Facts and Fictions
PRESS Read about Terry Winters: Facts and Fictions via Artforum
A leading figure in the art world for four decades, Terry Winters became well known in the 1980s for his materially-conscious drawings and paintings. Representing the patterns and schema that undergird physical and intellectual life—French philosopher Gilles Deleuze is cited as an important reference—Winters’s drawings of grids, networks, and knots illustrate complex encounters between biological drives, technological systems, and mental processes. The Drawing Center’s Main Gallery presents an overview of Winters’s drawings from 1980 to the present including full cycles of drawings as well as a selection of large-scale works on paper that foreground the overarching theme of Winters’s practice: the desire to make sense, however fictively, of the manner in which the visible world is constructed and received. Rather than offering a comprehensive drawing retrospective, the show is organized with an eye to morphological relationships so that, as viewers move through the gallery, they recall and ideally return to earlier related images.
Organized by Claire Gilman, Chief Curator.
Terry Winters: Facts and Fictions is made possible by Jack Shear; Agnes Gund; Kathy and Richard Fuld; The Ellsworth Kelly Foundation; Jane Dresner Sadaka and Ned Sadaka; Waqas Wajahat; and Harry W. and Mary Margaret Anderson.
Special thanks to Matthew Marks Gallery, New York.
Image: Terry Winters, 7-Fold Sequence, One, 2008. Graphite on paper, 29 1/2 x 41 1/2 inches. Courtesy of the artist and Matthew Marks Gallery. Image © Terry Winters, Courtesy Matthew Marks Gallery.
Praised for their meticulously-detailed panoramic landscapes, Anglo-French artists Alpha and Chris Mason, known collectively as Hipkiss, have been collaborating for three decades on intricate drawings that interweave dystopian narratives with a personal lexicon of symbolic forms. Past works by Hipkiss chronicle fictional histories of warring clans, urban crusades, and quasi-apocalyptical societies. For Bulwark, the artists’ first solo museum show in New York, Hipkiss presents the most recent cycle of drawings in their series The Towers (2015–ongoing). The drawings pull from the myriad allegorical significance of towers as symbols for transcendence, irrational ambition, and piety.
Organized by Brett Littman, Executive Director.
Hipkiss: Bulwark is made possible by Fiona and Eric Rudin, an anonymous donor, and Selig Sacks.
Hipkiss, From left: Bulwark #2, #3, #6, #8, and #9 from The Towers, 2017. Graphite, silver ink, silver tape, and metal leaf on Fabriano 4 paper, 89 x 16 inches, each. Courtesy of the artists.
The Drawing Center has commissioned Into Ourselves, a new short-term project by Argentinian artist Eduardo Navarro for The Lab which will open on April 6, 2018. Navarro has produced a new series of edible drawings, inspired by quantum physics––specifically the “holographic principle,” which describes how information in the universe can only be scrambled but never destroyed.
The drawings are be placed on shelves with red “heat lamps.” During the course of the exhibition, a soup will be made that will dissolve the drawings to make them digestible. Into Ourselves also explores the idea of shifting our understanding of aesthetic primacy away from the eye and the world of ideas to metabolism, and the stomach.
Organized by Rosario Güiraldes, Assistant Curator and Brett Littman, Executive Director.
Into Ourselves has been jointly developed by The Drawing Center and Der Tank. It was shown for the first time in November 2017 at Der Tank, and has been produced thanks to the support of Galeria Nara Roesler, LLC. and the Consulate General of Argentina in New York.
Image: Eduardo Navarro, Into Ourselves, 2017. A4 drawing on edible paper with edible ink.
As part of its ongoing series of commissions for the Stairwell, The Drawing Center has asked New York artist Inka Essenhigh to create a site-specific wall drawing. Essenhigh’s installation will be the third in the series, following Gary Simmons’s Ghost Reels (2016–18) and Abdelkader Benchamma’s Dark Matter (2015–16).
An artist whose influences range from Hokusai to Surrealism and Byzantine icons to graphic novels, Inka Essenhigh is known for her hallucinatory scenes that weave narratives about everyday life with otherworldly and science-fiction themes. For her panoramic installation in The Drawing Center’s stairwell, Essenhigh will illustrate the story of an imaginary contest staged on a New York City street in which new glass-and-steel condominiums with human attributes engage in a showdown with the city’s more conventional buildings. Drawn directly on the wall, Essenhigh’s anthropomorphic buildings will encircle the central motif of the drawing, a golden sunset that replicates “Manhattanhenge”—the effect of the sun when aligned precisely with the city grid—which has long been a mythic part of the city’s monumental architecture.
Organized by Brett Littman, Executive Director.
Inka Essenhigh: Manhattanhenge is made possible through the support of Miles McEnery Gallery and Stacey and Rob Goergen.
Image: Installation view of Inka Essenhigh: Manhattanhenge. The Drawing Center, New York, 2018. Photograph by Martin Parsekian.
For the second long-term installation presented in the Lab Corridor, The Drawing Center presents a site-specific installation by the Santa Fe-based artist Susan York, which references the internal structure of the museum’s 35 Wooster Street building. Using graphite as a sculptural rather than a two-dimensional medium, York created replicas of parts of the museum’s foundation: irregular granite piers that protrude above the museum’s ground floor. Four graphite drawings, each mirroring the appearance of a pier, hang alongside York’s sculptural works, strengthening the ties between drawing and sculpture in her practice. York’s long-term installation initiates an expanded field of activity at The Drawing Center, offering an opportunity to explore drawing as an interactive and socially-minded practice. By bringing attention to The Drawing Center’s building, York’s installation encourages discussion about the importance of museums as public spaces with historical and physical presence.
Organized by Amber Harper, Assistant Curator.
Susan York: Foundation is made possible by the support of Andrew Wallerstein and Mary Sloane; Diane Karp, P.h.D; James Kelly; and an anonymous donor.
Special thanks to Exhibitions 2d – Marfa.
Image: Susan York, Installation view of Foundation, The Drawing Center, 2017–18.