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Drawings & Notes

21 April 2023
drawing Thomas Müller Untitled (PH 589), 2019 Silver coloured pencil, chalk, Indian ink & acrylic on paper - contemporary drawing, art on paper, contemporary art, work on paper, drawings

Thomas Müller

Untitled (PH 589), 2019
Silver coloured pencil, chalk, Indian ink & acrylic on paper
160 × 115 cm

Art Brussels
Patrick Heide Contemporary Art

Thomas Müller, Sophie Bouvier Ausländer, Reinoud Oudshoorn
20 – 23 April 2023

Sophie Bouvier Ausländer

Radar (SBAR20220101), 2022
Gouache on waxed map
163 × 133 cm

Sophie Bouvier Ausländer

Radar (SBAR20220211), 2022
Gouache on waxed map
125 × 100 cm

Thomas Müller

Untitled (PH 580), 2022
Ballpoint pen on paper
29.7 × 21 cm

12 April 2023

Felipe Baeza

As bare as open flesh, 2022
ink, watercolour, acrylic, and cut paper on panel
40.6 × 30.5 cm

Outer view, inner world
with works by: John Ahearn, Felipe Baeza, Alexandra Bircken, Daniel Correa Mejía, Kaye Donachie, Geoffrey Farmer, Lubaina Himid, Peter Hujar, Reverend Joyce McDonald, Behrang Karimi, Paul P., Wolfgang Tillmans, Rigoberto Torres, Donald Urquhart, Gillian Wearing, Jane and Louise Wilson, Issy Wood
26 March – 18 June 2023
Maureen Paley | Morena di Luna, Hove

Gillian Wearing

Volodymyr Zelenskyy, one year on, 2022
framed watercolour on paper
32 × 23.8 cm

Donald Urquhart

Transfiguration I, 2023
framed ink on paper
46 × 34 cm

9 April 2023

Cay Bahnmiller

Detroit Trees, Belle Isle, 2004
oil, latex, staples on paper
15.2 × 23.2 cm

Cay Bahnmiller
17 February – 15 April 2023
Galerie Barbara Weiss, Berlin

Cay Bahnmiller

Untitled, 1997
oil, latex, adhesive tape, marker, varnish on paper
41.3 × 61.3 cm

[from the pressrelease]
Cay Bahnmiller (b. 1955; d. 2007, Detroit, USA) was born in Wayne, Michigan. After spending part of her childhood in Argentina and Germany, Bahnmiller lived and worked in Detroit until her death.
Bahnmiller’s art is marked by accumulation: of paint, found objects, texts, memories and even of time. Layered and sedimented, Bahnmiller collapsed temporality, allowing her work to reflect the profusion of experience – in all its facets – that can only be accumulated through life lived. She worked fluidly across mediums. Making no distinction between surfaces, she built compositions on street signs, books, pages torn from magazines and auction catalogs, found pieces of wood and toys. This openness was offset by her rigorous examination of her approach and subject matter. There is a clarity and intensity of vision that reveals how purposefully and carefully Bahnmiller crafted her dense work. She related occurrence through both abstract language and exacting detail.
Making the evolving and eroding landscape of Detroit a crucial focus of her work, she connected her own existence with the conditions of the city. Beyond this, her work would ultimately touch a vast range of themes, from poetry, literature and art history, to class and social stratification, politics, trauma, and death. After being violently assaulted in 1993, Bahnmiller’s work became more insular, and her lifelong preoccupation with urban space was accented by a more conflicted relationship between public and private. Her own memory was a key element in her working method. Often calling back to her time abroad, she allowed her childhood experiences to commingle with the literature she favored and her everyday life in the city. “My perception in painting is enhanced by executing this work in the archeological ruin of Detroit,” she wrote, “a city steeped in sedimentation of light… The stark absence of an ‘outer’ world necessitates the imaging of an interior.” Bahnmiller collected cast-off bits of her city – allowing them to convey the character of the place and play roles in her own narratives – building up sculptures that are almost camouflaged.

Cay Bahnmiller
Untitled, 1998
oil, latex, marker, adhesive tape, varnish on magazine page
30.2 × 23.8 cm

25 March 2023

Josef Albers

Variant/Adobe, 1947
Oil on blotting paper
49.5 x 61.6 cm

Josef Albers: Paintings Titled Variants
28 February – 15 April 2023
David Zwirner, London

Josef Albers

Variant/Adobe, 1947
Oil on blotting paper
46 x 61.3 cm

Josef Albers

Study for Graphic Tectonic, c. 1942
Ink on paper
43.2 x 55.9 cm

Josef Albers

Color study for a Variant/Adobe, c. 1970
Oil on blotting paper
29.2 x 45.7 cm

18 March 2023

Katrin Bremermann

M2012(KBMM20_021), 2012
Enamel on waxed paper
57 x 41 cm
links: Galerie Martin Mertens | Katrin Bremermann

Art on Paper Amsterdam
16 – 19 March 2023
Gashouder | Westergas, Amsterdam

Amélie Scotta

Tarpaulin, 2022
Série de dessins au crayon de couleur sur papier, dim. variables
links: Michèle Schoonjans Gallery | Amélie Scotta

Gijs Assmann

Altaglichkeit (IV), 2017
Aquarel, acrylpaint, collage
links: ROOF–A Gallery | Gijs Assmann

Riki Mijling

Image 22-20 Franche vermilion, 2022
Arches paper 400gr, Oil-stick
165 x 126,5 cm
links: Coppejans Gallery | Riki Mijling

Hans Lemmen

Untitled (man-dog-creature), 2022
mixed media and casein on paper
24 x 31 cm
links: Coppejans Gallery | Hans Lemmen

Zaida Oenema

Waves (Blue), 2022
color pencil on paper
manually cut with scalpel
65 x 50 cm
links: Moving Gallery | Zaida Oenema

Florette Dijkstra

Werkkamer van Ellsworth Kelly (studio of Ellsworth Kelly), 2016
pencil on paper
50 x 50 cm
links: Galerie Sanaa | Florette Dijkstra

A weblog about contemporary drawing, art on paper, notes, scribbles and an occasional painting or photograph.
Curated by Stephan van den Burg

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