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The Lab Dec 01, 2017 - Feb 04, 2018

Raha Raissnia

Alluvius

Raha Raissnia, //Alluvius 12//, 2016. Mixed media, 12 3/8 x 19 3/4 inches. Courtesy of the artist and Miguel Abreu Gallery, New York. Raha Raissnia, //Alluvius 12//, 2016. Mixed media, 12 3/8 x 19 3/4 inches. Courtesy of the artist and Miguel Abreu Gallery, New York. Raha Raissnia, //Alluvius 12//, 2016. Mixed media, 12 3/8 x 19 3/4 inches. Courtesy of the artist and Miguel Abreu Gallery, New York.

Raha Raissnia, Alluvius 12, 2016. Mixed media, 12 3/8 x 19 3/4 inches. Courtesy of the artist and Miguel Abreu Gallery, New York.

Raha Raissnia: Alluvius, the first solo museum exhibition of work by the Iranian-American artist Raha Raissnia, will contextualize the artist’s drawings as part of her broader consideration of photographic and filmic representation. Raissnia grew up in Tehran during the 1978–79 revolution, and she often accompanied her father, an amateur photographer, on trips to the city center to document mass protests against the shah. Mirroring this early experience in her current work, Raissnia surreptitiously continues to take portraits and photographs of everyday life as a course of habit. For The Drawing Center, Raissnia created the two series of densely-composed charcoal drawings on view—entitled Alluvius (2016) and Canto (2017)—by referencing images sourced from her personal archive of both original and found photographs and film, ranging from photographic slides of mosque architecture to iPhone films taken on walks through Manhattan and snapshots of friends, family, and strangers. Rather than create direct copies, Raissnia intuitively abstracts her sources, laboriously rephotographing and drawing each image, transferring it between paper and celluloid, until it becomes unrecognizable and its meaning unsettled. Raha Raissnia: Alluvius engages drawing as a way to revisit, question, and change the images we use to construct personal, cultural, and national identity.

Organized by Amber Harper, Assistant Curator

Raha Raissnia: Alluvius is made possible by r/e projects; Jill and Peter Kraus; Catherine Lagrange; MZR Gedenkstiftung (Karen and Robert Rom), Switzerland; The Kadre Family Collection; and Rhombus Press.


Special thanks to Miguel Abreu Gallery, New York, and Ab/Anbar Gallery, Tehran.

Image: Raha Raissnia, Alluvius 12, 2016. Mixed media, 12 3/8 x 19 3/4 inches. Courtesy of the artist and Miguel Abreu Gallery, New York.

Stairwell Feb 21, 2018

Inka Essenhigh

Inka Essenhigh, Drawing for long-term installation at The Drawing Center, 2016. Inka Essenhigh, Drawing for long-term installation at The Drawing Center, 2016. Inka Essenhigh, Drawing for long-term installation at The Drawing Center, 2016.

Inka Essenhigh, Drawing for long-term installation at The Drawing Center, 2016.


As part of its ongoing series of commissions for the Stairwell, The Drawing Center has asked New York artist Inka Essenhigh to create a site-specific wall drawing. Essenhigh’s installation will be the third in the series, following Gary Simmons’s Ghost Reels (2016–18) and Abdelkader Benchamma’s Dark Matter (2015–16).

An artist with appetites ranging from Hokusai to Surrealism and Byzantine icons to graphic novels, Inka Essenhigh is known for her hallucinatory scenes that weave together the drama of everyday life with quasi-menacing, sci-fi themes. For her installation at The Drawing Center, Essenhigh will create a large-scale drawing of a meandering skyline, a reference to the museum’s downtown space. Essenhigh’s otherworldly installation will lead viewers through a warped SoHo, replete with phantom hallways and Escher-like staircases.

Organized by Brett Littman, Executive Director.

Image: Inka Essenhigh, Drawing for long-term installation at The Drawing Center (detail), 2016.

Main Gallery Feb 24, 2018 - Mar 09, 2018

Winter Term

Torkwase Dyson and the Wynters-Well Drawing School for Environmental Justice

Torkwase Dyson working in her faculty studio at Skowhegan School of Painting and Sculpture, Maine, 2017. Torkwase Dyson working in her faculty studio at Skowhegan School of Painting and Sculpture, Maine, 2017. Torkwase Dyson working in her faculty studio at Skowhegan School of Painting and Sculpture, Maine, 2017.

Torkwase Dyson working in her faculty studio at Skowhegan School of Painting and Sculpture, Maine, 2017.

The Drawing Center is pleased to announce Winter Term, a new annual initiative in which the museum will partner with an artist or organization whose mission it is to explore the transformative role that drawing can play in civic and global society. The yearly program, which will consist of public events, classes, and performances as well as an exhibition, will build a community of people to investigate the efficacy of drawing as a tool for addressing inequity and encouraging social change. In a world ever more in need of human connection and compassion, Winter Term will ask how drawing, the most universal medium, might extend beyond the gallery space to provide concrete tools for collective engagement and collaboration. In this way, Winter Term provides a new model for exhibition making as well as for the role that art institutions can play in the real world.


For the first session, which will take place in February and March of 2018, The Drawing Center has invited New York-based artist Torkwase Dyson to create an installation and organize a two-week series of classes, discussions, and formal experiments developed from her incipient project the Wynter-Wells Drawing School for Environmental Justice—named for Jamaican writer Sylvia Wynter and American Civil Rights leader Ida B. Wells. The School will present an experimental curriculum employing techniques culled from the visual arts as well as design theories of geography, infrastructure, engineering, and architecture to initiate dialogue about geographic genealogy in an era of global crisis due to human-induced climate change. Participation in the course will be by application with portions open to the public.


During an open studio-style installation, Dyson will explicate her own formal concept of “Black Compositional Thought” while terms such as improvisation, nomadicity, and re-orientation will be applied to techniques within abstract drawing that confront issues of environmental justice and the path towards a more equitable future. Confirmed invited guests include architect Mabel Wilson, curator Rujeko Hockley, artist and designer Ekene Ijeoma, designer and educator Ronald Morrison, choreographer Dean Moss, and artist Zachery Fabri who will engage in a site-specific performance. Following the residency, the museum will release a publication with contributions from artists Dawoud Bey and Allison Janae Hamilton as well as poet Ronaldo Wilson among others.

Organized by Claire Gilman, Chief Curator.

Main Gallery Apr 06, 2018 - Jul 29, 2018

Terry Winters

Facts and Fictions

Terry Winters, //7-Fold Sequence, One//, 2008. Graphite on paper, 29 1/2 x 41 1/2 inches. Courtesy of the artist. Terry Winters, //7-Fold Sequence, One//, 2008. Graphite on paper, 29 1/2 x 41 1/2 inches. Courtesy of the artist. Terry Winters, //7-Fold Sequence, One//, 2008. Graphite on paper, 29 1/2 x 41 1/2 inches. Courtesy of the artist.

Terry Winters, 7-Fold Sequence, One, 2008. Graphite on paper, 29 1/2 x 41 1/2 inches. Courtesy of the artist.

A leading figure in the art world for four decades, Terry Winters became well known in the 1980s for his materially-conscious drawings and paintings. Representing the patterns and schema that undergird physical and intellectual life—French philosopher Gilles Deleuze is cited as an important reference—Winters’s drawings of grids, networks, and knots illustrate complex encounters between biological drives, technological systems, and mental processes. The Drawing Center’s Main Gallery will present an overview of Winters’s drawings from 1980 to the present including full cycles of drawings, such as File Drawings (2009), as well as a selection of large-scale works on paper that foreground the overarching theme of Winters’s practice: the desire to make sense, however fictively, of the manner in which the visible world is constructed and received. Rather than offering a comprehensive drawing retrospective, the show will be organized with an eye to morphological relationships so that, as viewers move through the gallery, they will recall and ideally return to earlier related images.

Organized by Claire Gilman, Chief Curator.

Image: Terry Winters, 7-Fold Sequence, One, 2008. Graphite on paper, 29 1/2 x 41 1/2 inches. Courtesy of the artist.

Drawing Room Apr 06, 2018 - Jul 29, 2018

Hipkiss

Bulwark

Hipkiss, Image of six works from the series //The Towers//, 2015–ongoing. Graphite, silver ink, silver tape, and metal leaf on Fabriano 4 Paper, 90 x 15 inches each. Courtesy of the artists. Hipkiss, Image of six works from the series //The Towers//, 2015–ongoing. Graphite, silver ink, silver tape, and metal leaf on Fabriano 4 Paper, 90 x 15 inches each. Courtesy of the artists. Hipkiss, Image of six works from the series //The Towers//, 2015–ongoing. Graphite, silver ink, silver tape, and metal leaf on Fabriano 4 Paper, 90 x 15 inches each. Courtesy of the artists.

Hipkiss, Image of six works from the series The Towers, 2015–ongoing. Graphite, silver ink, silver tape, and metal leaf on Fabriano 4 Paper, 90 x 15 inches each. Courtesy of the artists.

Praised for their meticulously-detailed panoramic landscapes, Anglo-French artists Alpha and Chris Mason, known collectively as Hipkiss, have been collaborating for three decades on intricate drawings that interweave dystopian narratives with a personal lexicon of symbolic forms. Past works by Hipkiss chronicle fictional histories of warring clans, urban crusades, and quasi-apocalyptical societies. For Bulwark, the artists’ first solo museum show in New York, Hipkiss will present the most recent cycle of drawings in their series The Towers (2015–ongoing). The drawings pull from the myriad allegorical significance of towers as symbols for transcendence, irrational ambition, and piety.

Organized by Brett Littman, Executive Director.

Hipkiss, Image of six works from the series The Towers, 2015–ongoing. Graphite, silver ink, silver tape, and metal leaf on Fabriano 4 Paper, 90 x 15 inches each. Courtesy of the artists.

The Lab Apr 06, 2018 - Apr 22, 2018

Eduardo Navarro

Into our cells

Eduardo Navarro, //Metabolic Drawings//, 2016. Edible ink on edible paper, 8 1/4 x 11 3/8 inches. Courtesy of the artist and Galeria Nara Roesler. Eduardo Navarro, //Metabolic Drawings//, 2016. Edible ink on edible paper, 8 1/4 x 11 3/8 inches. Courtesy of the artist and Galeria Nara Roesler. Eduardo Navarro, //Metabolic Drawings//, 2016. Edible ink on edible paper, 8 1/4 x 11 3/8 inches. Courtesy of the artist and Galeria Nara Roesler.

Eduardo Navarro, Metabolic Drawings, 2016. Edible ink on edible paper, 8 1/4 x 11 3/8 inches. Courtesy of the artist and Galeria Nara Roesler.

The Drawing Center will commission a new project by Argentinian artist Eduardo Navarro for The Lab. For this project, Navarro will produce a series of edible drawings, entitled Into our cells, which will be drawn with edible ink on edible paper with frames made of bread and sugar glass. In a closing feast, the audience will participate in Navarro’s project by consuming the drawings.

This project stems from Navarro’s interest in quantum physics, specifically the “holographic principle,” which describes how matter is scrambled and not destroyed in a black hole. Into our cells will explore how the consumption of a series of drawings can serve as a new mode of contemplation and create a situation in which our understanding of aesthetics bypasses the primacy of the eye and the visual. Through this commission, Navarro is interested in addressing the following questions: What would happen if one ate a drawing? Could our metabolism truly destroy this image? Would this drawing transform into fat, slowly become energy over time, and translate into action back in the world? Or, would the image become a ghost that inhabits the body like a house?

Organized by Brett Littman, Executive Director.

Image: Eduardo Navarro, Metabolic Drawings, 2016. Edible ink on edible paper, 8 1/4 x 11 3/8 inches. Courtesy of the artist and Galeria Nara Roesler.