This show brings together Emily Dickinson’s original poem manuscripts and Robert Walser’s microscripts for the first time in an art museum setting. Although Walser, who was born shortly before Dickinson died, was most likely unaware of her work, both writers were obsessively private as well as peculiarly attentive to the visuality of their texts. Walser wrote in tiny, inscrutable script on narrow strips of paper using an antiquated German alphabet that was long considered indecipherable. Only recently have these scripts been shown to consist of early drafts of the author’s published texts. Similarly, Dickinson fitted her multifarious poetic fragments to carefully torn pieces of envelope or stationery, which were discovered among her posthumous papers. (W. B. Sebald once referred to Walser as a “clairvoyant of the small,” and this description might apply to Dickinson as well.) In both cases, the form of these texts affects the language itself as both writers crafted their words in response to the form at hand. Rarely in literature has the manner in which words are made been so integral to the way in which they might be read. The Dickinson/ Walser exhibition, which proposes the notion that art may be used to make language, is a fitting corollary to Drawing Time, Reading Time, which appears concurrently in the Main Gallery.
Curated by Claire Gilman.
The New York Times review
"Together, the two exhibitions prompt mind-stretching reflection on the complicated relations between writing, communication and reality." - The New York Times
Dickinson/Walser: Pencil Sketches is made possible by the Swiss Arts Council Pro Helvetia, Consulate General of Switzerland in New York, and New York Coucil for the Humanities.
Image: Emily Dickinson, We Talked With Each Other About Each Other, c. 1879, Amherst Manuscript #514. Pencil on Envelope, 1 sheet, 5 1/10 x 7 9/10 inches (13 x 20 cm). Courtesy The Emily Dickinson Collection, Amherst College Archives and Special Collections.
Drawing Time, Reading Time
This exhibition is organized simultaneously with Marking Language at Drawing Room, London (October 10–December 14, 2013) and a joint publication will be produced.
This show features an international group of artists spanning the 1960s to today, all of whom are engaged in exploring the relationship between drawing and writing as distinct yet interrelated gestures. Now commonplace, visual art’s preoccupation with language had its roots in an unexpected linguistic turn circa 1960, when artists sought to recover a direct, sensory experience of the world. Paradoxically, language became a favored tool in this effort as artists such as Dan Graham, Mel Bochner, and Hanne Darboven manipulated the written text in an effort to evacuate predictable meaning and uncover the materiality of language. The exhibition considers a different path, one that emerged simultaneously with Conceptual Art but that embraced language in art as a means of questioning the written word’s communicative transparency on the one hand and visual art’s material opacity on the other. Challenging modernism’s longstanding effort to purge art of narrative association in favor of material and conceptual self-sufficiency, the artists in the exhibition pursue a hybrid aesthetic that privileges incompletion.
Curated by Claire Gilman.
Artists include Carl Andre, Pavel Büchler, Guy de Cointet, Mirtha Dermisache, Sean Landers, Allen Ruppersberg, Nina Papaconstantinou, Deb Sokolow, and Molly Springfield.
The New York Times review
"Together, the two exhibitions prompt mind-stretching reflection on the complicated relations between writing, communication and reality." - The New York Times
Drawing Time, Reading Time is made possible by the very generous support of Sarah Peter, Agnes Gund, anonymous, HRH Princess Firyal of Jordan, Kathleen Irvin Loughlin, Frank Williams, Karen Zukowski and David Diamond, Irene Panagopoulos, Gil Shiva, The Felix & Elizabeth Rohatyn Foundation, Amanda Foreman and Jonathan Barton, and Morris A. Orden.
The exhibition catalogue is made possible by the Ministry of Foreign Affairs of Colombia.
Image: Allen Ruppersberg, Untitled (The Book as Object), 1976, Pencil on paper, 21 1/4 x 27 3/16 inches (54 x 69 cm) Collection of C. Christine Nichols.
PLEASE NOTE: The Opening Reception will take place on Thursday, November 21 from 6-8pm. See details here.
William Engelen's latest works, Falten [Folds], is an exhibition of a new series of musical scores for percussion by the Berlin-based artist. Falten [Folds] build musical compositions from folded paper. At the start of each composition, Engelen draws a time line on a sheet of paper. Each centimeter of paper corresponds to one second in the score. The artist shapes the paper into three-dimensional forms—ovals, cones, or even knots. He then hand-draws a staff notation on the sections of the paper that are not hidden in the folds. Through this structure of creases and lines, Engelen organizes, through both intention and chance, the elements of sound and silence in each piece. The landscape of the paper determines the music that can be made from it.
In performing Falten, musicians "walk" through this architectural landscape, using the paper’s planes, heights, and structures as parameters for qualities in volume, pitch, rhythm, tension, character, and the spatiality of sound. The lines on the page and resultant folds manifest the score as an intricate drawing. Falten for Percussion consists of eight parts, and will be debuted by the celebrated percussion ensemble Talujon.
Curated by Nova Benway.
William Engelen: Falten is made possible with financial support from the Mondriaan Fund and with public funds from the Consulate General of The Netherlands in New York.
Thursday, November 21, 7:30pm during our Opening Reception. No admission fee.
Friday, November 22, 8:00pm at ISSUE Project Room
Celebrated percussion ensemble Talujon will perform William Engelen’s recent work Falten, a hybrid of score and sculpture. Percussionist Eli Keszler and the Ashcan Orchestra’s Pat Spadine will perform Aki Onda’s Damaged, in which slide projections from Onda’s ongoing series of New York street photography serve as visual cues for improvisation.
This is a ticketed, off-site event that will be held at ISSUE Project Room, 22 Boerum Place, Brooklyn. Please purchase tickets here and use discount code DRAW for a special $12 rate.
Change and Horizontals
This intensely focused survey comprises Sean Scully’s (b. 1945, Dublin, Ireland) acrylic, ink, graphite, and masking-tape drawings from 1974–75—presented together for the first time in over 30 years—as well as two large-scale paintings from the same period and one of the artist’s personal notebooks. Scully’s maturation as a painter can easily be traced back to innovations in his early drawings. These drawings are marked by refined geometries that re-imagine the history of abstraction as an art rooted in experience—“something felt and something seen,” as the artist has said. Executed in London and New York City respectively, the Change and Horizontals drawings, along with their preparatory sketches and never-before-seen experimental typewriter drawings from the same period, highlight Scully’s core concern with line and color’s relation to place. Viewed together, the works chart an evolution of composition and gesture that provides unique insight into this artist’s singular aesthetic. This New York exhibition is the last stop on a tour that included the UK, Germany, and Italy.
Curated by Brett Littman and Joanna Kleinberg Romanow.
Above: Sean Scully, Change #7 (detail), 1975. Acrylic and tape on paper, 22 1/2 x 30 2/3 inches. Courtesy Neo Neo Inc, New York. Photo © Sean Scully.
Drawings from Life of Pi
Alexis Rockman’s watercolor drawings were the first stage in the development of the fantastical, imaginary world of Life of Pi, the 2012 Academy-Award winning feature film directed by Ang Lee. Lee sought out Rockman’s vision as an artist with a specific commitment to hand drawing to bring a human scale to the project, a sense of the material and the fortuitous that would come, for example, from the random bloom of watercolor pigment on paper. Though most artistic contributions to cinema are dependent on photo-realism or cartoon-like illustration, Rockman’s images are fluid, intimate, and dynamic in a way that only drawing can capture. The exhibition will provide The Drawing Center with a unique opportunity to explore the relationship between visual art—specifically drawing—and commercial filmmaking.
Curated by Brett Littman and Nova Benway.
Susan Hefuna and Luca Veggetti
Premiere on September 16 at 7pm (doors open at 6pm)
Additional performances on September 17, 18 at 7pm
(Duration approximately one hour)
The world premiere of NOTATIONOTATIONS marks a first-time collaboration between renowned, multimedia artist Susan Hefuna (b. Germany, 1962) and contemporary choreographer Luca Veggetti (b. Italy, 1963). NOTATIONOTATIONS posits the idea that if a line is the trace of a point in motion, then the human body moving through the space of the observed world is also a drawing. Staged over three nights, this event will open and close with a new video installation by Hefuna of a bustling, lower Manhattan intersection—a literal mapping of people and place that examines movement as something that is both rehearsed and habitual. Sketched onto the floor will be an expansive web of chalk lines made by Hefuna (her largest work to date) in advance of an audience; its dramatic creation captured by film. The artist perseveres via the projection, which will be screened as Veggetti’s dancers gradually erase the drawn surface through repetitive, physical gestures. The performance culminates in a dynamic display of swooping whorls made by their distilled movements across the floor. The effect is its own form of choreographic documentation.
Special thanks to the dancers Olivia Ancona, PeiJu Chien-Pott, a soloist from the Martha Graham Dance Company, and Gabrielle Lamb.
Produced by Brett Littman and Joanna Kleinberg Romanow.
Following Terry Smith's IDEAS CITY 2013 Site specific commission, The Drawing Center will present Document, a gallery exhibition of photographs, drawings, film, and notebook sketches from the project. The exhibition will take place in The Drawing Center’s Lab Gallery from June 18 – August 18, 2013.
Co-curated by Nova Benway and Aimee Good
This landmark exhibition is Italian artist Giosetta Fioroni’s first solo show in North America. The show will feature over 80 works in drawing, painting, film, theater design, and illustration, dating from the 1950s to the mid-1970s, decades during which the artist formulated a unique response to a developing commercial culture. Although many of the works are executed on canvas, drawing remains at the forefront of Fioroni’s oeuvre, and her investment in hand-rendering serves to distinguish her practice from that of her American Pop Art peers. This exhibition will also be on view from October 25, 2013–January 26, 2014 at Galleria nazionale d'arte moderna e contemporanea in Rome.
Curated by Claire Gilman, Curator
Giosetta Fioroni, Liberty, 1965. Pencil, white and aluminum enamel on canvas, 57 1/2 x 44 13/16 inches. Collection Jacorossi, Rome. Courtesy of the artist.
Giosetta Fioroni: L’Argento is made possible in part by the National Endowment for the Arts. Major support is provided by Simone and Mirella Haggiag, Pierre and Tana Matisse Foundation, Sarah Peter, and Lia Rumma.
The New York Times review
"After looking at Ms. Fioroni’s silvery paintings of women’s faces, often culled from the cinema or magazines, one might add to her list Italian filmmakers like Michelangelo Antonioni and Bernardo Bertolucci." - Karen Rosenberg, The New York Times
Student Artwork from the Drawing Connections Program
Drawing Out: Student Artwork from the Drawing Connections Program features student artwork from the Drawing Connections program, which pairs practicing artists with teachers in Lower Manhattan public schools to develop projects that relate classroom curricula to exhibitions at The Drawing Center.
Curated by Aimee Good, Director of Education and Community Programs.
The first North American museum exhibition of works by Alexandre Singh, this presentation will be comprised of the artist’s new series of Assembly Instructions entitled The Pledge. This project takes interviews that the artist conducted throughout 2011 with noted scientists, artists, writers, and filmmakers, and transforms them into fictional dialogues visualized according to Singh’s signature format of collaged photocopies connected by hand-drawn pencil dots on the wall. Filling the Main Gallery, Singh’s fictionalized—and spatialized—interviews will position drawing not only as a physical gesture, but also as a graphic conduit for the imaginative process.
Curated by Claire Gilman, Curator
Image: Alexandre Singh, Assembly Instructions (The Pledge- Leah Kelly) (detail), 37 framed inkjet ultrachrome archival prints and dotted pencil lines, 2011. Courtesy Sprueth Magers: Berlin and London; Art: Concept: Paris; Metro Pictures: New York; Monitor Gallery: Rome.
Alexandre Singh: The Pledge is made possible in part by Etant donnés: The French-American Fund for Contemporary Art and the Grand Marnier Foundation. Additional funding is provided by Zoe and Joel Dictrow.
Go to here to read The Pledge interviews excerpted from PALAIS magazine
Line of Work
The Drawing Center is pleased to present the first North American solo museum exhibition of work by the Berlin-based artist Ignacio Uriarte. Inspired by his former career in business administration, Uriarte showcases the aesthetics of the office and its travails. Creating what he can with what is immediately available to him, Uriarte converts the information, skills, and objects encountered in the workplace into explorations of plane geometry and pure abstraction. His drawings, at turns bold and subtle, improvised and predetermined, occupy a zone somewhere between the febrile forces of the imagination and the stultifying culture of office life.
Curated by Joanna Kleinberg Romanow, Assistant Curator
Image: Ignacio Uriarte, BIC Transitions, 2010, BIC pen on paper, Sixteen drawings, each: 11 13/16 x 16 9/16 inches, Courtesy of the artist and Nogueras Blanchard, Barcelona.
Ignacio Uriarte: Line of work is made possible in part by Acción Cultural Española (AC/E). Additional support is provided by Nathalie and Charles De Gunzburg, Daniel Romanow, The Goldstone Family Foundation, John Romanow, an anonymous donor, and Martina Yamin.
Special thanks to the Goethe-Institut, New York.
Ishmael Randall Weeks
Cuts, Burns, Punctures
This project by Peruvian born, New York and Cusco-based artist Ishmael Randall Weeks will provide a meditation on recent Peruvian history in the form of a double slide projection using found slides that Weeks burns, punctures, cuts, and draws upon. As the slides move in and out of focus and Weeks’ intervention ranges from minimal to extreme, he develops a personalized narrative response to the politically and socially charged moment of 1970s and ’80s Peru—a period of war and extreme violence.
Curated by Claire Gilman, Curator
Image: Ishmael Randall Weeks, Cuts, Burns, Punctures, 2012. Double-focus slide projection with hand-altered mechanism. Courtesy of the artist and Eleven Rivington: New York.
The Mario Gradowczyk Public Program Series supports programming related to the institution’s Latin American exhibitions and other public programs inspired by critical issues in contemporary drawing and is funded by Felisa Gradowczyk, Diego Gradowczyk, and Isabella Hutchinson.
Guillermo Kuitca: Diarios will be the first U.S. museum exhibition of a selection of paintings made from 2005 to the present. Since 1994, Kuitca has taken failed and discarded canvases, stretched them over an abandoned table from his parents’ garden, and then spent periods of time ranging from three to six months creating intentional and accidental doodles, drawings, and recordings on their surfaces. The Diarios, as the artist calls them, are the most transparently personal works in his oeuvre as they gather residue like phone numbers, titles of paintings, email addresses, blank spots where books sat, lists, and collaged elements that record the ebb and flow of life inside and outside the studio. In addition to the Diarios, The Drawing Center will present a projection of the table in Kuitca’s studio that will document the next Diario as it is being made. This exhibition will travel to the Eli and Edythe Broad Art Museum at Michigan State University, East Lansing, MI from February 22 - May 26, 2013 and then to MCA Denver, where it will be on view from June 21 - September 15, 2013.
Curated by Brett Littman, Executive Director
Image: Guillermo Kuitca, Diario (25 May – 20 October 2005). Mixed media on paper, 47 1/4 inches diameter (1 5/8 inches deep). Collection of the Artist. Courtesy Sperone Westwater, New York.
José Antonio Suárez Londoño
This exhibition will include a selection of notebooks (also referred to as “yearbooks”) dating from 1997 to the present. Works will be taken from the Colombian artist’s ongoing project in which he creates a daily drawing based on a book or series of books that he reads over the course of a year. Loose drawings excerpted from José Antonio Suárez Londoño’s sketchbooks will be exhibited alongside notebooks and select source books in vitrines.
Curated by Claire Gilman, Curator
Image: José Antonio Suárez Londoño, Delacroix Diary (June), 1999. Mixed media, 5 15/16 x 4 1/8 inches (30 pages). Courtesy of the artist.
Certificates of Authenticity in Art
Exploring the notion of artists’ certificates of authenticity over the past 50 years, works in this exhibition range from the most formal legal certificates to dashed-off notations, all of which play a role in defining the parameters of a given art work. Legal and ontological implications will be investigated, including the certificate’s ability to embody the artwork itself, while also serving as its referent, deed, legal statement, or fiscal invoice. This international traveling exhibition will make its only New York stop at The Drawing Center.
Curated by Susan Hapgood and Cornelia Lauf, independent curators
Image: Piero Manzoni, Declaration of Authenticity No. 50 (Carte d’authenticité No. 50), 1961. Ink on paper, inscribed and signed, two-sided (front), 11 3/4 x 8 1/4 inches. Courtesy Joanne and Jon Hendricks, New York.
The Drawing Center's Reopening Reception | Friday November 2, 6:00 PM
Panel Discussion | Thursday November 8, 6:00 PM
Change and Horizontals
The Drawing Center presents Sean Scully: Change and Horizontals . This intensely focused survey is comprised of acrylic, ink, graphite, and masking-tape drawings from 1974–75—presented together for the first time in over 30 years—as well as two large-scale paintings from the same period and the artist’s personal notebooks. Culled from two distinct series, the Change and Horizontals drawings—executed in London and New York respectively—highlight the importance of color and form within Scully’s abstractions. Color is always rooted in a particular place, and form manifests the self. Impressions of each city are fundamental to these drawings, as location plays a key role in the artist’s life and oeuvre; as the artist stated in 2006, “People tend to think of abstraction as abstract. But nothing is abstract: it’s a self-portrait. A portrait of one’s condition.” Scully’s move from London to New York City in 1975 marked a stylistic breakthrough to a period during which he became more engaged with the tones and textures of the metropolis that surrounded him.
Sean Scully: Change and Horizontals is co-curated by Joanna Kleinberg and Brett Littman of The Drawing Center.
The exhibition began its transcontinental tour at Timothy Taylor Gallery, London, where it was on view from January 13–February 11, 2012, before traveling to Middlesbrough Institute of Modern Art, UK, from March 2–July 13, 2012. The exhibition will then be presented at Galleria nazionale d’arte moderna e contemporanea, Rome, from March 14–June 9, 2013 and The Drawing Center, New York, from September 26–November 10, 2013.
Above: Sean Scully, Change #7 (detail), 1975. Acrylic and tape on paper, 22 1/2 x 30 2/3 inches. Courtesy Neo Neo Inc, New York. Photo © Sean Scully.
Drawing In, On, and Through the Landscape
The Drawing Center & Big Screen Plaza Pathways: Drawing In, On, and Through the Landscape September 21–24, 2011 855 Sixth Avenue & 29th Street in New York City (Located in the plaza behind the Eventi Hotel, FoodParc, and Bar Basque) Opening Reception: Wednesday, September 21, 7–9pm Pathways: Drawing In, On, and Through the Landscape investigates the medium of drawing through six short films shown in succession. In these animated and live action shorts, drawing takes place atop, from within, and while travelling through diverse landscapes: urban and natural, as well as public and private. While some films in this presentation use drawing as a means of recording the ever-changing landscape, others present creative responses to specific physical or environmental conditions. In all instances, drawing serves as a means of connecting its practitioners to a dynamic world. This project includes films by seven internationally recognized mid-career and emerging artists: Ann Carlson & Mary Ellen Strom, Mark Harris, Jessica Mein, Terry Nauheim, Candida Richardson, and Gosia Wlodarczak. Hours: September 21, 7-9pm | September 22-24, 11am-6pm
Curated by Claire Gilman, Curator; Joanna Kleinberg, Assistant Curator; and Rachel Liebowitz, Assistant Curator, The Drawing Center.
Image: Ann Carlson and Mary Ellen Strom, Four Parallel Lines, 2007, Still from video. Courtesy Alexander Gray Associates, New York, NY.
Drawing and its Double
Selections from the Istituto Nazionale per la Grafica
Opening Reception: Thursday, April 21, 6–8pm
This landmark exhibition, co-organized with the Istituto Nazionale per la Grafica (ING) in Rome, of the Ministero per i Beni e le Attività Culturali, Italy, is comprised of fifty-nine rarely-exhibited engraved metal printing plates dating from the sixteenth century to the late twentieth century, culled exclusively from the collections of one of the world’s most important museums devoted to the Graphic Arts. Drawing and its Double will include significant and iconic works by influential artists and engravers such as Giorgio Ghisi (1520–1582), Lafrery Du Perac (1512–1577), Salvator Rosa (1615–1673), Giovanni Battista Piranesi (1720–1778), Antonio Canova (1757–1822), Giorgio Morandi (1890–1964), Piero Dorazio (1927–2005), and Achille Perilli (b. 1927). This exhibition will present the plates as primary art objects without preparatory drawings or the resultant prints. Historical and modern plates from the archive will be presented in The Drawing Center’s Main Gallery. The Drawing Room will feature Decalogo by Paolo Canevari, a new body of work which was created during the artist’s 2008 residency at the ING. Established in 1975, the Istituto Nazionale per la Grafica is the result of a merger between the Gabinetto Nazionale delle Stampe and the Calcografia Nazionale. Housed in a monumental complex at Palazzo Poli near the Trevi Fountain in Rome, ING’s vast collection is comprised of 23,400 printing plates, 25,000 drawings, more than 152,000 prints, 16,000 photographs, and 25,000 books. Since its inception, ING has been instrumental in promoting the systematic study of printing plates as unique art works, and is dedicated to promoting the study and conservation of historical printmaking techniques.
Co-curated by ING curators Ginevra Mariani and Antonella Renzitti, and Brett Littman, Executive Director of The Drawing Center.
Image: Giovanni Battista Piranesi, Piazza di Monte Cavallo , c. 1748. Etching on copper retouched with Burin, 15 1/2 x 21 3/4 inches (394 x 555 mm) (recto). Istituto Nazionale per la Grafica, Rome. VIC 1400/708.
Opening Reception: Thursday, April 21, 6-8pm Paolo Canevari: Decalogo will be on view in a specially designed Drawing Room located within the Main Gallery from April 22–June 24, 2011. This recent body of work by Paolo Canevari (b. 1963) was originally commissioned and exhibited by the Istituto Nazionale per la Grafica (ING) in Rome in October 2008. Comprised of ten large-scale etched plates, this presentation extends the thesis of the concurrent exhibition, Drawing and its Double: Selections from the Istituto Nazionale per la Grafica , by displaying plates without their resultant prints. Decalogo, the Italian shorthand for the Ten Commandments and perhaps the most well-known social contract or “rules to live by,” continues Canevari’s investigation into how dynamic imagery can reveal political and social crises. The plates reverberate on both technical and emotional levels, and lay bare the artist’s acute and perceptive understanding of our times.
This exhibition is co-curated by ING curator, Antonella Renzitti and Brett Littman, Executive Director of The Drawing Center.
Image: Paolo Canevari, Hanging Around, from the Decalogo series, 2008. Etched copper and dry-point, nickel-plated, 55 x 35 x 3/4 inches (set of ten). Courtesy of the artist and Gallery Christian Stein, Milan.
Presented in collaboration with the Institute of Contemporary Art/Boston, this will be the first solo exhibition in New York by Mexican artist Dr. Lakra (b. 1972, Mexico). For this exhibition, Lakra will create a site-specific wall drawing throughout the gallery, integrating works on paper. In this presentation, Lakra uses drawing as the most immediate artistic impulse to invoke fundamental human urges like sex and violence. Using a range of source material, from anatomy textbooks to magazine pin-ups and comic strips, Lakra looks to Mexican and international art historical traditions, as well as the contemporary iconography of tattoo art and borrows a rich sense of satire from his early interest in cartooning. Creating a transformative visual overload, Lakra merges representation with an invented universe, as works transcend categorization and challenge social norms.
This exhibition is curated by Assistant Curator Rachel Liebowitz. On view at 3 Wooster Street (between Canal and Grand) Special Hours: Tuesday–Saturday, 10am-6pm (closed Sunday & Monday)
Image: Dr. Lakra, Untitled , 2010. Ink on paper, 11 x 8 ½ inches. Courtesy of the artist and Kurimanzutto, Mexico City.
Student Artwork from the Drawing Connections Program
Recess Activities, Inc., 41 Grand Street (between West Broadway and Thompson) Drawing Out: Student Artwork from the Drawing Connections Program features student artwork from the Drawing Connections program, which pairs practicing artists with teachers in Lower Manhattan public schools to develop projects that relate classroom curricula to exhibitions at The Drawing Center. Now in its 7th year, Drawing Out features group projects by approximately 100 students from four participating schools: Chelsea Career and Technical Education High School, P.S. 130 Hernando Desoto School, P.S. 42 Benjamin Altman School, and City As School, Brooklyn Campus.Curated by Aimee Good, Director of Education and Community Programs.
Image: Imogene Dunn, 2nd Grade, P.S. 130 Hernando Desoto School.
Drawn from Photography
This group exhibition focuses on a growing trend within drawing: the meticulous translation of images from photographs and photo-based media. Concentrating on instances of social and political transformation from the last two centuries, the thirteen artists in Drawn from Photography turn to source material that ranges from snapshots taken by the artists to photos from news media. The exhibition features Emily Prince’s drawn archive of every fallen American serviceman and woman in Iraq; D-L Alvarez, Andrea Bowers, Sam Durant, and Frank Selby’s renderings of iconic photos of political uprisings and counter-cultural movements; Fernando Bryce’s redrawn historical archives; and Ewan Gibbs and Richard Forster’s drawings after snapshots of the changing industrial landscape. Together, the artists in Drawn from Photography present a novel approach to the drawn medium. In their hands, drawing as rote translation signals a desire for agency coupled with a sense of the distance between “reality out there” and our attempts to comprehend or transform it.
Exhibiting artists include: D-L Alvarez, Andrea Bowers, Fernando Bryce, Sam Durant, Ewan Gibbs, Karl Haendel, Richard Forster, Serkan Ozkaya, Emily Prince, Frank Selby, Paul Sietsema, Mary Temple, and Christian Tomaszewski.
Curated by Claire Gilman, Curator
Image: Frank Selby, Light Blue Riot , 2010. Watercolor on Mylar, 28 x 34 inches. Image courtesy of the artist and Museum 52.
Day Job features works selected through an open call to artists currently in The Drawing Center’s Viewing Program. Rather than subscribing to the idea that non-artistic work is by definition disruptive to an artist’s practice, Day Job looks at the ways in which the information, skills, ideas, working conditions, or materials encountered in the work world can become a source of influence. The exhibition also addresses the ways in which contemporary artists support themselves in an economic climate that often demands particularly diverse and flexible solutions to staying afloat. Comprised of work by 21 artists, the exhibition looks at the relationship between an artist’s “day job” and his or her creative practice. Although the term “day job” may be cast as something that steals time and focus from an artist’s practice, a generative relationship can also exist. Rather than subscribing to the idea that having a job is by definition disruptive, Day Job looks at the ways in which the information, skills, ideas, working conditions, or materials encountered on the job can become a source of influence. This presentation explores the ways in which artists relate to and choose their day jobs, or conversely, how one’s job may serve as an impetus for creating artistic work. Preceded by a long history of artists whose creative practice existed in parallel with other jobs, such as Alan Saret, who worked for New York’s Port Authority engineering division; Rosalyn Drexler, a wrestler; Andy Warhol, who worked in advertising and magazine illustration; and Adrian Piper, a philosophy professor, this presentation also provides a window into the myriad ways in which today’s working artists support themselves in an economic climate that often demands diverse and flexible solutions to staying afloat.
Part of the Selections series, this exhibition is curated by Viewing Program Curator Nina Katchadourian.
Day Job was also on view on view at The Freedman Gallery at Albright College from January 26–March 4, 2012 and Pacific Northwest College of Art, Philip Feldman Gallery + Project Space from April 5–May 15, 2012.
Image: Luis Romero. Selected Fetishes, 2006-2010. Mixed media, dimensions variable. Courtesy of Karen Lennox Gallery, Chicago.
Drawings in Motion
SmartSpaces exhibition in the windows of 200 Lafayette Street (between Broome and Kenmare) Reception: Thursday, December 9, 7-9pm This exhibition investigates the variety of approaches to animated drawing in contemporary art, featuring recent work from a selection of internationally recognized mid-career and emerging artists. With hand-drawn images as the foundation of all of the selected work, some artists play directly with the medium of drawing as both technique and the material object, while others use a more whimsical bent, creating imaginative narratives alongside attending visuals. In all the films being screened, the artists explore the relationship between our surroundings, human culture, and identity, ranging from quick gestures to more elaborate, descriptive narratives. Artists included in the exhibition are Brent Green, Susi Jirkuff, Kakyoung Lee, Tala Madani, and Raymond Pettibon.
This exhibition is curated by Assistant Curators Joanna Kleinberg and Rachel Liebowitz.
ABOUT SMARTSPACES SmartSpaces re-imagines vacant urban spaces as places to present contemporary art, with a mission to make art more accessible, while energizing local communities. Working with curators and arts organizations, SmartSpaces facilitates artistic interventions at the borders of public and private space, transforming empty properties into temporary public art venues, with information and tools that engage and inform the public. Educational information includes signage, free cell phone audio guides, text messaging and online video and podcasts. SmartSpaces.org
Lower Manhattan Expressway
Arthur A. Houghton Jr. Gallery, The Cooper Union 7 East 7th Street, 2nd Floor Mon–Fri 12:00–7:00pm, Sat 12:00–5:00pm (Closed Sun) Paul Rudolph: Lower Manhattan Expressway is organized in collaboration with The Irwin S. Chanin School of Architecture of The Cooper Union. The Lower Manhattan Expressway (LME) was first conceived by "master builder" Robert Moses in the late 1930s as an expressway system running across Lower Manhattan. The idea was revisited by architect Paul Rudolph in 1967 when the Ford Foundation commissioned a study of the project. Had it been constructed, this major urban design plan would have transformed New York City’s topography and infrastructure. In this exhibition, approximately 30 full-scale reproductions of drawings, prints, and photographs dated from 1967–1972 will be on public view for the first time. These works from the Paul Rudolph Archive at the Library of Congress will be shown together with a reconstruction of Rudolph’s model of the LME project created by architecture students at The Cooper Union in conjunction with Rawlings Architects PC. Presenting the only records of Rudolph’s visionary proposal, this exhibition illuminates Rudolph’s unique approach to architectural drawing and highlights the fundamental importance of drawing in his overall practice.
Co-curated by Jim Walrod and Ed Rawlings, Principal, Rawlings Architects PC.
Lines which do not exist
The Drawing Center will present an enhanced version of an exhibition originally on view at Middlesbrough Institute of Modern Art (mima), UK in 2009. This presentation is comprised of approximately 50 graphite, watercolor, and ink on paper drawings made by Gerhard Richter (b. 1932, Dresden, Germany) over a period of five decades from 1966 to 2005. Although Richter is most celebrated as a painter, this exhibition focuses on the artist’s works on paper and explores his complex personal relationship with drawing. The first of its kind in the U.S., the exhibition will also be Richter’s first solo show in a public institution in New York since 40 Years of Painting at The Museum of Modern Art (2002).
Curated by Gavin Delahunty, Curator, Middlesbrough Institute of Modern Art, UK.
Image: Gerhard Richter, R.O., 22.1.1984 , 1984. Watercolor on paper, 5 1/8 x 7 1/8 inches. Private Collection, Berlin.
Poems of the Right Angle
For her first solo museum exhibition in North America, Berlin-based artist Claudia Wieser (b. 1973, Freilassing, Germany) will present a site-specific installation of glazed ceramic tiles and prismatic mirrored facets against a background of geometrically-patterned wallpaper. In addition to the tile and mirror wall relief, Wieser will show a new series of colorful line drawings that play on the installation's optical and spatial illusions and serve to foreground her distinctive approach to abstraction. Together, the works mark the experiential and the intangible through precise geometries imbued with layers of spiritual, psychic, and phenomenal meaning that lead the viewer into contemplative spaces where the primacy of mark-making and viewing become fused.
Curated by Joanna Kleinberg, Assistant Curator.
Image: Claudia Wieser, Untitled , 2009. Crayon on paper, 19 2/3 x 27 1/2 inches (50 x 70cm). Courtesy of the artist and Sies + Höke.
Live & Die Like a Lion?
Leon Golub: Live & Die Like a Lion? is the first major museum exhibition to focus on the late drawings of the American artist Leon Golub (1922–2004). This presentation will feature approximately 50 oil stick and ink on Bristol board and vellum drawings made between 1999 and 2004. It will also include Golub’s only existent unfinished painting—a chalk sketch of two lions—which he started in 2001 but never completed, as well as preliminary ‘background’ drawings and the artist’s original source material from a variety of wide-circulating periodicals. Although he was most often noted as a painter, Golub used drawing as a foundational tool in his practice. The drawings on view mark a stylistic and thematic shift from a long-term preoccupation with the atrocities of the external world towards an exploration of the personally revelatory. The resulting works are candid examples of an aesthetic immediacy and newfound freedom in the artist’s late work.
This exhibition is curated by Brett Littman, Executive Director of The Drawing Center, and will travel to the Mary & Leigh Block Museum of Art at Northwestern University, Evanston, IL (September 24, 2010–December 12, 2010) and The Museum Het Domein, Sittard, Netherlands (January 22, 2011–April 24, 2011).
Image: Leon Golub, LIVE & DIE LIKE A LION?, 2002, Oil stick on Bristol, 8 x 10 inches. Collection of Anthony and Judith Seraphin, Seraphin Gallery Philadelphia, PA. Art © Estate of Leon Golub/Licensed by VAGA, New York, NY. Courtesy Ronald Feldman Fine Arts, New York. Photography by: Cathy Carver.
Early Designs for the Stage
Dorothea Tanning: Early Designs for the Stage will present approximately twenty hand-drawn ballet costume designs by Dorothea Tanning (b.1910) created in collaboration with the early modernist choreographer, George Balanchine. Dating from 1945–1953, the designs will be shown together for the first time, and will be accompanied by archival photographs and ephemera related to the staged productions. This series explores the dynamic intersections of dance, performance, visual art, and costume, while drawing important parallels to Tanning’s early discoveries in both painting and sculpture. Taking the form of traditional fashion plates, the blithely rendered drawings are suggestive of bodies in motion and portrayals of outlandish characters through the quirky detailing and sensual drapery of the costumes.
This exhibition is curated by Assistant Curators Joanna Kleinberg and Rachel Liebowitz.
Image: Costume Design for Night Shadow (A Guest), 1945, Watercolor and wash on paper, 13 7/8 x 9 7/8 inches. Collection of the artist.
Student Artwork from the Drawing Connections Program
The Drawing Center presents Drawing Out , on view in the Drawing Room from April 10–16, 2010. The exhibition features student artwork from the Drawing Connections program, which pairs practicing artists with teachers in Lower Manhattan public schools to develop projects that relate classroom curricula to exhibitions at The Drawing Center. Now in its 6th year, Drawing Out will feature group projects by approximately 100 students from four participating schools: Chelsea Career and Technical Education High School, P.S. 130 Hernando Desoto School, P.S. 42 Benjamin Altman School, and City As School, Bronx Campus.
Image: Damian Sandy, (Grade 12, Chelsea Career and Technical Education High School), Untitled (detail), 2010. Mixed media on paper, 19 x 24 inches.
Composer, Architect, Visionary
Iannis Xenakis: Composer, Architect, Visionary explores the fundamental role of drawing in the work of Greek avant-garde composer Iannis Xenakis (1922–2001). A leading figure in twentieth century music, Xenakis was trained as a civil engineer, then became an architect and developed revolutionary designs while working with Le Corbusier. Comprised of nearly 100 documents created between 1953 and 1984, this is the first North American exhibition dedicated to Xenakis’s original works on paper. Included are rarely-seen hand-rendered scores, architectural drawings, conceptual renderings, pre-compositional sketches, and graphic scores.
Iannis Xenakis: Composer, Architect, Visionary is co-curated by Xenakis scholar Sharon Kanach and critic Carey Lovelace and will travel to the Canadian Centre for Architecture (June 17 – October 17, 2010) and the Museum of Contemporary Art, Los Angeles (November 7, 2010 – February 13, 2011).
Image: Iannis Xenakis, Terretektorh, Distribution of Musicians , 1965. 9 x 9 inches, Ink on paper. Courtesy of the Iannis Xenakis Archives, Bibliothèque nationale de France.
Selections Spring 2010
Selections Spring 2010: Sea Mar ks is comprised of works by Agnes Barley, Jerome Marshak, and Peter Matthews, three artists selected from the Viewing Program who notate, describe, and interpret aspects of the sea. The exhibition examines the capacity of drawing to represent something as dynamic, volatile, and vast as the ocean. All three artists in Sea Marks use distinctly different interpretive strategies that yield a range of unexpected results; in fact, one may not immediately recognize the sea in any of their works. While staying within the material bounds of traditional drawing, the works expand our understanding of how drawing acts as a descriptive system and means of interpretation.
This exhibition is curated by Nina Katchadourian, Viewing Program Curator.
Image: Agnes Barley, Untitled Collage , 2009. Acrylic on cut paper, 15 x 16 inches. Photo by Cary Whittier. Courtesy of the artist.
At the Still Point of the Turning World
An exhibition of drawing-based works by the late American artist Ree Morton (1936 –1977), will be on view in the Main Gallery and Drawing Room from September 18 – December 18, 2009. R ee Morton: At the Still Point of the Turning World highlights Morton’s influential body of work, remarkably all produced in a single decade between her decision to turn to art full-time in the late 1960s and her tragic death in an automobile accident in 1977, shortly before her 41st birthday. While reflecting many of the currents of post-Minimal art of the 1970s, Morton’s work also looked to a pioneering use of personal narrative, intimacy, humor, and poetic imagination. Yet the scope of her artistic production remains largely unrecognized, as does her vital contribution to feminist art practice and the importance of drawing to her development as an artist. The exhibition is comprised of a selection of early drawings, several of which will be on view for the first time, along with major drawing-based sculptural works and a selection of notebook sketches.
Ree Morton: At the Still Point of the Turning World is curated by João Ribas, taking its title from a T. S. Eliot poem Morton kept above her studio desk.
Image: Ree Morton, Pink Numbers , 8 1/2 x 11 inches, mixed media on paper, 1971. Courtesy Alexander and Bonin, New York. Photo: Bill Orcutt
Unica Zürn: Dark Spring will present approximately 50 ink and watercolor works on paper by the late German artist and writer Unica Zürn, spanning from the early 1950s until her tragic suicide in 1970. A noted poet and novelist, Zürn produced numerous expressionistic short stories that were published in German newspapers throughout the 1950s before moving to Paris with German Surrealist artist, Hans Bellmer, who would be her partner and collaborator until her death. Zürn began producing paintings and drawings related to her Surrealist-influenced literary work while living in Paris, becoming acquainted with many artists in the Surrealist circle, including André Breton, Max Ernst, Man Ray, and Marcel Duchamp. Part whimsical cartoons, part intricate portraits, Zürn’s chimerical fantasies make for drawings that are deeply revelatory yet playfully imaginative.
Curated by João Ribas.
Above: Unica Zürn, Untitled (detail), 1961. Ink on paper, 12 3/8 x 9 1/4 inches. Courtesy of Ubu Gallery, New York & Galerie Berinson, Berlin. © Brinkmann & Bose Publisher, Berlin.
FAX will invite a multi-generational group of artists, architects, designers, filmmakers, and thinkers to conceive of the fax machine as a drawing tool. Participants will transmit fax-based work via the museum’s working fax line throughout the duration of the exhibition. The accumulation of information, errors of transmission, junk faxes, “fax lore,” as well as drawings and text – some seminal examples of early fax art – will create an exhibition concerned with reproduction, obsolescence, distribution and mediation. Curated by João Ribas.
This exhibition is co-organized by The Drawing Center, New York, and iCI (Independent Curators International), New York, and circulated by iCI.
Above: Matt Sheridan Smith, Untitled (contrast test) (detail), 2008. Black and white inkjet print, 8 1/2 x 11 inches. Courtesy of the artist and Lisa Cooley Fine Art. Touring Schedule Dowd Gallery, State University of New York, College at Cortland Cortland, New York October 7, 2010 - December 10, 2010 New Galerie Paris, France November 6, 2010 - December 18, 2010 Carpenter Center for the Visual Arts Cambridge, Massachusetts February 17, 2011 - April 3, 2011
Student Artwork from Drawing Connections
Drawing Out provides neighboring public school students with a museum visit and in in-school art-making sessions led by teaching artists, culminating in an exhibition of student artwork.
Participating schools: P.S. 42 Benjamin Altman School, P.S. 130 Hernando DeSoto School, H.S. 560 City-As-School High School, and Chelsea Career and Technical High School. Yu Xiang Lin (Grade 3, P.S. Benjamin Altman School), Untitled , 2009. Ink on paper, 24 x 19 inches.
Shock of Time
Sun Xun: Shock of Time will present two recent hand-drawn animations by Hangzhou-based artist, Sun Xun (b. 1980, China). Shown together for the first time, Shock of Time (2006) and Lie of the Magician (2005) combine traditional drawing materials and printmaking techniques with digital media. The former depicts various tropes and metaphors of duration and transience made from hundreds of single illustrations drawn onto old Communist newspaper and magazine pages. Xun films these drawings to create a series of vignettes revolving around the passage of time. The latter makes use of the artist’s own body as a landscape for images of nature (rain clouds evaporating, seedlings taking root) that evoke myths of creation. Sun Xun: Shock of Time will be the artist’s first solo museum show in New York.
Curated by João Ribas.
Above: Sun Xun, Still from Shock of Time , 2006. Single channel video, 5:29 minutes. Courtesy Fortune Cookie Projects.
Selections Spring 2009
Apparently Invisible: Selections Spring 2009 presents work by nine artists selected from the Viewing Program. The pieces included in the exhibition skirt the edge of perception and cognition, requiring a recalibration of the visual and a momentary investment in a more quiet sublime.
This exhibition includes work by Susan Collis, Michaela Frühwirth, Elana Herzog, Marietta Hoferer, Sarah Kabot, Anne Lindberg, Janine Magelssen, Chris Nau, and Janet Passehl.
Curated by Nina Katchadourian, Joanna Kleinberg, and Rachel Liebowitz.
Above: Chris Nau, Inhabitat XVI (detail), 2008. Graphite and cuts on drywall, 96 x 192 inches.
A Drawing Translates the Way of Thinking
For over three decades, New York-based artist Matt Mullican (b. 1951, Santa Monica, CA) has created a complex body of work concerned with systems of knowledge, meaning, language, and signification. Since the end of the 1970s, he has also conducted performances and created drawings while under hypnosis as a means to explore the nature of behavior. Matt Mullican: A Drawing Translates the Way of Thinking will include work from throughout Mullican’s artistic career, emphasizing the role of drawing in his attempt to understand, organize, and categorize experience. Mullican’s practice, surveyed through drawings, collages, video, and installation, confronts the nature of subjective understanding, rationality, perception, and cognition—in essence proposing a ‘picture’ of the world through the medium of drawing.
Curated by João Ribas.
Above: Matt Mullican, Untitled , 1985. Oil paint on paper, 18 x 24 inches.
Just Like an Ant Walking on the Edge of the Visible
The design work of M/M (Paris) is the product of an influential and creative partnership founded in 1992 by Mathias Augustyniak and Michaël Amzalag. Rooted in an expanded conception of graphic design, M/M’s multi-disciplinary approach extends to artistic collaborations, product design, and commercial projects. M/M (Paris): Just Like an Ant Walking On the Edge of the Visible will feature a newly commissioned project consisting of 41 wood-and-metal stools painted with silk-screened graphics. Designed specifically for the Drawing Room, the installation will use one of M/M (Paris)'s signature letterform alphabets to compose the exhibition’s titular phrase. As part of the exhibition, invited artists will utilize the installation to host a series of drawing courses.
Curated by João Ribas.
Above: Exhibition design rendering by M/M (Paris), 2008.
Rirkrit Tiravanija: Demonstration Drawings presents over 200 works on paper from the artist’s ongoing series of commissioned drawings derived from photographs of demonstrations published in the International Herald Tribune . While public protests and mass demonstrations are often associated with the politics of the 1960s, Tiravanija’s ongoing project reconsiders their relevance in today’s political climate. The Demonstration Drawings provide a perspectival view of collective actions, political protests, and popular sovereignty movements worldwide—turning ephemeral images of strife and social conflict into documents of political aspiration.
Curated by João Ribas.
Above: Rirkrit Tiravanija, untitled (demonstration no. 138) , 2006. Graphite on paper, 8 1/4 x 11 3/4 inches. Courtesy of the artist; 1301PE, Los Angeles; and Gavin Brown's enterprise, New York.
Greta Magnusson Grossman
Furniture and Lighting
Greta Magnusson Grossman: Furniture and Lighting is the first major U.S. exhibition to focus on the drawings of this Swedish-born, Los Angeles-based architect and industrial designer. A two-time recipient of the Museum of Modern Art’s “Good Design” award, Grossman (1906-1999) remains an under-recognized, yet highly influential figure in the Southern California design movement of the 1950s and 60s. This exhibition will present recently discovered and never-before-seen industrial design drawings executed between 1948 and 1959 as well as archival photographs of Grossman’s residential buildings, interiors, and furnishings.
Curated by Brett Littman.
This exhibition is made possible by The Barbro Osher Pro Suecia Foundation, The American Scandinavian Foundation, and Nina and Frank Moore. Special thanks to Evan Snyderman and Lily Kane, R 20th Century.
Above: Greta Magnusson Grossman, Technical drawing for table lamp, The Ralph O. Smith Company, c. 1948. Pencil on paper, 8 1/2 x 12 1/2 inches. Courtesy R 20th Century Permanent Collection, NY.
What If I Could Draw a Bird That Could Change the World?
Selections Fall 2008 features the work of Viewing Program artist Kathleen Henderson. Using her chosen medium of oil stick on paper, the artist deploys a sparse, tense, and energetic line to make drawings that are at turns comic, perverse, poignant, and brutal. Henderson works with the radio on, the sounds of talking pundits and news stories filtering through her onto the page where ambiguous scenarios offer playful or possibly sinister interactions. By offering disquieting representations of patterns of human behavior, her work asks us to consider our own complicity in and capacity for violence as well as benevolence.
Curated by Nina Katchadourian.
Above: Kathleen Henderson, Hole , 2008. Oil stick on paper, 17 1/2 x 23 inches.
This exhibition explores the pivotal role drawing played in the interdisciplinary and multifaceted work of Austro-American designer, artist, theoretician, and architect, Frederick Kiesler (1890-1965). Frederick Kiesler: Co-Realities will trace Kiesler's interest in the expressive and conceptual possibilities of drawing through key projects and concepts from the 1930s to the 1960s, from his early work as a scenic designer to his revolutionary designs for Peggy Guggenheim's Art of the Century Gallery, and his decades long investigation into the unique structure of his Endless House . As so few of Kiesler's installations, sets, or projects remain or were ever realized, the drawings have become key to understanding his significant contribution to 20th century thought. Philip Johnson called Kiesler "the best-known non-building architect of our time.” Frederick Kiesler: Co-Realities will feature an exhibition design by the New York-based architecture firm nArchitects.
This exhibition is co-organized and curated by Dieter Bogner, President, Austrian Frederick and Lillian Kiesler Private Foundation, Vienna and João Ribas, Curator, The Drawing Center.
Drawing on Film
Drawing on Film will survey the practice of “direct film”—the process of drawing, scratching, or otherwise manipulating film stock to create images without a camera. The exhibition will present works spanning from the late 1930s to the present and will highlight an overlooked facet of experimental film. Many of the works to be exhibited are seminal films in the history of the genre—including Len Lye's A Colour Box and Norman McLaren's Blinkity Blank —while other, more contemporary works are being screened for the first time. By showcasing films from over seven decades, Drawing on Film will present an overview of the rich legacy of direct film. The exhibition will transform the Drawing Room into a screening room with a program of films by eleven artists that will screen multiple times each day. In addition, individual installations, one by Jennifer Reeves and one by Jennifer West, will run for one week each. Two separate evening screenings will feature works by Stan Brakhage and by Dieter Roth and Amy Granat, respectively.
Artists include: Stan Brakhage, Robert Breer, Amy Granat, Pierre Hébert, Len Lye, Norman McLaren, Bärbel Neubauer, Jenny Perlin, Jennifer Reeves, Richard Reeves, Dieter Roth, Harry Smith, and Jennifer West. Screening Schedule Thursday, May 29 – Saturday, July 5 (daily) Tuesday, July 22 – Thursday, July 24 (daily) Len Lye, A Colour Box , 1935, 4 min.; Norman McLaren, Blinkity Blank , 1955, 5:15 min.; Harry Smith, Early Abstractions no. 3: Interwoven , 1947–49, 3:20 min.; Bärbel Neubauer, Roots , 1996, 3:44 min.; Dieter Roth, Dot , 1956–62, 2:39 min; Jenny Perlin, Lost Treasures , 1999, 2:33 min.; Pierre Hébert, Op Hop – Hop Op , 1966, 3:30 min.; Richard Reeves, Linear Dreams , 1997, 7 min.; Jennifer West, Double Fast Luck Film (16mm film leader sprinkled with Red Luck Oil, Green Luck perfume, soaked in mint, cinnamon and vanilla) , 2006, 2:44 min.; Len Lye, Free Radicals , 1958 (revised 1979), 4 min.; Robert Breer, Eyewash , 1959, 3 min.; Pierre Hébert, Memories of War , 1983, 16:10 min.; Bärbel Neubauer, Moonlight , 1997, 4:11 min.; Norman McLaren, Scherzo , 1939, 1:25 min.; and Amy Granat, Valentines Day Film , 2008, 6:57 min. Tuesday, July 8 – Saturday, July 12 (daily) Jennifer West, Popped Cherry Film (16mm film leader stained with cherry juice, popped with hole puncher) , 2007, 2:40 min. Tuesday, July 15 – Saturday, July 19 (daily) Jennifer Reeves, Light. Work. Mood. Disorder. , 2007, 26:12 min. (Music composed and performed by Anthony Burr.)
Curated by João Ribas.
Pictured above: Richard Reeves, Film strip from Linear Dreams , 1997. 35mm film, 7 min.
Yüksel Arslan (b. 1933, Istanbul, Turkey) has often been associated with the loosely-structured surrealist movement in Turkey and was affiliated with the intellectual circles of 1960s Paris that included Jean-Paul Sarte, André Breton, and Jean Dubuffet. For the past 60 years, Arslan has been mining the depths of the unconscious mind, bringing together Western and Eastern aesthetics and philosophy in finely wrought works that he calls Artures . Serial in format, the hundreds of drawings he has produced deal with subjects as varied as schizophrenia and the eroticism of de Sade, Bataille, and Artaud, as well as visual interpretations of artists, poets, writers, scientists, musicians, and philosophers that have influenced his thinking. Arslan’s working process includes the use of self-made and antique tools and the production of his own colors using ancient methods of combining raw pigments with his own saliva, blood, urine, and other organic materials like honey, earth, and egg whites.
Though Arslan has exhibited extensively in Europe and is well-known in Turkey, this exhibition in the Drawing Room, curated by Executive Director Brett Littman, will be the first survey of his work in the United States.
Pictured above: Yüksel Arslan, “L’Homme XXVI: Hallucinations, Arture 385” (detail), 1988. Handmade pigments and ink on paper, 13 1/4 x 10 3/4 inches. Photo by Cengiz Tacer.
Student Artwork from Drawing Connections
Drawing Out is an annual exhibition of student artwork from the Drawing Connections Education Program, which places teaching artists in downtown public schools. Through this program, The Drawing Center partners with four neighboring Lower Manhattan public schools to provide students with an in-depth visual art experience, culminating with this exhibition in the Center’s galleries.
Selections Spring 2008
Spring Selections 2008 will mark the first exhibition curated with the use of The Drawing Center's newly established online Artist Registry. Selections exhibitions are a cornerstone of The Drawing Center's exhibition program and a key component of the Viewing Program. Selections Spring 2008 celebrates the 92nd Selections exhibition in the Center's ongoing series that presents new work by underrepresented and emerging artists.
This exhibition will feature work by Hannah Burr, David Clarkson, Isabelle Cornaro, Dianna Frid, Brian Lund, Tina Schneider, Kate Smith, Casey Jex Smith, and Andrea Sulzer.
Curated by Nina Katchadourian.
Above: Isabelle Cornaro, Savannah Surrounding Bangui and the River Utubangui (detail), 2003–07. Digital pigment print on rag paper, 16 1/2 x 23 5/8 inches.
Sterling Ruby addresses notions of violence, repression and social control through a diverse artistic practice, incorporating sculpture, video, photography, drawing, collage and installation. Through visceral, cryptic and architectonic motifs, ranging from "Supermax" prisons to biomorphic forms, Ruby trades medium-specificity for an exploration of shifting borders of social and subjective experience that propose a self-styled “amorphous law.” Sterling Ruby: CHRON will present a survey of the LA-based artist’s work in drawing with approximately fifty works spanning from 2003 to the present, including several new large-scale works conceived for the Drawing Room. The exhibit will foreground the role of drawing as medium, gesture and act, in Ruby’s multivalent body of work—from graffiti-based spray paint drawings to photographic collages, nail polish abstractions, and inscribed Formica sculptures—which when viewed together reveal formal and thematic connections informed by the artist’s background in drawing.
Curated by João Ribas.
Above: Sterling Ruby, Prison (detail), 2004. Collage and pencil on paper, 31 1/2 x 23 3/4 inches.
Alan Saret: Gang Drawings marks the first major museum exhibition of Saret's work in 17 years. Saret was a vital part of the Soho alternative art scene in the late 1960s and 70s, as well as an important figure in the history of process art and post-minimal art. The exhibition will focus on the artist’s “gang drawings,” made from fistfuls (“gangs”) of colored pencils swept across the page, spanning from the 1960s to the present.
Organized in close collaboration with Saret himself, the exhibition will feature never before seen work drawn from the artist's own archive.
Curated by João Ribas.
It’s Not the Eye of the Needle That Changed–The Time
It’s Not the Eye of the Needle That Changed–The Time presents a new body of work by the Berlin-based artist Kirstine Roepstorff in which the medium of collage is used to confront the tension between political identity and individual desire. Through a working method she calls “approprio-arranging,” Roepstorff sews, pins, glues, and weaves together photocopies, fabrics, glitter, paper, and images appropriated from magazines and newspapers, constructing a poetic, post-feminist practice that addresses issues such as consumerism, the failure of the social democratic project, and contemporary gender politics. It’s Not the Eye of the Needle That Changed–The Time will be the artist’s first solo museum exhibition in North America.
Curated by João Ribas.
Works on Paper
Best-known for large-scale kinetic sculptures and installations, Jon Kessler has been exploring the mass media’s infatuation with war, disaster, sex, and celebrity through politically charged work since the 1980s.
Jon Kessler: Works on Paper , the artist’s first exhibition of drawing-based work, will consist of portraits collaged from magazines and newspapers that confront the collusion of advertising, propaganda, surveillance, and technology.
Selections Fall 2007
Non-Declarative Art explores ambiguity and the rejection of overt meaning in the work of thirteen emerging artists selected from the Viewing Program. The exhibition presents drawing-based work that ranges from pointed to trivial in subject matter, from perfection in craft to studied clumsiness.
Between Transparency and the Invisible
Gego, Between Transparency and the Invisible explores the intriguing relationship between line and light in the work of the Venezuelan artist Gego (Gertrud Goldschmidt, 1912-1994). The exhibition will trace Gego's interest in “mak[ing] visible the invisible” from a rarely seen series of monotypes of the early 1950s to her delicate drawings without paper and tejeduras (woven paper pieces) of the late 1970s-1980s. Juxtaposing important artworks produced from the mid-1950s to the late 1980s and bringing two bodies of Gego's work into dialogue for the first time, Gego, Between Transparency and the Invisible , will foreground the critical role that drawing and printmaking played in the artist's oeuvre.
Curated by Mari Carmen Ramirez, Wortham Curator of Latin American Art at the Museum of Fine Arts, Houston.
For this exhibition in the Drawing Room, the artist William Anastasi will recreate seminal site-specific works dating from the mid-1960s. These early pieces are a testament to the artist's interest and pioneering efforts in site-specific projects, as well as in the medium of drawing. The artworks incisively explore the nature and behavior of drawing in the gallery space through different strategies, bringing to the surface questions about site and medium specificity, materiality, and the dematerialization of the art object. By focusing on the artist's expansive approach to the medium, the exhibition aims to contribute to a much deserved critical reconsideration of Anastasi's oeuvre.
Curated by João Ribas.
Student Artwork from Drawing Connections
Drawing Out is an annual exhibition of student artwork from the Drawing Connections education program, which places teaching artists in downtown public schools. Through this program, The Drawing Center partners with four neighboring Lower Manhattan public schools to provide students with an in-depth visual art experience, culminating with this exhibition in the Center’s galleries.
Visionary architect and artist Yona Friedman is one of the most important and influential figures working in the fields of sustainable and self-initiated architecture. For his first U.S. solo exhibition, Friedman will present a spatial collage of his series of drawings from 1980, “A Better Life in Towns,” as well as re-workings of his noted “Spatial City” drawings from 1958. Utilizing simple, everyday materials, Friedman will create an installation in the Drawing Room in collaboration with Normal Architecture Office that foregrounds his concerns with flexible, utilitarian, and portable design.
Selections Spring 2007
Levity: Selections Spring 2007 explores lightness as both a material and metaphoric condition in the work of fourteen emerging artists selected from the Viewing Program. Levity presents drawings made using a variety of methods and materials—including light itself—to investigate transparency, highlight a humorous view of mundane objects and situations, or compose whimsical and joyful imagery.
From Shell to Skin
Despite early success and a long teaching career at Cornell University, Eleanore Mikus seems to have largely been missed by history. The Drawing Center’s fall exhibition Eleanore Mikus: From Shell to Skin , featuring a selection of the artist’s early work, aims to redress this oversight. The exhibition includes drawings and paintings, featuring several of Mikus’ “Tablets” from the early 1960s, as well as slightly later folded paper works.
Eleanore Mikus: From Shell to Skin is curated by artist Luis Camnitzer.
Christine Taylor Patten
micro/macro: 261 drawings
micro/macro: 261 drawings consists of 260 one-by-one-inch crow quill and ink drawings on three-inch paper (the micro) and one 21-by-103.5-inch study (the macro). A progression of images begun with a single dot in space, the complete series of thousands of drawings evolves through gradual movement, each drawing in the sequence referring to the preceding one. While strictly non-referential, the drawings evoke cosmic imagery – swirling clouds, clusters of planets, wave patterns – and have been numbered as years, celebrating two millennia.
Selections Fall 2006
Common Destination: Selections Fall 2006 features twelve emerging artists selected from the Viewing Program. The artists in Common Destination explore the fictions, histories, and futures of geopolitics through an expansive approach to drawing. The exhibition will run concurrently in the main gallery and the Drawing Room at 40 Wooster.
Crust and Dirt's Instant Drawing Machine
Emerging artists Oliver Halsman Rosenberg (San Francisco) and Clint Taniguchi (Tokyo), who collaborate under the name Crust and Dirt, will exhibit wall drawings and scrolls made with their Instant Drawing Machine. Their playful images are generated from wishes requested via webcam from passersby in Barcelona, London, Stockholm, Shanghai, Tokyo, and New York City.
To see more of their work please visit www.instantdrawingmachine.com
Eva Hesse Drawing is the first exhibition in over 20 years to focus on the role of drawing in the achievements of Eva Hesse (1936-1970), one of the most influential artists of the postwar era. The exhibition is a rare opportunity to view 150 of the Hesse’s fascinating works on paper, including sketches and working notes that offer a behind-the-scenes look into the beginnings of many of her important sculptures. To illuminate the complex and rich crossover between drawing and sculpture in Hesse’s work , Eva Hesse Drawing also features a critical selection of the artist's reliefs and test pieces.
The exhibition is co-curated by Catherine de Zegher and Elisabeth Sussman, Curator and Sondra Gilman Curator of Photography at The Whitney Museum of American Art. Eva Hesse Drawing is organized by The Drawing Center, New York, and The Menil Collection, Houston. Exhibition Tour The Menil Collection, Houston: February 3 – April 23, 2006 The Drawing Center, New York: May 6 – July 15, 2006 The Museum of Contemporary Art, Los Angeles: August 6 – October 23, 2006 Walker Art Center, Minneapolis: November 12, 2006 – February 18, 2007
Above: Eva Hesse, no title, 1968. Graphite, brown wash, and gouache, 12 1/8 x 12 3/16 in. The Saint Louis Art Museum. Gift of Dr. and Mrs. Edward Okun. © The Estate of Eva Hesse, Hauser & Wirth Zürich London
New York artist Stephen Posen will present an ambitious new drawing installation that explores scale, color, and the quality of line, engaging the walls, ceiling, and floor of the space, as well as the street outside it, with a circular trace of movement that has spatial, metaphorical, and poetic resonances. The title Dancer/Mirror refers to the relationships between movement and stasis, gesture and structure, and artist and viewer.
Student Artwork from “Drawing Connections”
Drawing Out is an exhibition of student artwork from The Drawing Center’s program that places teaching artists in downtown public schools. Featured in the Drawing Room at 40 Wooster Street will be ambitious collaborative projects made by students in the “Drawing Connections” program. Drawing Out will present cross-disciplinary group projects by 100 students from four participating schools: P.S. 42 Benjamin Altman School, P.S. 130M, and City-As-School and SoHo Communications Art Academy high schools.
For her first New York exhibition, contemporary Belgian artist Joëlle Tuerlinckx will create a new project filled with stretch drawings, floating forms, moving points, and flat shapes that index the measurements and scale of the space. Lengths of thread, elastic bands, rolls of paper, drawn-out screenings, areas of light projection, and numbers of paces are all tools for tracing the experience of The Drawing Center as processed through Tuerlinckx’s thinking.
Joëlle Tuerlinckx: Drawing Inventory is curated by Catherine de Zegher and Katherine Carl.
Selections Spring 2006
Analog Animation presents recent work by 18 emerging artists who animate their drawings largely with “old-fashioned,” hand-drawn animation techniques rather than digital media. Analog Animation will highlight a wide array of inventive animated works presented in a continuous projected loop and four site-specific installations. The artists use such disparate media as collage, imprints, silhouettes, light gels, and sliding window shades to create series of moving and transforming images that foreground the artist’s hand and the act of drawing, rather than employ digital manipulation.
The exhibition, curated through The Drawing Center’s Viewing Program, is part of the ongoing Selections series.
Acute Zonal Occult Outer
Selections Winter 2006
Fritz Welch with Elena Beelaerts and Jovi Schnell invited Rudolf Eb.er, Kim Jones, Alastair MacLennan, Ryoga Katsuma, Andre Stitt and Crank Sturgeon to create the installation Acute Zonal Occult Outer . This collaborative of emerging artists took over the Drawing Room with large-scale drawings that grew throughout the space and changed with performance and natural decay as the artists playfully explored the process of structures that become established and then deteriorate over time.
Acute Zonal Occult Outer was organized by Fritz Welch and selected through the Viewing Program.
Drawing from the American-Vietnam War
Thirty years after the fall of Saigon, Persistent Vestiges brought together work by Vietnamese and American artists dating from the war-era and the present day. Hand-printing on the gallery walls by Nancy Spero and collages by Martha Rosler were in dialogue with photo-based mixed media work by Dinh Q. Lê and Binh Danh. Persistent Vestiges juxtaposed the work of artists from different generations who approach the subject of the war from various perspectives. The exhibition continued in the Drawing Room.
Selections Fall 2005
LineAge: Selections Fall 2005 featured nine emerging artists selected from the Viewing Program. The artists in LineAge explored the genealogy of the drawn line in terms of formal development, biographical content, or demarcations of identity.
Looking at the Spirits
Peter Minshall's Carnival Drawings
The acclaimed Trinidadian artist Peter Minshall works in the medium of mas , the costumed performance portion of Carnival. This exhibition of hundreds of small sketches conveyed the artist's intensive cumulative process of preparatory drawing as he envisions a full troupe of costumed performers in motion. Minshall has created scenarios for dozens of performances with hundreds of people, including Carnival and the closing ceremonies for the Summer Olympics in Atlanta, Georgia (1996).
Selections Summer 2005
Wall-to-Wall Drawing , curated through The Drawing Center's Viewing Program, featured wall drawings by seven emerging artists. Rather than creating murals or using the wall as a super-canvas, these artists delved into the function of the wall and its symbolic value. Whether making subtle graphite marks, bold drywall cut-outs, huge gestural lines, or digital media projections, all of the artists played with ideas of illusionism, transparency, depth, and materiality of the wall as it both supports and becomes their artwork. Through diverse approaches, the artists in Wall-to-Wall Drawing deconstructed the surface of the museum wall and developed complex relationships between the wall and the message of their work.
Geometry of Paradox
This exhibition presented two- and three-dimensional works on paper by the under-recognized New York-based artist Zoe Keramea (b. 1955, Athens, Greece). Through the use of deceptively simple motifs—lines, knots, and geometrical shapes—Keramea produces "drawings" that unfold conceptually from a flat plane or sometimes emerge three-dimensionally in paper constructions. The exhibition reflected Keramea's sense of delight in visual challenges, and she invited viewers to involve themselves in the mental "unfolding" of the work.
A joint exhibition of student drawings
The Drawing Center's Drawing Connections artworks on view at 40 Wooster Street Studio in a School artworks on view at 35 Wooster Street Drawing Connection s provides neighboring public schools with a museum visit and in-school art-making sessions with teaching artists, culminating in an exhibition of student artwork. Participating schools are: P.S. 42 Benjamin Altman School, P.S. 130M, and Soho Communications Art Academy and City-As-School high schools.
Lines among Lines
Nasreen Mohamedi: Lines among Lines presented the contemplative abstract drawings and photographs of the under-recognized Indian artist Nasreen Mohamedi (1937-1990). Mohamedi's spare drawings were informed by ideas of modernity and by the geometry of Islamic architecture. The exhibition featured thirty of the artist's fine-line drawings created from the early 1960s to the late 1980s, as well as fifteen of her black-and-white photographs. The exhibition highlighted the exchange between drawing and photography throughout Mohamedi's work. In both media, the artist reduced structures and spaces to patterns of diagonals and planes.
3 x Abstraction
New Methods of Drawing by Emma Kunz, Hilma af Klint, and Agnes Martin
This major touring historical exhibition, co-curated by Catherine de Zegher and Hendel Teicher, presented the work of three pioneering women artists: Hilma af Klint (Sweden, 1862–1944), Emma Kunz (Switzerland, 1892–1963), and Agnes Martin (Canada/U.S., 1912–2004). These three artists, each from a different generation spanning the last one hundred years, approached geometric abstraction not as formalism, but as a means of visualizing philosophical, scientific, and transcendental ideas. 3 x Abstraction introduced the work of af Klint and Kunz—which has been eclipsed for so long—and revisited Martin's work from a new perspective.
3 x Abstraction tours to the Irish Museum of Modern Art, Dublin, Ireland from January 25 - March 26, 2006.
It’s A Room for 3 People
For this major two-part exhibition, contemporary American artist Richard Tuttle created a new body of work that expanded the traditional boundaries of drawing. In the main gallery, Tuttle arrayed five clusters of work—what he terms “villages”—consisting of both wall-mounted works and three-dimensional pieces. The exhibition highlighted Tuttle’s extraordinary manipulation of a surprising variety of materials, including traditional drawing media, such as graphite, watercolor, charcoal, colored pencil, and gouache, as well as non-traditional media, such as plywood, string, cardboard, cloth, sawdust, glitter, and Styrofoam.
The second part of the exhibition opened in the Drawing Room on February 5, 2005 and featured a sixth "village" of two-dimensional and three-dimensional work, created in response to the five "villages" presented in the concurrent main gallery exhibition. The second part of this unique pairing of exhibitions offered a chance for Tuttle to be more experimental towards the questions about drawing that he raised in the first exhibition.
Richard Tuttle: It’s A Room for 3 People toured to the Aspen Art Museum, Aspen, Colorado from December 9, 2005 - February 5, 2006.
Field of Color
Tantra Drawings from India
Tantric drawings from Rajasthan in northeastern India feature beautiful symbolic and geometric images created to aid in meditation. The works in this exhibition were made in the last decade and are descendents of a 400-year long tradition in the practice of Hindu Tantrism.
León Ferrari: Politiscripts was the first U.S. solo museum exhibition of the Argentinean artist León Ferrari (b. 1920). The exhibition, curated by Luis Camnitzer, focused on Ferrari's calligraphic drawings from the 1960s as they relate to his influential role in exploring art as a political agent.
Selections Fall 2004
Talespinning presented the work of fourteen artists who explore allegories of the fantastical, the uncanny, and the mundane. Influenced by such diverse sources as literature, fairy tales, comics, newspapers, atlases, and hand-made signs, the artists produce works in which reality and fiction collide without resolution.
Selections Summer 2004
Playpen was a process-based exhibition that encouraged experimentation with the boundaries of space, drawing, and the role of the institution. Each of the artists created a project specifically for the exhibition, which was part of The Drawing Center’s ongoing Selections series. Often depending on direct interaction with the audience for their ultimate meaning, the works in Playpen crossed the line between the sanctity of objects and the temporality of performative events.
Impressions from Nature
Ocean Flowers: Impressions from Nature was a groundbreaking exhibition, curated by Catherine de Zegher and Carol Armstrong, tracing the role of drawing and botany in the development of early photography in the mid-nineteenth century. Focusing on a period of tremendous advances in graphic media, the exhibition featured over 300 beautiful natural-history illustrations from the Victorian era. Ocean Flowers highlighting the fertile exchange between drawings, "nature prints" (direct imprints from plants), hand-colored prints, mounted specimens, and "photogenic drawings" (photographs made without a camera).
This exhibition was the Los Angeles-based Honda’s (b. 1961) first New York City solo museum exhibition. The exhibition focused on a series of site-specific drawings that connect the natural sciences and the visual arts to the workings of memory and loss.
The Imprint of Drawing
Giuseppe Penone: The Imprint of Drawing was the first New York solo museum exhibition of the contemporary Italian artist Giuseppe Penone (b. 1947), who was first recognized for his work associated with Italy's Arte Povera movement in the 1960s. The exhibition focused on Penone's impressive contributions to drawing over his thirty-five-year career, and featured impressive large-scale drawings and a selection of sketches executed between 1968 and 2003.
Giuseppe Penone: The Imprint of Drawing was curated by Catherine de Zegher.
Helena Almeida Inhabited Drawings was the first time the work of the contemporary Portuguese artist Helena Almeida (b. 1934) was presented in a solo museum exhibition in the U.S. Curated by Isabel Carlos, the exhibition featured works from the late 1970s to the present that bridge photography, drawing, performance, and sculpture.
Mapping of Being
Selections Winter 2003
Mappings of Being presented the drawings of three emerging artists who explore visual and philosophical approaches to mapping as a way to position oneself in the world: Maria Bussman (New York/Germany), Christoph Fink (Belgium), and Bogdan Hoffman (Germany).
The first major retrospective of New York artist Mark Lombardi (1951–2000) presented twenty-five of his complex and prescient diagrammatic drawings mapping secretive financial and political relationships.
Mark Lombardi: Global Networks was organized by Independent Curators International and curated by Robert Hobbs.
Selections Fall 2003
This exhibition in the main gallery and the Drawing Room introduced the work of 14 emerging artists whose drawings explore means of interface between the protected interior and the reality of the outside world.
Róza El-Hassan: Drawings marked the artist's first museum exhibition in New York. El-Hassan created a wall drawing consisting of a delicate lattice of pencil lines encompassing the gallery.
The Stage of Drawing
Gesture and Act. Selected from the Tate Collection
The Stage of Drawing: Gesture and Act. Selected from the Tate Collection featured 145 works on paper selected by the artist Avis Newman in collaboration with Catherine de Zegher. The exhibition provided a memorable opportunity to view developments in drawing over the past three centuries through the eyes of an artist who has devoted most of her career to drawing. The exhibition featured a wide array of drawings from the mid-1700s to the 1970s by British and international artists and offered a remarkable survey of the formation of Tate's prestigious and rarely exhibited drawing collection. The Stage of Drawing: Gesture and Act. Selected from the Tate Collection was co-organized by The Drawing Center and Tate.
Selections Spring 2003
In a variation on the Selections series of exhibitions, The Drawing Center invited several emerging artists to develop drawing-based public art projects and performances. In addition to creating artworks for the Drawing Room, the artists presented performances and site-specific projects on Wooster Street in the vicinity of The Drawing Center, engaging and surprising passersby.
The Royal Art Lodge
Ask the Dust
Over a period of six years, The Royal Art Lodge produced a remarkably large body of work, including drawings, sculptures, videos, puppets, music, costumes, and dolls. Their low-tech aesthetic and crude-yet-precise draftsmanship, combined with a perversely idiosyncratic sense of humor, resulted in an outpouring of unforgettable hybrid creatures, absurd commentaries on the human condition, and an art of dynamic energy, whimsical charm, and expressive beauty. The exhibition, which was curated by Wayne Baerwaldt and Joseph R. Wolin, continued in the Drawing Room .
Selections Fall 2002
This group exhibition featured nine emerging artists: Joachim Bandau (Germany), Peter Dudek (Brooklyn), William Duty (Brooklyn), Nils Gjerdevic (Copenhagen, Denmark), Karl Jensen (Brooklyn), Kathleen McShane (Philadelphia), Ann Pibal (Brooklyn), Suzanne Song (New Haven), and Caroline Van Damme (Brussels, Belgium). Abstract Tendencies was characterized by arrangements of shapes and colors suggesting a tendency toward formal abstraction shared by each artist. The selected artists either re-examined concepts and philosophies of abstraction or presented unabashed representations of the real and everyday.
Cesar Paternosto and Cecilia Vicuña
DIS SOLVING: threads of water and light
Cecilia Vicuña (Chile/New York) and César Paternosto (Argentina/ New York) presented an exhibition project in progress. DIS SOLVING: threads of water and light incorporated drawings from the 1960s to the present, a wall drawing by Paternosto, and a three-dimensional drawing with hand-woven thread by Vicuña. Over the course of the exhibition, Vicuña expanded her installation of lines in space while Paternosto’s drawings were gradually removed.
Kay Rosen: Collages 1999-2002 presented an adventurous and exploratory drawing series springing from the artist’s larger body of text-based work. The works emerged from Rosen’s continued fascination with language and commitment to eliciting new meanings from everyday objects through the layering of text and image. Through subtle combinations of found materials, Rosen coaxed a playful humor from words, her longtime subject matter. In a wall drawing, Rosen combined found paint (a hardware store’s accidental mixture) with text, utilizing the physical space of the gallery as both page and canvas. Together, the collages and wall drawing created a poetic and compelling drawing-based installation.
25th Anniversary Benefit Selections Exhibition
On the occasion of its 25th Anniversary, The Drawing Center invited all of the 750 artists whose work had been featured in Selections or Drawing Room exhibitions since 1977 to participate in a special 25th Anniversary Benefit Selections Exhibition. The exhibition featured nearly 400 drawings by the invited artists.
Clarina Bezzola's Fluid was a metaphorical installation about circulation through barriers and skins. It included ceramic, metal, and fabric pieces that connected drawn elements on the walls and floor. The drawings also served to create spatial illusions hinting at the presence of perceptual barriers. According to the artist, her work is her body, and the installation, although existing in the gallery, "should always be thought of as a part of me." Her use of flower patterns underscored the surfaces that wrap and hide the inner lives of her forms; they provide a "hypocritical way of covering up." Bezzola's pieces are often wearable and used in performances. The exhibition was accompanied by the artist's performance of "Lamentation," an operatic improvisation in which, dressed in a sculpture of her own making, she made use of her classically trained voice.
Ellsworth Kelly, Tablet: 1949–1973 presented 180 fascinating never before seen drawings by the major contemporary artist Ellsworth Kelly. The artist selected 188 of his working drawings to be included in the exhibition, which was curated by Yve-Alain Bois. The exhibition provided a intimate look into Kelly's working process during a prolific and pivotal period in the artist's career.
An installation by emerging artist Sarah Oppenheimer, Hallway marked the artist's first museum exhibition in New York. Addressing the issue of how people interact with physical and architectural spaces, Oppenheimer temporarily converted the Drawing Room into a hallway, the dimensions of which she altered during the exhibition in response to the ways in which groups of experimental subjects navigated the space.
Selections Winter 2002
Realistic Means featured six artists from disparate regions of the U.S. and abroad who employ realism as a means of exploring issues like deconstruction, meditation, obsession, and memory. For the these artists, the choice of realism is an informed one, untainted by their longing to be validated as skillful, and guided solely by the need to solve and express particular problems at a given moment. Realistic Means was curated by Luis Camintzer.
Ellen Gallagher: Preserve introduced a new series of mixed-media drawings taken from advertisements in mid-century black culture magazines. The exhibition also featured the artist's first sculptural project: a three-dimensional jungle gym construction.
Ellen Gallagher: Preserve originated at the Des Moines Art Center and was organized by Jeff Fleming.
Suzan Frecon: drawing painting included fifty watercolors that reflected Frecon’s outstanding contribution to the field of drawing over the past twenty five years, during which time she focused on reaching a higher and more pure form of abstraction in her art.
Anna Maria Maiolino
A Life Line/Vida Afora
This major exhibition marked the first time that the work of Anna Maria Maiolino was the subject of a solo exhibition in the United States. The exhibition featured one hundred drawings from Maiolino’s thirty-five-year career, including works on paper that involve folds, cuts, tears, hand-sewn seams, and flowing ink. The exhibition encompassed the entire scope of the artist’s drawing practice and focused on her use of open-ended and inclusive forms that examine the personal and political connotations of space, language, and geography.
Anna Maria Maiolino: A Life Line/Vida Afora was curated by Catherine de Zegher.
Shaker Gift Drawings and Gift Songs
Heavenly Visions: Shaker Gift Drawings and Gift Song s featured approximately 130 drawings, song manuscripts, and other texts inspired by the unique spiritual practices and beliefs of the American religious community known as the Shakers.
The exhibition was curated by France Morin, and the drawings and texts were lent by several major public and private collections around the United States.
Bracha Lichtenberg Ettinger
This exhibit was the first U.S. solo exhibition of drawings by Israeli artist Bracha Lichtenberg Ettinger. Ettinger's enigmatic drawings were drawn from her ongoing Eurydice series, in which she addresses issues of exile, memory, human relationships, and history through layered images of photocopied archival photographs and screen-like veils of ink.
Selections Fall 2001
Elena del Rivero
Elena del Rivero's installation comprised large-sized sheets of handmade paper that were part of a year-long performance. The artist tracked a year in her life by placing these large-sized sheets of paper all around the floors of her home and then working on them in her studio. Each sheet of paper was then rotated from one location to another until it had visited every area of her home and was thus marked by all aspects of her life.
Between Street and Mirror
The Drawings of James Ensor
Between Street and Mirror focused on the most creative and prolific period of the innovative draftsman James Ensor. Between 1880 and 1895 the artist experimented with a wide range of subjects and techniques, notably etching and large-scale drawing. Ensor’s creative production bridges the nineteenth and twentieth centuries and resists an easy fit into any single movement or group.
The Drawing Center’s exhibition of over 90 drawings, curated by Robert Hoozee and Catherine de Zegher, covered the stylistic evolution of Ensor’s practice, from an early Impressionist style to the highly personal and grotesque nature of the later works.
Christopher Taggart makes animated sculptures of plastic, metal, magnets, motors, pens, and glassine. Twittering contraptions, they are seemingly single-minded yet inscrutable in their pursuit of drawing. At The Drawing Center, two of Taggart’s machines were let loose in the gallery, each beginning a work as the exhibition opened, then running continually until the show closed.
The Austrian artist Erwin Wurm provided instructional sketches that designated the body’s interaction with common objects such as bowls, newspapers, cans, buckets, sticks, and balls. Wurm’s exhibition was comprised of drawings and objects, all arranged on or in proximity to a platform stage that nearly filled the gallery. The artist performed on the opening night, and the preponderance of stage space in the installation demanded some kind of action of the audience members or visitors.
When Alison Knowles upends one of her large bean turners–which consist of beans enclosed in earth-toned handmade paper–she brings about a pummeling cascade of sound. They also have a life of their own; any shift, such as that brought on by a change of light or humidity, and they let loose a small pattering. Knowles wove together these sonic events with spoken poetry during her performances in the Drawing Room.
Milan Grygar's work is inspired by the rhythmic taps and scratches that attend the making of marks on paper. His drawings capture the sonic existence of the emerging image, its acoustic coming-into-being. For Grygar, the “acoustic event” would “from that point on be stronger for me than color.” Sound is then the juncture between hand and the space it moves through, between the drawing tool (be it a hand alone or an object driven by a hand) and a sheet of paper.
Metamorphoses and Mutations
Rosemarie Trockel: Metamorphoses and Mutation s, organized by the Musée National d’Art Moderne, Centre Georges Pompidou, Paris, and curated by Jonas Storsve, was the first New York museum exhibition of the drawings of the contemporary German artist Rosemarie Trockel. The Drawing Center’s presentation comprised over one hundred drawings, including a number of new works created specifically to premiere in this context.
Norval Morriseau/Copper Thunderbird
Draw and Tell: Lines of Transformation
This exhibition of drawings by First Nations artist Norval Morrisseau (Anishnaabe, b. 1932) consisted of over fifty visionary works made between 1972 and 1973, while the artist was in prison. The exhibition featured a series of drawings that depict highly charged images based on Morriseau's personal transformation of pictographic traditions.
Norval Morriseau/Copper Thunderbird: Draw and Tell: Lines of Transformation was co-curated by Catherine de Zegher and Gerald McMaster.
Selections Winter 2001
Mária Chilf, Royce Howes, Jessica Hutchins, Yun-Fei Ji, Grace Markman, Corey McCorkle, Carolyn Swiszcz, Scott Teplin, and Susan Tiger
From Sierra Maestra to La Habana
The Drawings of Chago
Santiago “Chago” Armada (1937-1995) established himself as the cartoonist of the Cuban Revolution and went on to inspire the next generation of Cuban artists. Chago became a symbol of revolutionary purity, and was respected for his criticism “from within the Revolution.”
From Sierra Maestra to La Habana , curated by Luis Camnitzer, comprised approximately fifty drawings from different periods of Chago’s oeuvre.
Untitled Passages by Henri Michaux
The major exhibition Untitled Passages by Henri Michaux investigated Michaux’s graphic works in tandem with his poetic practice, addressing the artist-poet’s research into the passages between “writing” and “drawing.” The exhibition, which took its title from Michaux’s extensive body of untitled drawings and from Passages , his book of poetic writings, was curated by Catherine de Zegher and Florian Rodari.
For her first U.S. exhibition, The Drawing Center invited Brazilian artist Adrianne Gallinari to create a new work directly on the walls of its Drawing Room. Born in Belho Horizonte, Brazil, in 1965, Gallinari creates a kind of visual poetry through drawings that combine figures and writing so as to defy easy legibility.
Contemporary Tribal Works on Paper from Central India
The first New York exhibition of drawings by the Hill Korwa, a tribe in Central India, Korwa Drawings featured works that explore the boundaries between drawing and writing. The works in the exhibition were collected by the French poet Franck Andre Jamme who stayed with the Hill Korwa in 1996. Often the drawn signs in the work seem to simulate language, but, they are in fact entirely or nearly non-referential due to the tribe’s illiteracy.
Korwa Drawings was curated by Franck Andre Jamme and Catherine de Zegher.
Selections Fall 2000
Grady Gerbracht, Glenn Allen Grafelman, Geraldine Lau, Mary Lum, Miranda Maher, Julie Mehretu, Lucas Monaco, and Oona Stern
For her first solo exhibition, Ania Soliman presented Biohazards , a series of four large-scale drawings that reflect upon the representation of epidemics in the media. Soliman works with wax medium and pigment on paper and her palette is taken from the four colors that comprise the printing process: yellow, magenta, cyan, and black. Each of the drawings consists of one of these color choices and reproduces stills from the Discovery Channel’s Ends of the Earth: Killer Virus series.
Room with Several Night Drawings and One Reduced Night Scene
For his first solo exhibition in the United States, Mark Manders created a new installation as part of his series Self Portrait as a Building , a work in progress that the artist has been developing for the past fourteen years. Manders’ installation combined works on paper with wall drawings, sculptures, and everyday objects, such as cups and ropes.
Selections Summer 2000
Nina Lola Bachhuber, Berlinde De Bruyckere, Amy Cutler, Georganne Deen, Margaret Evangeline, and Edward Pien
The Prinzhorn Collection
Traces upon the Wunderblock
The Prinzhorn Collection: Traces upon the Wunderblock was the first New York exhibition of a legendary and influential group of works amassed during the 1920s by the psychiatrist and art historian Hans Prinzhorn. The collection, which is based at the University of Heidelberg, Germany, comprises drawings made by psychiatric patients who suffered social exclusion, psychic illness, and isolation–experiences that are common, yet often erased from collective memory. The Drawing Center’s exhibition marked the last time that the collection was lent prior to the opening of the museum at the University of Heidelberg dedicated to the collection.
Very Well Saint
The exhibition consisted of a series of drawings, the title of which was adapted from the phrase “very well saints,” which was used by Gertrude Stein in her libretto for Virgil Thompson’s opera Four Saints in Three Acts . With an inspired sense of play that can be likened to Stein’s inventive use of language, Mozenter’s drawings reflect a singsong pattern of interrelated visual references.
The first New York exhibition of works by James Castle, a noted self-taught artist from Idaho, featured approximately one hundred drawings and paper constructions. Curated by Jay Tobler, James Castle: House Drawings featured Castle’s prodigious visual diary of his home environments.
The Body of the Line
The Body of the Line was the first U.S. museum exhibition of drawings by the influential Russian filmmaker Sergei Mikhailovich Eisenstein (1898-1948), who revolutionized the world of cinema with such renowned films as The Battleship Potemkin (1925). The exhibition offered a rare opportunity to view striking works on paper by one of the seminal figures of early motion-picture direction. The exhibition was produced by the Daniel Langlois Foundation for Art, Science, and Technology, Montreal, and curated by Jean Gagnon.
To create his installations, Nic Hess pairs two unlikely materials–charcoal drawings and adhesive tape. Tape-based images slot themselves alongside charcoal ones forming a jumbled assemblage. Images either flow into each other or jostle for momentary attention. However they are combined, tape and charcoal become equally irreverent–an unexpectedly congenial team–one on holiday from the realm of high art, the other from its workaday existence.
Another City for Another Life
Constant’s New Babylon
The first major U.S. presentation of the work of Constant and his New Babylon project, this exhibition was organized for The Drawing Center by Mark Wigley, based on the retrospective he curated for the Witte de With in Rotterdam in 1998. Another City for Another Life: Constant’s New Babylon focused on Constant’s tremendous contribution to visionary architecture through the practice of drawing and offered an in-depth consideration of the artist’s futuristic project.
Darkness Like a Dream
Nineteenth-Century Sandpaper Drawings
This exhibition featured the little-known medium of sandpaper drawings, popular in the mid-nineteenth century, made on panel or board covered with marble dust. Artists, both trained and untrained, transformed this shimmering surface with charcoal and/or pastel, creating haunting images that were marked by deep blacks and shining whites. Predominant themes included landscapes, seascapes, and city views as well as memorials and biblical and historical scenes.
Selections Fall 1999
Katharina Grosse, Honda Takeshi, Steve Roden, Barbara Camilla Tucholski, and Paul Zawisha
A Measured Quietude
Contemporary Irish Drawings
Drawn from Artists' Collections
Drawn from Artists’ Collections featured selections from the drawing collections of major contemporary artists and included works by Balthus, Jean-Michel Basquiat, Joseph Beuys, Pierre Bonnard, Chris Burden, Constantin Brancusi, Paul Cézanne, Jean-Baptiste-Camille Corot, Salvador Dalí, Marcel Duchamp, Paul Gauguin, Alberto Giacometti, Arshile Gorky, Gustav Klimt, Franz Kline, Brice Marden, Henri Matisse, Juan Miró, Robert Motherwell, Elizabeth Murray, Barnett Newman, Jackson Pollock, Susan Rothenberg, Georges Seurat, Giovanni Battista Tiepolo, and Andy Warhol. Drawn from Artists’ Collections was organized by Ann Philbin and Jack Shear.
This major exhibition featured over 500 drawings as well as a selection of artist’s books, fanzines, and record covers by Los Angeles-based artist Raymond Pettibon. This retrospective look at two decades of the artist’s work marked the first major museum presentation of Pettibon’s art and was organized by the Philadelphia Museum of Art and the Renaissance Society at The University of Chicago.
Selections Winter 1999
Paul Morrison, Perry Roberts, and Richard Wright
Willem de Kooning
Drawing Seeing/Seeing Drawing
Willem de Kooning: Drawing Seeing/Seeing Drawing , organized by guest curator Klaus Kertess, presented seventy works on paper by the incredibly influential artist Willem de Kooning. The exhibition focused on four groups of drawings de Kooning made between 1958 and the late 1970s. De Kooning regularly created series of drawings, sometimes continuing them intermittently over a decade. The presentation of four of these series afforded a close view of the artist’s working process and his constant reinvention of mark making.
Free Measures: Drawings
Selections Fall 1998
Haluk Akakçe, Jonathan Callan, Yané Calovski, Greg Chann, Amanda Guest, Maureen McQuillan, Jennifer Monick, and Gert Verhoeven
Selections Summer 1998
Laylah Ali, Molly Barker, Noah Erenberg, Christopher Faust, Frederick Hayes, Georgie Hopton, and Christopher Johanson
Shadows of a Hand
The Drawings of Victor Hugo
Shadows of a Hand was the first museum exhibition in the United States devoted to the drawings of Victor Hugo. The exhibition featured over one hundred works from the collections of the Bibliothèque Nationale de France; Maison de Victor Hugo in Paris; Musée Victor Hugo de Villequier; Musée du Louvre; Musée des Beaux-Arts, Dijon; The Art Institute of Chicago; and private collections. The works were selected by Ann Philbin and guest curator Florian Rodari.
Selections Spring 1998
Carmel Buckley, Enrique Chagoya, Leona Christie, Nadia Coen, Marcel Dzama, Teo Gonzalez, Douglas Navarra, Jorge Nesbitt, Roberto Obregon, Stephen Sollins, Xawery Wolski, and Jane Yeomans
Selections Winter 1998
Ingrid Calame, Miriam Dym, Mark Grotjahn, Gerhard Mayer, and Stephanie Syjuco
Drawings for Projection
William Kentridge: Drawings for Projection featured the South African artist's charcoal drawings, which he used to create his short animated films in the mid-1990s, when apartheid was being dismantled. In Kentridge's distinctive additive animation technique, a single drawing represents a shot of the sequence. Filled with remorse and violence, the drawings and the films unfolded the narrative of his country’s complex past and the scars it has left.
Selections Winter 1997
Gary Cruz, Ben Polsky, Hyun-Sook Song, Fumio Tachibana, and Dodi Wexler
Alessandro Pessoli creates works, that, as the artist has noted, are like a stormy flood of figures, voids, signs, words, and writings outlined in light. Using a unique process that reserves areas of untouched white paper, Pessoli presents a world of spidery figures, looming phantoms, and lacy architectural forms all illuminated and framed by intricate and exuberant patterns. As if to signify the self-sufficiency of this imaginary world, Pessoli allows all of the ink to absorb in the paper’s surface, rendering his shimmering forms at an always elusive distance.
Selections Fall 1997
Johannes Kahrs, David Nelson, Kathy Prendergast, and Mike Stevenson
Margaret Kilagallen’s installation was inspired by hobos, drifters, and street musicians and executed with a visual sensibility that admired all things made by the human hand. Her floor-to-ceiling installation of appealing murals, evocative wall-mounted arrangements of wooden paintings and rough-hewn objects saluted vagabonds—especially women—who know how to survive.
Contemporary Works on Paper
Tracing Taiwan , organized by guest curator Alice Yang, explored contemporary developments in drawing in Taiwan, focusing particularly on its relationship to Chinese artistic traditions.
The Welch Collection from the Arthur M. Sackler Museum, Harvard University
Rajasthani Miniatures featured over seventy miniatures dating from the late-fifteenth to the late-nineteenth centuries. Nearly all of the works presented were created for Rajputs, members of the India’s princely caste ( kshatriya ), and produced in the northwestern Indian province of Rajasthan.
The Roaring Forties: Seven Boards in Seven Days
Selections Spring 1997
Oshin Saginian, Pauline Stella Sanchez, and Shahzia Sikander
Selections Winter 1997
D-L Alvarez, David Bunn, Claudia Goulette, Mary Judge, and Mark Lombardi
Plains Indians Drawings 1865-1935
Pages from a Visual History
Plains Indians Drawings 1865-1935: Pages from a Visual History was the first extensive exhibition of late nineteenth- and early twentieth-century Native American ledger drawings. The exhibition provided a panoramic view of the achievements of visual artists from the Lakota, Cheyenne, Kiowa, and Arapaho tribes.
Selections Fall 1996
Ignasi Aballí, Ginny Bishton, Caryl Davis, and Laurie Reid
Selections Summer 1996
Louise Belcourt, Nina Bovasso, Marco Breuer, Marsha Cottrell, Tomas Esson, Jessie Joo, Sharon Louden, Helen Marden, Randy Moore, Cyril Olanier, Mario Perez, H. A. Rodriguez-Mora, Matt Schwede, Rodney Taylor, Lynne Woods Turner, Ivan Vera, and Eric Wolske
Histories from the Alternative Arts Movement, NYC
Cultural Economies was initiated through a call for exhibition proposals from the New York State Council on the Arts asking alternative spaces to evaluate and assess the alternative arts movement, its history, and its contributions to the field of contemporary art. Organized by guest curator Julie Ault, Cultural Economies offered an economically and socially contextualized view of alternative practices and structures in New York City over the previous twenty years.
Selections Winter 1995
Silvia Bachli, Steve Greene, Jeff Krueger, Thomas Müller, Carsten Nicolai, and Allyson Strafella
Pierced Hearts & True Love
A Century of Drawings for Tattoos
Philip Guston's Poem-Pictures
Drawings from the Albertina
Landscape in the Age of Rembrandt
Selections Spring 1995
Stephen Dean, Michael Ensminger, Teresita Fernandez, Christopher Hammerlein, Alice Helander, Joyce Lightbody, Chris Ofili, Barry Ratoff, Anne Marie Schneider, and George Stoll
Selections from Brazil
Fernando Gomes, Ester Grinspum, Leonilson, and Ernesto Neto
Selections from Brazil presented the drawings of four contemporary Brazilian artists: Fernanda Gomes, Ester Grinspum, Leonilson, and Ernesto Neto.
Selections Winter 1994
Mirriam Alharar, Peter Huttinger, Donnamaria Bruton, Paul Henry Ramirez, and Luca Buvoli
Selections Fall 1994
Weight & Measure Drawings
This exhibition featured a series of large-scale paint-stick-on-hiromi-paper drawings by Richard Serra, who, though widely recognized for his mastery of monumental sculptural works in steel, here endows the typically fragile medium of drawing with an almost geological heft.
Drawings Toward a Distant Shore
Selections from Portugal
This exhibition featured six artists who span two generations and represent the diversity of current art production in Portugal: Rui Chafes, Gaëtan, Ana Hatherly, Ana Jotta, Pedro Proenca, and Joana Rosa. Drawings Towards a Distant Shore was organized by guest curator Dan Cameron.
Selection Spring 1994
Kevin Bolyard, Judy Glantzman, Arturo Herrera, Yael Kanarek, and Keith Mayerson
The Return of the Cadavre Exquis
The Return of the Cadavre Exquis featured over 600 collaborative drawings by contemporary artists from around the world. The culmination of a two-year drawing project, the exhibition was composed of contemporary drawings based on the Surrealist parlor game, Exquisite Corpse, as well as a selection of works by Surrealist practitioners of the game. The exhibition was organized by The Drawing Center and Ingrid Schaffner, who initiated the project with the artists Kim Jones and Leonard Titzer.
The Sacred Woods: A Centennial Exhibition
Selections from the Woodner Family Collection
This exhibition of works by the French artist Odilon Redon (1840-1916) focused on the artist’s haunting charcoal noir drawings from the mid-1860s through the 1890s. These shadowy drawings provide a view into Redon’s mysterious world of dream landscapes, psychically charged mythological scenes, religious subjects, and apparitional portraits that appear to surface from the depth of the artist’s unconscious.
Selections Spring 1993
Drew Beattie & Daniel Davidson, Joseph Cavallaro, Roland Flexner, Jim Hodges, Siobhan Liddell, Giorgia Marsh, and Karen Yasinsky
Wall Drawings 1992
Nicole Eisenman, Celia Alvarez Munoz, and Gary Simmons
Drawings from Windsor Castle
Mike Glier & The Alphabet of the Lili
This exhibition, commissioned by The Drawing Center, consisted of a series of twenty-six personal drawings addressing elemental concerns of birth, death, sexuality, gender, and childrearing. The acrylic and charcoal drawings unfold as an illustrated alphabet for Glier’s daughter, Lili.
Mark Beyer, Charles Burns, Susan Coe, Gary Panter, Suzan Pitt, Gig Wailgum, and Sue Williams
Seeing Through “Paradise”
Artists and the Terezin Concentration Camp
Seeing Through “Paradise” presented works by artists imprisoned from 1941 to 1945 at Terezin, Czechoslovakia. Terezin was an eighteenth-century fortress town taken over by the Nazis in 1941 to use as a transit camp for Jews. The Nazis collected musicians, poets, scholars, and visual artists, placing them in workshops where they were forced to create propaganda art. Some of these artists gained access to art supplies from the workshops and were able to create other more honest works about life in the concentration camp.
The exhibition included drawings by Friedl Dicker-Brandeisova, Pietr Kien, Karel Fleischmann, Fritta (Fritz Taussig), and Helga (Weissora) Hoskova.
Picasso’s “Parade” from Paper to Stage
The exhibition Picasso’s “Parade” from Paper to Stage was the first exhibition to focus on Picasso’s drawings for the ballet Parade . First performed by Diaghelev’s Ballets Russes in 1917, Parade came about as a collaborative effort between the leading modernists in the visual and performing arts respectively, who were both living in Paris at that time.
Theatre on Paper
Theatre on Paper explored theatre design from 1608 to the present, and included drawings for sets, costumes, stage properties, posters, and programs. The exhibition featured drawings from the collection of the Theatre Museum, London, by Natalia Gontcharova, Jean Louis Berain, Pablo Picasso, Clarkson Stanfield, Juan Gris, Leon Bakst, Giorgio de Chirico, Paul Nash, David Hockney, Daniel Rabel, and many other artists.
Complete Architectural Drawings
This exhibition presented one hundred drawings by the renowned architect of the Elizabethan era, Inigo Jones. Inigo Jones: Complete Architectural Drawings was the first major exhibition of the drawings by this master draughtsman, who transformed architectural drawing into an art form of the highest level, and included all of Jones’s major architectural drawings, supplemented by a selection of his finest figurative and scene designs.
Interpretive Drawings from Michelangelo to Picasso
Creative Copies: Interpretative Drawings from Michelangelo to Picasso brought together sixty-nine drawings spanning the sixteenth through the early twentieth centuries to explore the phenomenon of one artist copying the work of another. All of the drawings in the exhibition were copies, variations, or interpretations of other works of art, ranging from the sculpture of classical antiquity to the work of immediate predecessors.
The exhibition was organized by Egbert Haverkamp-Begemann and included works by Michelangelo, Masaccio, Durer, Mantegna, Rembrandt, Leonardo, Delacroix, Rubens, Ingres, and Holbein, among others.
Otto Wagner: Drawings featured the most comprehensive selection of Wagner drawings ever exhibited in the United States. Otto Wagner (1841-1918), Vienna’s foremost architect at the turn of the century, is credited with taking the first steps in freeing architecture from a dependence on historical styles. Included in the exhibition are drawings that clearly document Wagner’s working method: freehand sketches, pencil drawings to scale, and final drawings in ink and watercolor.
The exhibition was organized by Otto Antonia Graf and August Sarnitz of the Academy of Fine Arts, Vienna.
The Art of Drawing in France 1400-1900
The Art of Drawing in France presented 121 master drawings selected from the collection of Stockholm’s Nationalmuseum, which is among the greatest repositories of graphic arts in the world. Among the master artists whose works were featured in this exhibition were Leonardo da Vinci, Francesco Primaticcio, Claude Lorrain, Nicolas Poussin, Antoine Watteau, J.B.S. Chardin, Francois Boucher, Camille Corot, Jean-Francois Millet, Eugene Delacroix, Henri Toulouse-Lautrec, Edgar Degas, and Paul Cezanne.
Celeste Boehm, Virginia Buchan, Chris Daubert, Salvatore Federico, Elizabeth Gourlay, Gilbert Hsiao, Dennis Kane, Richmond Lewis, Vytas Sakalas, Amy Sillman, Thomas Weaver, and Barbara Yoshida
The Northern Landscape
Flemish, Dutch, and British Drawings from the Courtauld Collections
The Northern Landscape was the first U.S. presentation of 120 works selected from the extensive collections of the Courtauld Institute, London. The exhibition included drawings by sixty-six artists dating from the early sixteenth to the nineteenth century. The exhibition captured a brilliantly varied graphic panorama of the Northern European view of nature inspired by the local landscapes of the lowlands and England as well as artists’ travel abroad, particularly to Italy. Included in the exhibition were drawings by Bruegel, van Heemskerk, de Momper, Bloemaert, van Goyen, Lievens, Koninck, and Turner.
Drawing from Venice
Masterworks from the Museo Correr
Drawing from Venice: Masterworks from the Museo Correr presented 128 works selected from the magnificent collection of the municipal museum of Venice. The selection of work in the exhibition spanned the fifteenth to the nineteenth centuries and featured drawings by seventy-three painters, sculptors, and architects.
A Selection From The Victoria & Albert Museum
Great Drawings From the Collection of The Royal Institute of British Architecture
The exhibition presented eighty-two masterpieces of English, French, Italian, American, and Indian architectural drawing from the collection of The Royal Institute of British Architecture, London. Works in the exhibition dated from the late fifteenth century to the present drawings of buildings actually realized, as well as conceptual studies, fantasies, and other unexecuted designs in a dazzling variety of media and techniques.
New Drawings in America
(5th Anniversary Show)
New Drawings in America presented new work by 174 artists who participated in group exhibitions at The Drawing Center since its opening in 1977.
Eric Chan, Nancy Chunn, Jerry Gorovoy, Grace Graupe-Pillard, Claudia McNulty, Steve Miller, Chip Nichols, John Osborne, Cliff Petterson, Gary Riester, Ross Rosenberg, Elke Solomon, and Susan Chrysler-White
Sculptors’ Drawings Over Six Centuries
Sculptors’ Drawings Over Six Centuries, 1400-1950 offered a unique look into the creative process of sculptors, including such masters as Bernini, Canova, Rodin, Eakins, and Brancusi. Curated by Colin Eisler, the exhibition featured previously unexhibited drawings focusing on the eighteenth to twentieth centuries.
Donald Baechler, Richard Bosman, John Digby, Dane Goodman, Thomas Lo Cicero, Leonard Mainor, Richard McKown, Mary Ann Michna, Jim Richard, Dana Salisbury, and Tad Wiley
Architecture and Planning
Visionary Drawings featured works by Buckminster Fuller, Le Corbusier, Mies van der Rohe, Gropius, Frank Lloyd Wright, Louis Kahn, Paolo Soleri, and other architects.
Show of Work by 11 Artists
James Biederman, Robert Coates, Guy-Dorian Cristol, Gary Falk, William Gwin, Anthony Janetti, Jane Kaplowitz, Robert Kitchen, Thomas Lawson, Jorge Madrinan, and Kurt Ossenfort
The Drawings of Antonio Gaudi
The Drawings of Antonio Gaudi was a major retrospective of the Catalan architect whose unique buildings have attracted millions to Barcelona. This exhibition was the first time Gaudí’s drawings had been shown outside of Spain and was the largest exhibition of this material ever mounted.