Gouacheand acrylicon illustration board, $ 1/ 4 x zz 112inches(4o x 57.2 cm)

Sr E p n ru J. SH nTABRo o K theirparadoxical to explore ofdesireandviolence traverses thetabooterrains Stephen J.Shanabrook qualities a ground.Hespecifically of thesestatesto conjure focuses on thematerial common in morgue for spent time a He has, exampte, that makesa surpriseout of tangibility. transformation fromtheresulting shapeschocolates makingcastsof fatalwoundsandthencreating in Moscow, gunshots produce perforated even with to he has wallpaper mortality-and as it were, of bonbons, approach by ln MemoryConfetti Series(zoo6),he appliesan alchemicat morebeautifulpatterns. emulsion to makecolorful themin a viscous madeon acetate andtheniumbling drawings shredding fluids, proiected oftenmadetraceswithindeterminate In earlierartwork,Shanabrook kaleidoscopes. potentas it for bloodor oil,an effectthat is asviscerally that aremistakable suchas meltedchocolate, of obsessions to processes Theseplayfulworks of vanitassubjectmaterialist is politicatty resonant. of communism and discourses andthe materialist in a pungent comment on bothconsumption chance socialism. madeas partof a performance. hismarks, whicharesometimes doesnotpredetermine Shanabrook In his or smudged. all of whichcanbe scattered of chalk,flour,andgraphite, Heusesdustysurfaces public plots and other times through spaces routes, sometimes works,"Shanabrook traveling "walking withina smallconfinedsquareof materialin the gallery.Hehaswalkedthroughthe streetsof extruding wispsof flour,andhe hasuseda caneto tapout hispathin the Amsterdam in snowshoes, marksto helphimfindhiswayback.In a galleryspacehe leavingphosphorescent streetsof Moscow, Likechildren's fairytales,these in felt on a squareof graphite. haswalkedwith Dutchshoescovered journeys andfleetingmoments. workstell the magicalstoryof life's[ong

;

': :j : '* "{ *l ! ) I

= gD

its expansion throughout time hisownlifecrossing, marksterritoryto traceanddelineate Shanabrook cuesof recognition to andforthosewhoarequickhe leaves andspace.Hemakeshisownpathvisible, welcomefellowtravelers. s t- t v esANDwoRKslr uNewYonr , NY,A N DM o s c o w ,R u s s t a . B o R N1965 rr.rClevele ruoOH; ,

3 o o E .9 @

u o @

o o o I 6 o

whenangersings shrapnelflies from MemoryConfettiSeries,2006 materiatin oil, dimensionsvariable Proiection of shreddedphotographic

D n nt o5ou n n r u on tape-to meditate Dario56lmanworkswithsimpletools-blackmagicmarkerandblackmasking shapes, relation to thegroup.Hishumanoid to thecityandtheindividual's relation thehuman's from somekind figures tike featureless, almost robotic, same: outlinedwith maskingtape,a[[lookthe thatare, beingsareusuallysetagainstcityscapes videogame.Theseblank,right-angted of primitive places.Overall, the tracedfromimagesof recognizable quitedetailedandidentifiable, by contrast, Web animation, point. in drawing, Whether thisis the andcertainly a lackof emotion, images convey of thehumanspiritin theface thediminishment is urbanalienation, concern or film,Solman's design, of the city,the setfcaughtin the gridof infrastructure. usingonesometimes imageconstruction, regarding expectations 5olmanoftensubvertsconventional place in the pointin an unlikely puttingthe perspective sometimes pointperspective in hisdrawings, proportion. of and out look skewed points, things so that two introducing picture,andevensometimes in beingfusedintoan image.Thisteve[of ptayis alsorevealed Theeffectis of multipteperspectives thereby of humans, humans or mirrorimages muttiple oftenpresents of a work:Sotman theimagery human "original the Certainly, is in eachof theimages. the"human"actually confusingwhat here. determine to is impossible experience" : TheMokingof the Film,the viewer fromthe zoo3serieslhe Heartof Perspective, ln Ftooting/Nlirror geometric robot floatingoverthe NewYorkCity everyman seemsto lookout of a windowat a blocky, #t (zoo3),oneroboticfigurelooksout a windowat skyline.In anotherimage,Mirror/Picture/l,tumber Or arewe in fact seeingonefigurelookingat another? are we floatingabovethe city.But another, to float aboutwhatit wouldbe tiketo be freedfromthe architecture, a robotfantasizing witnessing

freelyabovethe citY? science-fictional, Solmanhasbeenworkingprimarilyin the realmof the explicitly Mostrecently, The Heartof Perspective, from works Butthe fictionalcharacters. drawingspacestationsandimagined verymuchin the hereandnow,in dilemmas TheMakingof theFitmlocatethe angstof theirexistential particularly for york destination, common been a has always of today.Thiscity Citylandscape the New and aboutcommonality to raisequestions hasthe capacity andtherefore differentkindsof cultures, humancreativepurpose[ikeno other.

.= = fl

= BoRN 1973. t H S p t - t t , C n o a t t e ; LlvEs AND wo RKs lN NEwYo RK, NY.

TheHeart of Perspective,TheMaking of the Film: DoublePerspective,zoo3 Marker,ink, and tape on paper,5o x 33 inches(127x 83.8 cm)

Mi no r/Window/Pi cture #z, zoo3

Marker,ink, and tape on paper,50 x 13 inches(127x 83.8cm)

ThreeWayMirror, zoo3

Marker,ink, and tape on paper,42x 30 inches(106.7x 76.2cm)

: 9

illflLi ir'n tt'itg

zi*t:

iltE

jJlrpSc r-39

'g E a u n is ttaJr'

n(r.gx

:NIL'lJlA l4 l{tlr

iiiitT

1ir3l

Sop Ht eTo r r t e addup to thefull buttheywitlnotnecessarily of words,linesmayintersect, cosmology InSophieTottie's to sheaffixes which installations, Tottiemakeslarge-scale story,let alonesharethesameperspective. bitsof maps,andsliced-up of staircases, linesof textandimagery of botd-printed walls,consisting strips,thetextsarelike transparent red on long in perspective. Printed in one-point drawingexercises of a versions several goneastray, suchthatat pointsof convergence linesof latitudeandtongitude phraseor parts-perhaps a in readable are only Yet they once. perspectives-are visibleat story-several of theexpanse theyextendtoo farto betakenin visuallyacross twoout of everysentence-because wall. istakenfromafifteenth-centurytermformapsthatfocuson lsolario Thetitleofherongoingproiect a partiat tengthsof text,arecapableonlyof providing and,[ikeTottie's detailsof tandscape imagesfromtheseancient aretopographic tikeislandsin herinstaltation perspective. Interspersed plays up thewayin which andshe implications, maps.Herprojectis notwithoutits politicat partsof theworldfit togetheras geopolitical conflictsoftenstemfroma lackof visionof howdisparate view, the artistusesher[argeword a whole.Butinsteadof tryingto orientviewerstowardsa specific of Fortheversion andtheunspoken. awareof themissing to makeheraudience andimagebanners of treating with texts engages she Destination, forCommon thatTottiecreatedspecificatly lsolario (whichimpedes in Spainand"the Pactof Sitence" exhumations commissions, truthandreconciliation suicides. andInternet thereaboutthathistory), anydiscussions

I .g =

9 I

Thesearestoriesthat fattbetweenthe lines.Storiesthat aretoo hardto tell,factsthat go unreported, the thanfitlingin thegaps,Tottiepositions in words.Rather thatcannotbe conveyed emotions results tangle that in the but in stories, not the us aroundtheviewerin a waythat implicates drawings are or phrases-which theydrawings of systemsof symbolization-be breakdown fromthe inevitable humanity' all to common is unnervingly at a loss being of This sense nevera matchfor realexperience. to oneanother' andyetit is onethatwe cannotexpress nno S tocxnoLM, Sw E D E N . Bo RN 1964 t N S r o c K H o L M , S w e oe r u ; L tvEs AND wo RKs r N BERL IN,GentunruY,

'a E

: .9

o E

=o @

tr F

lsolario,zoo5 24

Printon synthetictextile,polysterolehangers,dimensionsvariable

t' l* f l E d

ry'*u pr#a9e

f*t"n'

tic

ot tin"j

iitnP\G

I t

{ â&#x201A;Ź' 3

rq !"

$ ie

-s**-dr* *qn L-" .'

a a a c

V nle u rr u e J r run maybe seenin themusicalbumsthat threadof a community betieves thatthecommon JinaVatentine in the cityof Valentine visitedyoungrecordcollectors it consumes. Forherserieslop 4o (zoo3-o5), portraits imagery from the covers of their of themby drawing Philadetphia andcreatedindividuat Valentine composed an abstractportraitof the favoritefortyalbums.Fromthis urbanfieldresearch, city'sculture. in herrecentlohnnyMathisseries collages the groundforValentine's Thealbumcoveritselfbecomes Valentine (zoo6),thoughits designidentityundergoes Tomakehercompositions, a transformation. proiects piece popular vellum, the figures onto a of and tracesthe imagesof varioushistorical on both separatety cutsout the contours imageontoan albumcover,andthenpainstakingly composite people may and that into tight different wortd events way, brings cover; in this she sidesof the album by excision, thisis achieved at thetime.Paradoxically, haveaffectedthe waythe musicwasreceived of the actof drawing. in somesenses, whichis a reverse,

maniputation of the coverto the realmof extendsherphysica[ ln theMathisseries,Valentine betweenthe album"cover"andthe "cover"of a song, metaphor. Sheplayson the connection remarked in heressayon AsZoeWhittey of themusicindustry. themto theracia[politics connecting Museum in Harlem: Studio which was organized by the Frequency, for the zoo5-o6exhibition Valentine the original song,the effectis to replace whena popbandcoversa lesserknownblackmusician's airwaves. it on shelf and on the intention by replacing the artist's dimensionality by cuttingimagerylineby line,creating of "covering" Valentine interrupts the process In both criticalconflict. fromthe pictureplane.Theeffectis a kindof engaging as the [inesseparate presents portraits to reveal the larger but does so of cities and consumers singutar series,Valentine to the heartof culturaltransformation. forcesat work.the tensionsinternalandexternal

6 ot g

C,A . Bo RN1979 r r Be nwvN,PA;L rv EsANDwoRKst H Snl Fner uc t s c o

g .E

=f 9 .= d=

-g

3r *t

:;; SP o6 -g =i

cto o< a;

JohnnyMathis:

Manipulatedalbumsleeve,both covers,plexiglassbox,rs x 14x 1 714 inches(38.1x 35.6x 3.2 cm)

g< 14 ,g go

I'll Buy Youa Star:at TheRosendaleLodgewith Marquisde Sade,zoo6

s,;

lohnny'sMood: GeorgCantor,HollywoodTen,zoo6

Manipulated albumsleeve,both covers,plexiglassbox,t5 x 14x r tl 4 inchesG8.1x 35.5x 3.2 cm)

OpenFire TwoGuitars:at TheRosendaleLake Lodge with Black Panthers,zoo6 Manipulated albumsleeve,both covers,plexiglassbox,15x 14x 1 1/4 inchesG8.1x 35.6x 3.2 cm)

RaDture:CharlesSandersPierceand VietnamWarAtrocities,2006 box,r5 x r4 x r r/4 inches(38.7x35.6x3-2 cm) Manipulated albumsleeve,both covers,plexiglass CourtesyDwightHackettproiects,SanteFe,NM

\oU

=â&#x201A;Ź .= z .t9

>o <: zi

*"f

l.;-;

$r1

;+\*i

$ 4 l d o ##' 's f 't 1." .

the foltowingsupportersfor their generosity. The DrawingCentergratefullyacknowledges

Fundfor the Future Benefactors T H E H o R A c EW . Go t- o stu tr x F o u Ho ltto tt S l n n x - A r r A N D WERNERH. KRAM ARSKY A a e v a N o M r r c H L E| GH M R . A N D M n s . F Er r x G. Ro HAT YN A N o R E AW o o D N ER Patrons F R A N c E SB E A T T vADL ERAND At- le t Ao le n F R A N c E SD l r r m e n . E s r n r e o r P A U LAVIAL L EM PERT N r N A HA N D M t c xle l L Ytxe S r a v n o s 5 . N t A RcHo s F o u xo ltto H F o u NDAr to N, llc. M r v n r o S l m u e l RUDINF AM T L Y E U G E N EV . A N D C L AREE. T xe w Cxn n tr a e le T n u sr J E A N N EC . T H A YER ANoNYMous Sponsors Drra Amonv CoLrN ETSLER E L r z a a e r x F l c r on B n u c r W. F E R GUSo N P o L L YW. e r o J oxtt H.J. Gu r H l o v E N Ko MTCHAEL Wr r - r - r l mS . L t eg e n m lil G E O R G EN E G R OPONT E S u s a r n r P o R T ERAND jAM Es M . CL ARK F r o r , r l l r , r o E R t c RUDtN T H EJ U L T E T L e a H tlm lH Str r to n o s F o u tto ltto tl T x e S r e n n F o U N DAT T o N E D WA R DH . T u c K

AnnualFund Eenefactors FUND THEA. WOODNER ADLER Aot en nno ATLEN Fnrrces BEATTY FoUNDATt oN FoRr HEVlSuALAR T s THEANDyWAR HoL MeLveBucxseAUMANDRavuolo LEARSY oF NEwYoRK Crn rrers CoRP oRATt oN FRANcES Drrrue n THEFo RDFo uto lt t ot S. Fut-o,Jn. Klrxv lr,ro RTcHARD THEHoRACE W. Golostr,ttrxFounoettott CoRPoRAT|oN Lo wenMa lrxlrr AN DEv ELopM ENT Inrs lr,roJa rne sM lnor t NAT|o NAL Ettoo wner t FoRTHEARTS NEwYo RKSrlre Coux c t t -oN r HEARTs FoUNDATI oN FA M TLY ORENTRETcH FoUNDATt oN Roa en rL EHMAN. . RocrErette nBn or x ens Fut t o i Fro r,rrlro EntcRuot r x Fam t lvFoux or r t ol, I nc . MAyANDSn muerRuot nt o Neo SADAKA la re Dne sn enSAoAKA

taior Sponsors Nt c Ks oN DrraAmon vAN DG RAHAM CololllL Ltre I xsu nnltcECoMPANY MARYBETHa ro Sr epx r x Det t et Brnnv M. Fox Txe Gn ee rwnlLFouNDAr oN AeHe sGu t'toltto Dr t t el Snlpt no CHAs E JPMoRGAN LYNNE Ntn nx lHo Mtc HAEL Mn. rro Mns. F elt x G . RoHATYN L ou tsaSru or S lnor t r r t W.L .S.Spe nceRFouNDAr t oN

Sponsors Alrnrn Gno ue ,lt c . Clno l lu o Dev r oAppel Asre t Cu lrun al Coulc r l J[l en o Jev BenHs r er t ' t Sxo srlru n an o W av neBur . r x LAURA ANDL toy o BLlt r r er t BLo otrig gn e Nt R Jtt-lBu urmn t ANDDANTEL CIT Txe Co nsuu r E G ENERAL or Tnt r t onoax o Toelc o THECo wLEsCx ent t neLeTnus t De on lus Fo ut oer r ol Elrzrse rn Frn es r oneG nnnnmFouNDAr t oN EtrzeserHAN DM ALLoRy FAc r oR BRUCE W. Fsneus oH ANGEL IKI FRA NG oU lt ' t o O t c l Ly M pERr s Gn co srlx GALLERv LINDAANDAH r x oHvG nnt r Txe Gne erwr c nCollec r r ot Lr o. Mrru rrro PET ER HAASFUND HAUSER & WT RTH Je mesR. He oc es ,lV Mn. nro Mn s. J . Tom r r - s oN HI LL MAHNAZ lspA HANt ANDADAMBARTos Jo xrsox & JoHNs oNFAM TLv oF c oM pANr Es TINAKtM ANDMlc x eet KlEr r r ,lEANrE Tre Kn eser Founor r r on LEFFou r.ron r r oN L TSBETH eto J ns ox M c Cov Jrxrrre n McS weet ey SARAH MILL ER M Et c s Geo ne eNe en opox t g Bno ore ANDDANTEL Ner ot c n NEwYoRKCrtv Depant m eNT oF CuLTURAI Ar r et n s Sln nu ell. NEw Hous EFout oar t ot r TriuNve L rsn Pevnn or r - Connllr o G anvCox r ' r NANCY ANDFneoPos es THEREEDFou lonr r ot Txr Rexersstr'rce Socrrrv Ro s ECoM pANr Es Jo NATHAN F..1.ScremeCoHs r nuc r r onCo. , lNc . MELrssA n Ho R ogenrSonos So tHr eY's Spe no HeWEsTW ATER ANNTeNe Nsn uM ANDTHoM AsH. LEE Ltt-vTucx

Frlendscontinued G E M t NG t .E.L. p n ma r u oR o e e n rG o e n c r t S r n c g yn r u oR o BG o E R G E N A M y G o L Dr H o B n e r r G o n v y L o R N AA N DL e n n yG u e v E o w n n ol l o M l n j o n t e G o l o g e n e e nF o u t o e r to t LYNN A N DM A R T TH NA L B F T N G E R C H E R YHLA t N E s M a n yW. H A R R T M A FN ouNDATtoN T H EH t G HM E A D o wF o u N D A T t o N MADELETR Nu Eo t l J o x r , r s o N A N DB R U c E . l o xH so r ,r S t a c e vl l o C u R T t sL A N E D o m r N r q u eL E v v Donorty LtcHTENsrEtN p o o r e L y H c nA N DJ A M E T So n n r y S y l v t n P l r m l c r M l t e o l o n t , t oR o a e n rM A NGo L D J r r _al H o T H o M A sM n n r r u o R e v m o t oJ . M c G u r n e R a c n E lL . M E L L o N H e n m r N let o S r o n e vM r e o o n N E T H E R L A N D - A M EFRoIucxAD n r r o r p a r r y N e w e u n G EA RN DB n n oWs c x s l e n J U D T TAHN DJ o r r o e e e H n e r u e n K E t r HR E c K E R E t r s s l l r , r oJ t t t nR r c x t v t n r L t s AA N DM I C H A ESLc x u l r z Seeoco S x e a n m n n& S r e n r - r HLc L p FERN A N DL e H a n oT E S s L E R L r r s nn N o D r r , r T o srrseu Gonoot VENEKLAsEN C A N D A CWo E R T HA N DC x n t s t o p x e nH A M I C K ln Memoriam M I C H A El Lo v E N K o E o w n n oH . T u c K

Fricnds RENEE ANDRtc x enoBlnr s c x Bno ox e ro RoG ER BERLTND Mn nv Brlun o ANDBARRvCoopen Bor - r r neen r t o LeeBor r r nc r n JEANMAGNANo Lo utsEBou RG Eor s FRANcES F. Bo wes HENRY BUHL

J o H N C H E r Mr x o Ho we n o Re e o S u z r r t e A N D R o BERTCo cHRAN J A M E sC o H A N T n e C o r s u l e r E GENERALo F r HE NET HERL ANDs tN N E w yoR K C o m m u t r r v C o u n se llr n e Se n vr ce B E C K YA N D L o I c DE KERT ANGUY M T L T o NH . D n e sxr n E l r z e g g t x L e e c n Glllr n y L l z F e l r s t e n s t o cx Getenre LELoNG

Wi t h t h a n k s t o a t t o f T h e D r a w i n gC e n t e r 'sm e m b e r s .

/ \\ t/

,/ ///

a / /t

\ \

t\ \ \

hi l(

This is number64 of the DrowingPapers,a seriesof publicationsdocumentingThe DrawingCenter'sexhibitionsand publicprogramsand providinga forumfor the studyof drawing. CommonDestinationis madepossible,in part, with the supportof TheAndyWarholFoundationfor the VisualArts, TheGreenwallFoundation, and the Trustfor MutualUnderstanding. The DrawingCenter'szoo6-o7 publicationsare madepossible,in part, througha contributionto the EdwardHallamTuck PublicationProgramfrom The Felixand EtizabethRohatynFoundation,Inc.

Board of Dlrectors FRANcES Belrr v Aolen Chairman ERrcC. RUDrN Vice-Chairmon DrrAAMoRY MELvABUcKS BAUM S T E P H E NS . D A NIEL F R A N c E SD r r r M ER ELrzleerH FAcron

B nuc eW .F en e u s o H BnnnvM. Fox J A M E s R . H E D GES,lV WE R N E RH . K R AM ARSKY* ABBYLEIGH* Mtcxngl Lvr,rrr lnrs MnnoeN Cltxenrrr

O n e ttn g tctt

L r s a P E v n n o r r- Co n x E t r z a g e t x R o ttltvttr J r H e D n e s l r e n Sn o n xn Aller

L e e S e s so m s

J E A N N EC . T H AYER* A N o R E AW o o DNER G e o n e e N E G R o Po NT E President E L t z n e e t H M g r cltr Acting ExecutiveDircctor *Emeriti DrawingCenterPublications AoAMLEHNER, ExecutiveEditor BERMAN, ManagingEditor ,oANNA Luc DERYCKE, Designer KAvroR MooN,Publications Assistant Authortexts by KATHERTNE CARL The Dr.wlnt Ccnter 35 WoosterStreet NewYork,NY1oo13 Teli 2t2-2tg-2766 Fa'j 272-966-2976 www.drawingcenter.org @ zoo5The DrawingCenter Exceptwhereotherwisenoted,all imagescourtesyofthe artist. (detailof 556-or .iOd, zoo5. Digirat Cover: Boeolx AcHI MEscu, SSc_ott.ipg coltage, dimensions variablâ&#x201A;Ź. Page3o: VAD|MFrsKrN,From the Geo-graphicseries, t989-2oo5. Inkon paper,3ttlzx 39 3/8 inches(8o x roo cm). l m a g ec o u r t e soyf Gr e g oPo r d n aGa r lle r y, L ju b lja n Slo a , ve n ia . Page32: NUSRALAT|FQuRESHr, PassionateBeings in Flight l, zoo3. Gouache andacrylicon wasli,u l l q x t l l t+i nc hes( 29.8x 40 c m ) . lmagecourtesy of WaqasWajahat LLC,NewYork.

{'-}

t*"y"

\\ i\t-l r\s

I I

\ ;ff

/" \i\\',\-

/,r-, {i

Y t

*'fl* -" \-1

*;;"{Pl

.n' & 'u"'

;,&r.

---rF"

€q"

,g'it#

r g,

4_e1

A: )i,,, @, ,s-L% .-;:i;''.".1/ ,i$5-_:fli

'$#'@

w ;9p-r';

n . Arl

at,I

: 9h

,l 't/ .'rJ/

ffi