| contemporary drawing |

Drawings & Notes

8 February 2024
Stanley Whitney Untitled, 2019 gouache on paper 55.9 x 76.2 cm

Stanley Whitney

Untitled, 2019
gouache on paper
55.9 x 76.2 cm

Stanley Whitney. Dear Paris
10 January – 28 February 2024
Gagosian, rue de Castiglione, Paris

Stanley Whitney. How High the Moon
9 February – 26 May 2024
Buffalo AKG Art Museum

Stanley Whitney

Page from Sketchbook, 2017
Graphite and watercolor on paper

[from the pressrelease: Dear Paris]

Pursuing abstraction since the 1970s, Whitney established his mature style in the 1990s while living and working in Rome. The compositional framework he employs allows him the freedom to improvise, facilitating the emergence of surprising chromatic harmonies and dynamic visual rhythms. The artist’s wide-ranging influences include the polyphonic call and response of jazz, the transformative effect of light cast on historic buildings, the traditions of American quiltmaking, and artists from Henri Matisse and Piet Mondrian to Giorgio Morandi.

Whitney’s recent residency in Paris offered him the sustained opportunity to observe the city’s architecture and urban fabric, and to connect with its expansive cultural history. As he observes:

There’s a history of African Americans going to Paris that dates back to after the First World War. Jazz musicians, writers, and artists like Beauford Delaney, James Baldwin, and more recently, Ed Clark, went to Paris for a creative freedom they couldn’t find in the United States. I’ve always wanted to spend more time in Paris, and in 2023, I finally did so. It was incredible to be in the city where so many of the great artists of the twentieth century, artists who were integral to my development as a painter, had lived and worked. In Paris, there’s a play between different periods in a long history; you just don’t have that in the States.

Stanley Whitney

Untitled, 2019
gouache on paper
55.9 x 76.2 cm

4 February 2024

David Haines

Surfaces (Dogs) II, 2023
Graphite on paper
31,5 x 27,5 cm
[Upstream Gallery] [David Haines]

Ab van Hanegem

Untitled, 2022
Acrylic on paper
72 x 122 x 2 cm
[Galerie Gilla Loercher]

Raquel Maulwurf

Moving nightscape VII, 2016
charcoal pastel on museum board
152 x 264 cm
[Livingstone Gallery] [Raquel Maulwurf]

Cameron Platter

How to Tie Knots, 2023
Colour pencil on paper
180 x 140 cm
[MVP Gallery] [Cameron Platter]

Simon Deppierraz

Auxochrome #1, 2019
feltpen on fabriano paper
71 x 56 x 4 cm
[Archiraar Gallery] [Simon Deppierraz]

Nanda Runge

Licht van de maan #3, 2023
watercolor on paper
25,5 x 35,5 cm
[Galerie van den Berge] [Nanda Runge]

Rozemarijn Westerink

Garden 01-16-482, 2016
pen and ink on paper
16 x 24 cm
[O-68 Gallery] [Rozemarijn Westerink]

3 February 2024

Navid Nuur

Wind Kaart, 2022
Glass, mixed media, nails
40 x 30 cm
[Gallery Martin van Zomeren] [Navid Nuur]

Giulia Dall’Olio

g 19][358 d, 2023
charcoal and pastel on carton plume
35 x 25 cm
[Galleria Studio G7 & Tatjana Pieters Gallery] [Giulia Dall’Olio]

Alexandra Phillips

Roma, 2013
butcher’s wrapping, paper, aluminum
48 x 37 cm
[COPPEJANS GALLERY] [Alexandra Philips]

Ian Davenport

Staggered Lines: Mixolydian (Grey 2), 2016
acryl on paper
105 x 75 cm
[Slewe Gallery] [Ian Davenport]

Maria Pask

Bad Patch, 2024
Gouache and pencil on Chinese paper
100 x 66 cm
[Ellen de Bruijne Projects

Simone Albers

Omega & Alpha I, 2021
mixed media on paper
50 x 39 cm
[O-68 Gallery] [Simone Albers]

Hugo Alonso

5, 2023
acryl on paper
70 x 50 cm
[Alzueta Gallery] [Hugo Alonso]

2 February 2024

Erik Mattijssen

Middelsoort, 2016
Gouache and soft pastel on paper
50 x 40 cm
[Galerie Fleur & Wouter] [Erik Mattijsen]

Flaminia Veronesi

Identità collettiva oscura (from the Identità collettiva series), 2023
Watercolor on paper
36 x 26 cm
[Simondi Gallery] [Flaminia Veronesi]

Lieve Hakkers

Love on A Coble-Boat, 2023
ink on cottonpaper
11 x 15,5 cm
[tegenboschvanvreden]

Corinne Mercadier

#20 Chapitre 1 La Chambre de Mercure, Le voyage intérieur series, 2021
ink, gouache, colored pencil on Lavis Vinci paper 
 frame and anti-reflective glass
40 x 35 cm
[Galerie Binome] [Corinne Mercadier]

Mario De Brabandere

Untitled, 2022
oil paint on paper
27,1 x 18 cm
[Kristof De Clercq gallery]

Susanna Inglada

Upside Down, 2024
charcoal, acrylic, pastel on coloured paper
72 x 58 cm
[Galerie Maurits van de Laar] [Susanna Inglada]

1 February 2024

Katrin Bremermann

Untitled, 2022
lacquer on waxed paper
40,5 x 29,7 cm
[Kristof De Clercq gallery]

Charlotte Schleiffert

Gaze, 2023
Pastel crayon, acrylic paint, pastel pencil on paper
147 x 127 cm
[AKINCI]

Arjan van Helmond

Bed-scape #12, 2023
Ink, acrylics and gouache on paper
166 x 150 cm
[Galerie Gerhard Hofland]

Serge Vandercam

Composition, 1959
ink on paper
36 x 27 cm
[Callewaert Vanlangendonck Gallery]

Denitsa Todorova

Butterfly wing #6, 2023
Graphite powder and coloured pencil on paper
25 x 18 cm
[Josilda da Conceição] [Denitsa Todorova]

31 January 2024

Dirk Zoete

Plant 1, 2020
pencil and graphite on paper
72 x 51 cm
[Galerie Maurits van de Laar] [Dirk Zoete]

Mélanie Berger

Compostion (mf8), 2018
colored pencils, adhesive, collage and tempera on paper
85 x 63 x 4 cm
[Archiraar Gallery] [Mélanie Berger]

Joost Krijnen

The Lyrical Hunt, 2024
mixed media on paper
107 x 80 cm
[Gallery M.Simons] [Joost Krijnen]

Thijs Segers

De Bijenkoning, 2023
charcoalpencil on paper
17 x 14.5 cm
[Galerie Fontana] [Thijs Segers]

Samah Shihadi

Mi’ar #1, 2023
Charcoal on paper
50 x 70 cm
[Livingstone Gallery]

22 January 2024

Kinke Kooi

Birth of Venus, 2018
Acrylic, colored pencil, gouache on paper
102.08 x 76.04 cm

Kinke Kooi. GERRIT BENNERprijs 2023
28 October 2023 – 31 March 2024
Fries Museum, Leeuwarden

Kinke Kooi

Mimesis (4), 2019
Acrylic, pencil, gouache on paper
101 × 66 cm

8 January 2024

Susanna Inglada

The City, 2023
charcoal, acrylic, pastel on coloured, collaged paper
245 x 400 cm

Susanna IngladaIs this Desire?
3 December 2023 – 14 January 2024
Gallery Maurits van de Laar, Den Haag

Susanna Inglada

De Un Hilo, 2020
charcoal, acrylic, pastel on coloured, collaged paper
190 x 186 cm

Susanna Inglada

The City, 2023
charcoal, acrylic, pastel on coloured, collaged paper
245 x 400 cm

11 October 2023

Francis Alÿs

Study for Children’s Game 32: Estrellas
pen and colour pencil
13 x 42 cm

Francis AlÿsThe Nature of the Game
7 September 2023 – 7 January 2024
WIELS | Centre d’Art Contemporain

Francis Alÿs

Notebook, Sharya Refugee Camp, Iraq, 2016
pen and colour pencil
13 x 42 cm

15 September 2023

Louise Bourgeois

The Rivals, 2007
Gouache on paper
59.7 × 45.7 cm

Louise BourgeoisOnce there was a mother
8 September – 23 December 2023
Hauser & Wirth, New York

Louise Bourgeois

The Fragile, 2007
Digital prints on fabric, some with dye additions, suite of 36
Each: 29.2 × 24.1 cm

10 September 2023

Sophie Taeuber-Arp

Composition Verticale-Horizontale, 1926-1927
Gouache over preliminary drawing in pencil on drawing paper
43.1 x 29.2 cm

Exemplary ModernSophie Taeuber-Arp with contemporary artists
6 September – 4 November 2023
Hauser & Wirth, New York

Ellen Lesperance

Study for an anarchist sweater, 2023
Gouache and graphite on tea-stained paper
106.7 x 75 cm

Sophie Taeuber-Arp

Composition en taches quadrangulaires, 1921
Gouache and pencil on paper
26 x 35 cm

13 August 2023

Roni Horn

from ‘An Elusive Red Figure’, 2022
Two ink jet prints on rag paper. Bleed images, floated edge-to-edge in frame, edition of 12

Roni Horn. ‘An Elusive Red Figure…’
9 June – 16 September 2023
Hauser & Wirth, Zürich

Roni Horn

from ‘An Elusive Red Figure’, 2022
Two ink jet prints on rag paper. Bleed images, floated edge-to-edge in frame, edition of 12

[from the pressrelease]
‘An Elusive Red Figure…’ is a suite of 33 paired ink jet prints, presented across the second-floor gallery space. Following on from the 2021 work ‘LOG (March 22, 2019 – May 17, 2020)’, ‘An Elusive Red Figure…’ is a collection of outtakes from ‘LOG’ as well as original drawings, including quotations, collages, photographs, casual commentaries, notes on news and weather events and original texts by Horn.

‘LOG,’ which debuted at Hauser & Wirth New York, 22nd Street in 2021, is a large-scale installation comprised of 406 individual works on paper. The work was the result of a daily commitment to drawing undertaken by Horn over a period of fourteen months. Drawing has been a defining element of Horn’s artistic practice since the 1980s and ‘An Elusive Red Figure…’ is emblematic of Horn’s relationship with the medium, which she has described as ‘a kind of breathing activity on a daily level.’ Whilst creating the drawings on paper that would become the paired ink jet prints for ‘An Elusive Red Figure…,’ Horn would describe the events of weather, private life and anything notable that came to mind or hand at the time.

Drawing has been a defining element of Horn’s artistic practice since the 1980s and ‘An Elusive Red Figure…’ is emblematic of Horn’s relationship with the medium, which she has described as ‘a kind of breathing activity on a daily level.’ Whilst creating the drawings on paper that would become the paired ink jet prints for ‘An Elusive Red Figure…’, Horn would describe the events of weather, private life and anything notable that came to mind or hand at the time. One set of prints notes the temperature during a trip that the artist took to Zurich in July in 2019, others feature photographs of the artist, or cultural figures such as Aretha Franklin or Elizabeth Taylor, pasted alongside drawings or notations. Another page coloured bright yellow is inscribed with the line ‘I am paralyzed with hope’ from a monologue by the stand-up comedian Maria Bamford, which Horn describes as a ‘poignant connection to our time with regards to politics and the environment and now, of course, in relation to the pandemic’.

Roni Horn

from ‘An Elusive Red Figure’, 2022
Two ink jet prints on rag paper. Bleed images, floated edge-to-edge in frame, edition of 12

Roni Horn

from ‘An Elusive Red Figure’, 2022
Two ink jet prints on rag paper. Bleed images, floated edge-to-edge in frame, edition of 12

25 July 2023

Jonas Wood

MV Guest Room B+W, 2011
gouache and colored pencil on paper
59.69 × 41.27 cm

Jonas Wood. Drawings 2003–2023
28 June – 18 August 2023
Karma, New York

Jonas Wood
TV Room 2, 2007
gouache and colored pencil on paper
58.42 × 77.17 cm

[from the pressrelease] Drawings 2003–2023 assembles one hundred artworks, exhibited chronologically, in the largest survey of Jonas Wood’s works on paper to date. The exhibition begins with drawings made by the artist following his move to Los Angeles. While he established his studio practice in the city, Wood worked as an assistant to painter Laura Owens, and had his first solo exhibition with the storied Black Dragon Society gallery in 2006. During this time, Wood began to crystallize the distinctive visual language that would come to define his mature practice. An avid draftsman, drawings have myriad purposes for Wood, serving as either preparatory sketches for collages and paintings or stand-alone works of art. At the heart of Wood’s prolific output is a reverence for the handmade: holding a found photograph in his hands, operating a manual projector, leaving behind a half-erased pencil sketch. In Plant 4 (2003), one in a series of drawings of potted plants that make up the earliest works in the exhibition, Wood’s delight in the tactility of mark-making is palpable: he used distinct strokes of crayon and spirited, imperfect shading to give shape to fields of blocky color, leaving behind an explicit citation of the hand of the artist: a single fingerprint. Works like Hunting With Mochi(2005), which depicts a cabin in the woods surrounded by a landscape made up of quilt-like patchworks of translucent color, exemplifies the influence of photo-collage on Wood’s practice. His drawings often begin with photographs, which he then cuts apart and re-composes into deliberately disjointed collages. Projecting the new, flattened-out, stylized image onto paper, Wood sketches its form using an array of media, including gouache, ink, charcoal, and ballpoint pen, producing a wide-angle lens effect that mimics the skewed proportions of memory.

Jonas Wood
Fish Tank, 2012
gouache, ink and colored pencil on paper
103.84 × 81.92 cm

Jonas Wood
Orange Bonsai in SK Dino Pot, 2023
gouache, ink and colored pencil on paper
60.96 × 45.72 cm

Jonas Wood
Magdalena Suarez Frimkess Pot 5, 2016
gouache and colored pencil on paper
33.66 × 38.1 cm

4 July 2023

Elizabeth Peyton

Kiss (Elvis), 2023
Pastel, color pastel, watercolor, and colored pencil on paper
35.9 x 26 cm

Elizabeth Peyton: Angel
7 June – 28 July 2023
David Zwirner, London
 

Elizabeth Peyton

Ang in the Mountains, 2023
Color pencil and oil pastel on paper
30.5 x 22.9 cm

Elizabeth Peyton

Mani Rimdu, 2023
Oil pastel and colored pencil on paper
30.5 x 22.9 cm

Elizabeth Peyton

TC (Timothée), 2022-2023
Colored pencil and pastel on paper
31 x 23.2 cm

21 April 2023

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

17 March 2023

Alexandra Roozen

Two Tone, 2022
pencil on paper
160 x 120 cm
links: NL=US Gallery |  Alexandra Roozen

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

Toni van Tiel

A rock costume for hiding through the ages, 2022
Gouache and pencil on paper
29.7 x 21 cm
links: Galerie Bart

Raquel Maulwurf

Yamamoto, Japan (Tsunami 2011), 2022
charcoal pastel on museum board
152 x 112 cm
links: Gallery Livingstone | Raquel Maulwurf

Nanda Runge

Rayleigh scattering # 61, 2023
watercolor on paper
30 x 40 cm
links: Galerie Van den Berge | Nada Runge

Sanne Maloe Slecht

Play Doh’s Cave 14, 2021
mixed media on paper
21 x 14,8 cm
links: Galerie Bart | Sanne Maloe Slecht

Vincent de Boer

Rol 006, [werkstation 2], 2022
Chinese ink on Wenzhou paper
180 x 45 cm
links: Galerie Franzis Engels | Vincent de Boer

Nick Ervinck

Bruntiskie, 2021
marker, pencil, pastel, print
80 x 60 cm
links: Galerie Franzis Engels | Nick Ervinck

Marisa Rappard

Externalisation, 2021
compressed acrylic and pencil on paper
146 x 232 cm

16 March 2023

Stephan van den Burg

Untitled (Borrowed Settings, 12), 2023
colored pencil on paper
29.7 x 21 cm
links: Gallery Helder | Stephan van den Burg

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

Sigrid van Woudenberg

Earphones (Ophelia), 2022
Siberian chalk and pastel on paper
185 x 150 cm
links: Gallery Helder | Sigrid van Woudenberg

Himmelsbach

portrait #50, 2022
ink on Hahnemühle paper
links: Gallery Helder | Himmelsbach

Lenneke van der Goot

Blue Haze, 2023
lithography, pastel, ink and collage on paper
35 x 50 x 0,5 cm
links: Art Gallery O-68 | Lenneke van der Goot

Rozemarijn Westerink

La Pature 06-22-863, 2023
pen and ink on paper
16 x 24 cm
links: Art Gallery O-68 | Rozemarijn Westerink

Maaike Kramer

Schetsontwerp 21, 2023
Engobe/slip on porcelain
28 x 20 cm
links: Art Gallery O-68 | Maaike Kramer

11 March 2023

Arpaïs Du Bois

avoir l’âme en travaux, 2022
Mixed media on paper, edition unique
73 x 55 cm

Arpaïs Du BoisLe Mythe de la Pente Douce
11 February – 18 April 2023
Gallery Fifty One, Antwerpen

Arpaïs Du Bois
faire fleurir l’ombre, 2022
Mixed media on paper, edition unique
25 x 19 cm

[from the pressrelease]
Du Bois has a daily drawing practice. She works incessantly, compulsively, and it is important for her to show that abundance of work. Also in the case of this exhibition, in which all works reinforce and balance each other. The works on paper have clearly become more layered, both content related as in terms of texture and materiality. Du Bois shows her audience every nuance of her thinking process and several facets of a reality are given a place; she questions, denies, hopes, smiles. And there is also room for some serious introspection.
In Du Bois’ characteristic manner, the tone of the title is extended in the individual works on view. Look for example at ‘ambiance florale fanée’; a state of the world. In a critical description, which is typical for her oeuvre, Du Bois refers to a floral atmosphere in which the flowers, however, have withered. By constantly repeating, reworking and repainting vegetal motifs, they have evolved into abstracted forms from which the beauty, poetry and complexity of nature have disappeared. In ‘subversifs aux heures creuses’ – being subversive in your free time, when it suits you – Du Bois raises the question of individual and collective responsibility.
Although the message is often heavy, Du Bois’s soft colour palette and shapes and her exquisite play with the French language, also leave room for lightness, beauty, compassion and empathic humour. Because – in absence of direct means and actions to really transform the world into a livable place for people, animals and plants in the long term – what do we do or can we do other than ‘bricoler son monde’ and ‘bégayer la détresse’? We will ‘fatiguer l’enfer’ and we will continue to work, cure, pay attention, care for and make better. As good as we can. Or not.

Arpaïs Du Bois
corrompre le déluge, 2022
Mixed media on paper, edition unique
150 x 110 cm

11 February 2023

Marijn van Kreij

Untitled (Picasso, Artist and Model, Ad Reinhardt, I), 2020
Gouache, pencil and laser print on paper, framed
21 x 29,7 cm

Marijn van Kreij
Untitled (Thomas Ruff, Franz Gertsch, Parkett, Two Red Dots), 2022
Mixed technique on paper
25,5 x 20,5 cm

Marijn van Kreij
Untitled (Picasso, Pigeons, 1957) I, 2023
Mixed technique on paper
21 x 29.7 cm

Marijn van Kreij
Untitled (Picasso, Pigeons, 1957) II, 2023
Mixed technique on paper
21 x 29.7 cm

9 February 2023

Pauline Curnier Jardin

L’incroyable accouchement d’Ada Pepita (The Incredible Birth of Ada Pepita), 2020
pastel on black paper
100 x 70 cm

Pauline Curnier Jardin
Je t’ai besoin (I need you)
, 2020
pastel and gouache on paper
100 x 70 cm

1 February 2023

Willem de Kooning

Untitled, 1959
Ink on paper
99.7 x 69.8 cm

Roma New York 1953 – 1964
Including: Afro, Carla Accardi, Franco Angeli, Luigi Boille, Alberto Burri, Giuseppe Capogrossi, Piero Dorazio, Tano Festa, Giosetta Fioroni, Philip Guston, Franz Kline, Willem de Kooning, Jannis Kounellis, Conrad Marca-Relli , Gastone Novelli, Achille Perilli, Robert Rauschenberg, Mimmo Rotella, Salvatore Scarpitta, Mario Schifano, Toti Scialoja, Mark Tobey, Cy Twombly
12 January – 25 February 2023
David Zwirner Gallery, New York

Giosetta Fioroni

Ragazza sovietica, 1969
Pencil and enamel on paper on canvas
179.1 x 140.3 cm

Cy Twombly

Sperlonga drawing, 1959
Oil-based house paint, pencil, and wax crayon on paper
69.9 x 100 cm

Mario Schifano

No. 2 dagli Archivi del Futurismo, 1965
Enamel and graphite on canvas
160.3 x 114.9 cm

29 January 2023

Berlinde De Bruyckere

It almost seemed a lily, 2019-2022
Tracing paper and thread on paper
44.8 x 28 cm

Berlinde De BruyckereA simple prophecy
26 January – 13 May 2023
Hauser & Wirth, Zürich

Berlinde De Bruyckere
It almost seemed a lily, 2019-2022
Tracing paper and thread on paper
44.8 x 28 cm

Berlinde De Bruyckere
It almost seemed a lily, 2019-2022
Tracing paper and thread on paper
44.8 x 28 cm

9 January 2023

Arnulf Rainer

Selbstüberzeichnung (Overdrawing Self), 1969-1970
Oil, chalk on photograph
49.5 x 40 cm

Antonius Höckelmann | Arnulf Rainer
23 November 2022 – 11 February 2023
Michael Werner, New York

Antonius Höckelmann

Untitled, 1985
Pencil, pastel, gouache on paper
43 x 30.5 cm

Arnulf Rainer
Das andere Ufer (The Other Shore), n.d.
India ink, oil on photograph
60 x 50 cm

Antonius Höckelmann
Untitled, 1975
Wax crayon, gouache, pencil on paper
68 x 99.5 cm

Arnulf Rainer
Untitled (Chaotic Paintings), 1980-1983
Oil, watercolor on paper
45 x 62 cm

30 December 2022

Dashiell Manley

letters I. E.W.A.T.I.F.A.B.E.T.W.S.T.U.W.W.W.K.I.B.A.I.W.L.O.M.B.W.W.L.T.T.H.I., 2022
Gouache, acrylic, graphite, chalk, pastel, newspaper, and oil stick on linen
3 panels, each: 99.1 x 81.3 cm
Overall: 99.1 x 243.8 cm

Dashiell ManleyModel _______
16 November 2022 – 7 January 7 2023
Marianne Boesky Gallery, New York

Dashiell Manley
[detail] letters I. E.W.A.T.I.F.A.B.E.T.W.S.T.U.W.W.W.K.I.B.A.I.W.L.O.M.B.W.W.L.T.T.H.I., 2022
Gouache, acrylic, graphite, chalk, pastel, newspaper, and oil stick on linen
3 panels, each: 99.1 x 81.3 cm
Overall: 99.1 x 243.8 cm

Dashiell Manley
detachments. argument; who’s next?, 2022
Gouache, acrylic, graphite and oil stick on linen
121.9 x 152.4 cm

13 December 2022

Anni Albers

Study for Camino Real, 1967
Gouache and diazotype on paper
44.5 x 40.6 cm

Anni and Josef Albers 
15 October 2022 – 15 January 2023
Kunstmuseum Den Haag

Josef Albers

Homage to the Square, 1957
Oil on Masonite
61 x 61 cm

12 November 2022

Jessica Rankin

Harvest of flowers at back of the throat, 2021
recto: acrylic and embroidery
verso: watercolor, graphite and embroidery
30.48 x 30.48 cm

Jessica Rankin
Spiral Wind, 2022
recto: acrylic, embroidery
verso: watercolor, graphite, embroidery 
45.5 x 61 cm

Jessica Rankin
Thus the light of the sun, CP, 2021
acrylic and embroidery on canvas
128 x 244 x 4 cm

8 October 2022

Susan Schwalb

Parchment XVIII, 1982
Copperpoint, fire, wax & smoke on clay coated paper
30.5 x 23 cm

Still Masters II
Minjung KimDavid ConnearnSusan Schwalb
28 September – 05 November 2022
Patrick Heide Contemporary Art

David Connearn

Square root 2, 2022
A drawing of 566 lines using the initial digits of the numerical expression of √2
Drawn with the iso 128 series of pens / Black ink on 350 gsm Somerset Satin paper
84.1 x 84.1 cm

Minjung Kim

The Corner (18-001), 2018
Mixed media on mulberry Hanji paper
200 x 139 cm

5 October 2022

Pélagie Gbaguidi

Care, 2020
dry pastel and wool on paper
21 x 29 cm

40 YEARS of Zeno X Gallery – the two-thousands
[with: N. Dash, Jan De Maesschalck, Pélagie Gbaguidi, Kees Goudzwaard, Susan Hartnett, Yun-Fei Ji, Kim Jones Naoto Kawahara, Martin Margiela, Philip Metten, Paulo Monteiro, Jockum Nordström, Marina Rheingantz, Pietro Roccasalva, Grace Schwindt, Jenny Scobel, Hyun-Sook Song, Bart Stolle, Mircea Suciu, Jack Whitten]
24 September – 12 October 2022
Zeno X Gallery, Antwerpen

Susan Hartnett

Oct. 11 2011 #2, Blue-joint grass (Calamagrostis canadensis), 2011
charcoal on paper
56,5 x 76 cm

Jockum Nordström

Cat Dog Cat, 2016
collage, watercolour and graphite on paper
40 x 50 cm

25 September 2022

Gabriel Orozco

23.II.22 (m), 2022
Gouache, tempera, ink and graphite on paper
18.2 x 12.8 cm

Gabriel OrozcoDiario de plantas
10 September – 8 October 2022
Galerie Chantal Crousel, Paris

Gabriel Orozco
21.I.22 (b) #14, 2022
Gouache, tempera, ink and graphite on paper
16.5 x 12.8 cm

Gabriel Orozco
3.I.22 (b) #5, 2022
Gouache, tempera, ink and graphite on paper
16.5 x 12.8 cm

21 September 2022

Arturo Herrera

Untitled, 2021
Collage, mixed media on paper
100 × 69.9 cm

Arturo Herrera
Untitled, 2021
Collage, mixed media on paper
100 × 69.9 cm

15 September 2022

Nick Mauss

Overwrite, 2021
Ink on paper
83.5 × 59 cm

Nick Mauss
As it is, 2020
Acrylic on board with pencil and gouache on paper
55.9 x 73.7 cm

Nick Mauss
Separate the Figures, 2021
gouache and ink on paper
84 x 118 cm

Nick Mauss
Compilation
, 2020
Watercolor, acrylic and ink on paper
55.9 x 75.9 cm

8 September 2022

Mark Manders

Untitled Drawing, 2011-2022
Pencil on paper
59 × 42 cm

Mark Manders
3 September – 15 October 2022
Zeno X Gallery, Antwerpen

Mark Manders
Cloud Study (with All Existing Words), 2005-2022
Offset print and acrylic on paper, chicken wire, wood
71 × 52 × 4 cm

Mark Manders
Drawing with Six Drops of Rain / Drawing with Vanishing Point, 2020-2022
Pencil on paper
65 × 50 cm

25 August 2022

Rashid Johnson

Bruise Painting “Libras”, 2021
Oil on linen
244 x 214 x 5.1 cm

Rashid JohnsonSodade
19 Jun – 13 Nov 2022
Hauser & Wirth, Menorca

Links: [Hauser & Wirth]

Rashid Johnson
Seascape “Petit Pays”, 2022
Oil on linen
183.5 x 244.5 x 5.1 cm

Rashid Johnson
Surrender Painting “Got to Give it Up”, 2022
Oil on linen
122.3 x 91.5 x 5.1 cm

23 August 2022

Felipe Baeza

Wayward, 2021
ink, cut paper, graphite, twine, and acrylic collaged on paper
167.6 × 121.9 cm

Felipe Baeza
The 59th Venice Biennale: The Milk of Dreams
23 April – 27 November 2022 | Venice, Italy

Felipe Baeza
Fragments, refusing totality and wholeness, 2021
ink, embroidery, acrylic, graphite, varnish, and cut paper on panel
40.6 × 30.5 cm

[from the pressrelease] I open against my will dreaming of other planets I am dreaming of other ways of seeing this life These lines title a large-scale painting by Felipe Baeza, who combines collage, mixed media, egg tempera, and printmaking to make heavily textured two- dimensional works. Dreams of other planets, of another life arise through bodies depicted in states of transformation – often half human, half flora. Full foliage bursts from human heads, overtakes torsos and limbs, and erotically vines its way in and out of desirous mouths. Baeza’s approach to material aligns with the concepts that underline his work. This is visible in the new works shown at the Biennale Arte 2022, a continuation of a series Baeza has developed since 2018. He builds up his figures with layer after layer on panel, canvas, and paper, then sanding, carving, and altering the elements within each composition. This intense material manipulation recharacterises traditional drawing and painting processes and, reflecting the artist’s experience of migration to the United States from Mexico and migration across the globe, express his intent to create “fugitive bodies.” Described by the artist as love letters, his paintings and collages are a form of imaginative self-portraiture and future building.

Felipe Baeza
Por caminos ignorados, por hendiduras secretas, por las misteriosas vetas de troncos recién cortados, 2020
ink, flashe, acrylic, varnish, twine, cut paper, and egg tempera on paper

21 August 2022

Katrin Bremermann

2104, 2021
wax and varnish on paper
40,5 x 29,7 cm

Katrin Bremermann
2232, 2022
wax and varnish on paper
40,5 x 29,7 cm

Katrin Bremermann
M 2101, 2021
wax and varnish on paper
57 x 41,5 cm

17 August 2022

Candice Lin

Pueraria montana, 2022
Indigo, turmeric, and pencil on cotton rag blotting paper with plant remnants
30 x 24 cm

Candice LinXternesta
The 59th Venice Biennale: The Milk of Dreams
23 April – 27 November 2022 | Venice, Italy

Candice Lin
Strobilanthes cusia, 2022
Parasitic wasp and oak gall ink and turmeric on cotton rag blotting paper with plant remnants
30 x 24 cm

Candice Lin
Papaver somniferum, 2022
Parasitic wasp and oak gall ink, madder, turmeric, indigo, and soot black on cotton rag blotting paper with plant remnants
30 x 24 cm

13 August 2022

Jasper Johns

Untitled, 2011
acrylic over intaglio on paper mounted on Fred Siegenthaler “confetti” paper
29.8 × 19.7 cm

Jasper Johns
Corpse, 1974-1975
Colored ink, oil stick, pastel, and graphite on paper
108.2 × 72.4 cm

Jasper Johns
Bushbaby, 2004
Acrylic and graphite on paper mounted on paper
86.7 × 60.3 cm

9 August 2022

Tirdad Hashemi

The difficult life of an easy girl, 2020
Collage and pastel on paper
29,5 x 42 cm

Tirdad HashemiWet Plastic Fragile Heart
1 March – 31 Augustus 2022
gb agency (viewing rooms), Paris

Tirdad Hashemi
If corona don’t kill us we kill each other, 2020
Collage and pastel gras on paper
29,5 x 42 cm

Tirdad Hashemi

Dreaming of you dismantles any fear of loneliness at night, 2021
Oil pastel on paper
21 x 29.7 cm

7 August 2022

Gregor Hildebrandt

A horse on the lake (white), 2022
Magnetic VHS coating, acrylic glue, acrylic on canvas
74 x 107 cm

Gregor HildebrandtWo du mich liebst beginnt der Wald
15 July – 10 September 2022
Perrotin

Gregor Hildebrandt
Where you look for me begins the city, 2022
VHS tape, acrylic on canvas
152 x 152 cm

3 August 2022

Susanna Inglada

Turn the Tables, 2021
charcoal, acrylic, pastel on coloured paper
198 x 211 cm

Summershow
Sam Hersbach, Susanna Inglada, Jantien Jongsma, Ronald Versloot, Dan Zhu
paintings, works on paper, drawings
10 July – 14 August 2022
Galerie Maurits van de Laar, Den Haag

Ronald Versloot

Just Wait, 2022
pastel on paper
70 x 50 cm

Jantien Jongsma

Siskin, 2021
gouache and ink on paper
70 x 100 cm

Dan Zhu

The Lightning, 2022
watercolour on paper
44,5 x 59,5 cm

Sam Hersbach

Eyes and Pearls, 2017
acrylic, gouache, pigment on linen
150 x 95 cm

31 July 2022

Spencer Longo

Comet Of The Decade, 2022
ink on magazine
26.51 x 40.96 cm

Spencer LongoTime
July 1 to July 31 2022
King’s Leap Fine Arts, New York

Spencer Longo
Oh, My God, They’re Killing Themselves, 2020
ink on magazine
26.51 x 40.96 cm

Spencer Longo

How Mac Changed The World, 2022
ink on magazine
26.51 x 40.96 cm

30 July 2022

Kara Walker

Your Secret Pain, 2021
Graphite, ink and shell white on paper
57.1 × 76.2 cm

Kara WalkerRing Around the Rosy
10 June – 30 July 2022
Sprüth Magers, London

Kara Walker
The Colonists Day of Judgement, 2020
Walnut ink, shell white, pen, ink and watercolor on paper
66 × 101.6 cm

[from the pressrelease]
Sprüth Magers is proud to present Ring Around the Rosy, a solo exhibition of recent works on paper by Kara Walker. This is Walker’s second exhibition at the London gallery and brings into focus the breadth of her drawing practice. Her work within the medium is concurrently explored in depth in her touring museum exhibition, A Black Hole is Everything a Star Longs to Be, on view at the De Pont Museum in Tilburg, The Netherlands, through July 24.
Throughout her career, paper has been central to Walker’s practice, from the cut silhouettes that brought her early renown, to her small-scale drawing series and now monumentally scaled compositions. Drawing offers the artist a place to operate and develop in a transformative medium outside the heavily European male dominated discourse on painting. In Ring Around the Rosy, Walker’s dynamic inquiry into gender, identity, and sexuality is brought into poignant, suspended meditation across drawings of various scales; some produced as recently as this past year further elucidate the timeliness of her perspective on the present. Tracing the historical lineages of oppression and subjugation across centuries and continents, her work questions and confronts present-day matrices of race, power, and desire in the United States.
As is emblematic of her practice, the works on view are layered with art historical references. The eponymous drawing Ring Around the Rosy/Usher to the House of the Fall (2021) alludes to Edgar Allen Poe’s 1839 Gothic short story The Fall of the House of Usher, as well as Matisse, Blake and Bernt Notke’s medieval Danse Macabre, and the iconic children’s nursery rhyme. In The Origin of the World (Juried Art Competition) (2022), Walker makes pointed reference to Gustave Courbet’s painting of the same name, while rewriting his original intent for The Painter’s Studio (1855) to feature a Black painter at the centre of the work. The artist’s muse becomes the artist, vaunted by her beret, occupying the centre of the visual tableau.
The act of drawing has consistently been a way for Walker to reflect on current events and their overlap with history and myth. This exercise took on an extra dimension during the isolation of the pandemic, as she came to see the drawings as markers of passing time, similar to the meditative reading of the medieval book of hours. The imagery found within this series ranges from Biblical scenes to more contemporary acts of violence and strife, suggesting an interconnection of myth and reality across history. At the same time, drawing remains an act of hope for Walker: the personal devotion to time, and to the gesture of creation. 

Kara Walker
Untitled, 2021
Graphite and ink on paper
50.8 × 66 cm

Kara Walker
Eunich and Protégé, 2018
Graphite and ink on paper
33 × 48.3 cm

29 July 2022
drawing Raúl Dominguez - Untitled, 2022 / graphite, charcoal and conté on paper - contemporary drawing, drawings, work on paper, art on paper

Raúl Dominguez

Untitled, 2022
graphite, charcoal and conté on paper
230 x 150 cm

Raúl DominguezMedia hora de sol
27 May – 29 July 2022
CarrerasMugica, Bilbao

28 July 2022

Koen Delaere

390 Degrees of Stimulated Stereo 18, 2021-2022
Oil stick, collage, pigments, acrylic medium on oil paint paper
70 x 50 cm

Koen Delaere. 390 Degrees of Simulated Stereo
6 July – 29 August 2022
Gallery Gerhard Hofland

Koen Delaere
390 Degrees of Stimulated Stereo 15, 2021-2022
Oil stick, collage, pigments, acrylic medium on oil paint paper
70 x 50 cm

Koen Delaere
390 Degrees of Stimulated Stereo 9, 2021-2022
oil stick, collage, pigments, acrylic medium on oil paint paper
70 x 50 cm

25 July 2022

Sonia Gechtoff

Wild Wave II, 1983-84 
acrylic and graphite on paper
41.9 x 40 cm)

Sonia Gechtoff
24 June – 26 August 2022
55 Walker [Bortolami, kaufmann repetto, and Andrew Kreps Gallery]

Sonia Gechtoff
riders of the wave, 1992
acrylic and graphite on canvas
191,8 x 141 x 4 cm

24 July 2022

Albert Oehlen

Untitled, 2022
watercolor and ink on carton
30.5 x 22.9 cm

Albert OehlenWorks on Paper and a Sculpture
9 June – 30 July 2022
Gagosian Gallery, Athens

Links: [Gagosian Gallery]

Albert Oehlen
Untitled, 2022
paper and plastic sheet on paper
30.5 x 22.9 cm

Albert Oehlen
Untitled, 2022
watercolor, pencil and ink on carton
30.5 x 22.9 cm

[from the pressrelease]
In several of twenty-one small works in watercolor and ink on paper on view in Athens, Oehlen also refers to the same source as the John Graham paintings of his 2021 exhibition at Gagosian Beverly Hills. In these new drawings, Oehlen works alternately in black and white and with a restricted color palette, picturing biomorphic forms alongside wholly abstract passages, infusing both with anarchic energy.

In thirteen larger works in ink, paper, pencil, and watercolor, on paper, Oehlen refers to his Ö-Norm paintings of 2020–21. Characterized by wandering organic lines that often stretch to the edges of their supports, the drawings share with their root paintings a raw, unfinished quality and establish a tension between elegance and abjection. Here, drawing becomes an arena in which ideas of authenticity and expression undergo a thorough but still playful reassessment through experimentation with line, shape, and tone. An additional large charcoal drawing from 2016 features a loose web of black lines that traces the expansive gestures and directional shifts of the artist’s hand.

Finally, in six collages from 2009, Oehlen juxtaposes various found images and materials, including posters, postcards, stickers, and magazine advertisements, with original drawings and prints. These pared-down compositions allude to the continual reframing of aesthetic value and conceptual weight characteristic of twenty-first century consumer culture, while the heterogeneity of their components also challenges the viewer to uncover further visual and thematic links.

Albert Oehlen
Untitled, 2009
collage on paper
100 x 70 cm

22 July 2022

Tacita Dean

Casus, 2022
Chalk on blackboard paint screenprinted onto paper
180 x 130 cm

Tacita Dean
25 May – 23 July 2022
Galerie Marian Goodman, Paris

Tacita Dean
The great god Pan is dead, 2021
Collage on vintage index card
10.2 x 15.2 cm

Tacita Dean
Purgatory (7th Cornice), 2021
Colored pencil on Fuji Velvet paper mounted on paper
290 x 415 cm

21 July 2022

Atalay Yavuz

Uzandığım yer cilalı (The floor I lie on is polished), 2022
acrylic, graphite on paper
111.76 x 76.2 cm

Atalay YavuzI could stay up all night and make mistakes, and none of them would count
3 June – 22 July 2022
Galerie Elisabeth & Klaus Thoman/ tart.vienna

Atalay Yavuz
Ben kendimi bildim bileli (Ever since I have known myself), 2022
graphite on paper
44.5 x 58.25 cm

drawing Atalay Yavuz - Kapına geldim kendime rağmen (I came to your door despite myself), 2022 / acrylic, graphite on paper - contemporary drawing, drawings, work on paper, art on paper

Atalay Yavuz
Kapına geldim kendime rağmen (I came to your door despite myself), 2022
acrylic, graphite on paper
111.76 x 76.2 cm

18 July 2022

Tal R

Untitled Flowers, 2021
Crayon and oil stick on paper
52 x 40 cm

Tal RUntitled Flowers
26 May – 30 July 2022
Victoria Miro, London

Tal R

Untitled Flowers, 2020
Ink on paper
124 x 80 cm

Tal R

Untitled Flowers, 2022
Oil stick on handmade coloured paper
178 x 130 cm

17 July 2022

Raoul de Keyser

Untitled, 1997
Watercolor on paper
35.9 x 21 cm)

Raoul de Keyser. Replay Again
5 July – 6 August 2022
David Zwirner Gallery, Hong Kong

Raoul de Keyser

Ochtend, 2000
Oil and charcoal on canvas
190.5 x 252.1 cm

10 July 2022

Christopher Wool

Untitled, 2020
oil and inktjet on paper
55.9 x 43.2 cm

Christopher Wool
2 June – 30 July 2022
Xavier Hufkens, Brussels

Christopher Wool

Untitled, 2020
oil and inktjet on paper
55.9 x 43.2 cm

Christopher Wool
Untitled, 2020
oil and silkscreen on paper
111.8 x 76.2 cm

15 May 2022

Bruce Nauman
Untitled, 1994
Pencil on cut-and-pasted printed paper
82.9 x 82.6 cm

Bruce Nauman
Fist in Mouth, 1990
Cut-and-pasted printed paper and paper with watercolor and pencil on paper
51.4 x 60.3 cm

Bruce Nauman
Sex and Death/Double 69, 1985
watercolor and crayon
216 x 134 cm

20 March 2022

Pélagie Gbaguidi

Chaine Humaine, 2022
wax pastel, wool and coloured pencil on paper
55 x 36,5 cm

Pélagie Gbaguidi. Le jour se lève
12 March – 30 April 2022
Gallery Zeno-X Gallery

Pélagie Gbaguidi

Chaine Humaine, 2022
wax pastel and coloured pencil on paper
36,5 x 27,5 cm

25 February 2022

Gerhard Richter

8.12.1989, 1989
Graphite and colored pencil on paper
29.7 × 21 cm

Gerhard Richter. Drawings | Zeichnungen 1963 – 2020
29 January – 12 March 2022
Sies + Höke, Düsseldorf

Gerhard Richter
Ohne Titel (Febr. 92)
, 1992
Oil and graphite on paper
21 × 16 cm

Gerhard Richter
VII. 91, 1991
Indian ink (brush) on paper
16.5 × 24 cm

Gerhard Richter
Snow White, 2005
Acrylic and graphite on offset print
22.5 × 32 cm

Gerhard Richter
Portrait Günther Uecker, 1968
Graphite and oil on primed canvas
50 × 38 cm

24 February 2022

Marijn van Kreij

Untitled (Sigmar Polke, Ad Reinhardt, Physiognomical Changes, The Insiders), 2015
Montage, gouache on the back of a drawing paper pad cover and book clipping
22.6 x 30.5 cm

Marijn van Kreij
Untitled (Sam McBratney, Anita Jeram, Raad Eens Hoeveel Ik Van Je Hou, 1995, Lawrence Weiner, Something to Put Something On, 2008)
, 2020
gouache and pencil on bookpage
21 x 25 cm

Marijn van Kreij
Untitled (Picasso, L’Atelier, 1955, Snow Butter), 2020
gouache and pencil on laserprint
42 x 29,7 cm

Marijn van Kreij
Untitled (Dakloos Bla Bla Bla, De Groene Amsterdammer, Molletje), 2020
gouache, pencil and ink on magazine page
29,5 x 23 cm

18 February 2022

Georg Baselitz

Ohne Titel, 2021
Ink on paper
100 x 74.8 cm

Georg Baselitz. Drawings
13 January – 26 February 2022
Anton Kern Gallery

Georg Baselitz
Ohne Titel
, 2021
Ink on paper
66.2 x 50.9 cm

Georg Baselitz
Ohne Titel
, 2021
Ink on paper
66.3 x 50.2 cm

[from the pressrelease]
A drawing is always naked.
— Georg Baselitz 

Made from memory in one sitting over the summer of 2021, the thirteen experimental and dynamic compositions in red and black India ink reconsider past bodies of work in addition to specific, individual images. Some are loosely based on the seminal portrait of Baselitz’s wife, Portrait of Elke I (1969), which marked the beginning of the artist’s inversion of his images and was recently donated by the artist to the Metropolitan Museum of Art in New York.

His choice to rework Elke repeatedly over the years in the same familiar poses represents an ever-renewing declaration of love, as well as an intimate reflection on change and stability, on the inevitability of ageing, and on the function of portraiture. New self-portraits and depictions of Elke are on view alongside a drawing derived from the well-known painting Schlafzimmer (Bedroom) (1975). Diverging from his recent black ink drawings, the vibrant flesh-red palette of many of the new works is inspired by Henri Rousseau’s 1895 lithograph La Guerre (The War) and intensifies the fragility and sensuousness of these portraits.

These new works are a vivid reminder that drawing has always been at the core of Baselitz’s practice, the line functioning as the seismograph of the artist’s attitude towards image and motif. Taking a look back at ink works from the late 1950s and early 1960s, the profound influence of French poet, dramatist and visual artist Antonin Artaud, a kindred spirit of sorts, becomes instantly evident. It was out of this investigation that Baselitz developed his unique definition of the role of the artist in society, while simultaneously inventing a deeply original language of drawing and painting. These early motifs were drawn in bold, gnarly lines and high contrast ink washes, held together in bouncy yet slightly unsteady and restless compositions.

Now, Baselitz directs the same existential rigor towards himself and his own oeuvre. The lines, drawn with an ink-wet brush and an almost weightless stroke, allow the liquid to pool and follow the pull of gravity or the blow of air, seemingly trailing an invisible compositional grid, substituting for any indication of background or space. Elke and Georg Baselitz appear and disappear out of the thicket of drawn ink, and even, in a dazzling use of color, to bleed in raw redness. The contours, the disegno, of the human figures are fragmentary, tremulous, but also, at times, fluid and very much alive. This new series is an uncompromising self-investigation of an artist in his 84th year. No outside existential spark is needed. It has been replaced by a lifetime of art making stripped bare.

Georg Baselitz Ohne Titel, 2020 Ink and gouache on paper 248.4 x 176.2 cm
12 February 2022

Allan Kaprow

Model Behind Door, Provincetown Studio, 1954
Gouache and crayon on paper
76.2 x 55.9 cm

Allan Kaprow. A Painter… of sorts
Selected Works 1953 – 1975
20 January – 12 March 2022
Hauser & Wirth, Zürich

Allan Kaprow
Seated Nude, Slippers on Floor, 1954
charcoal on paper
65.7 x 50.8 cm

5 February 2022

Franz Burkhardt

Keine neuen Bekanntschaften, 2021
pencil and ink on paper
27,8 x 20 cm

Franz Burkhardt. Aus Kultur und Sozialwissenschaften
12 November 2021  – 12 February 2022
Martin Kudlek Gallery, Cologne

Franz Burkhardt
Fault memory, 2021
colored pencil and ink on paper
30 x 20,7 cm

Franz Burkhardt
Sommer
, 2021
colored pencil and ink on paper
24,7 x 18,2 cm

2 February 2022

Stanley Whitney

Untitled, 2020
Crayon and graphite on Japanese paper
31.8 x 43.2 cm

Ways of Seeing: Three Takes on the Jack Shear Drawing Collection
2 October 2021 – 20 February 2022
The Drawing Center, New York

Agnes Martin

Untitled, c.1975
Transparent watercolor, black ink, and graphite on paper
22.9 x 22.9 cm

28 January 2022

Arno Kramer

Untitled, 2021
charcoal, colored pencil, watercolor and collage
43 x 51,5 cm

Arno Kramer. In Time
16 January – 24 April 2022
CODA Museum, Apeldoorn
_____
Art room Arno Kramer. In Time
27 January – 19 February 2022
See All This Magazine

Arno Kramer

Untitled, 2022
watercolor, pencil, colored pencil and collage
43 x 51,6 cm

13 May 2021

Susan Te Kahurangi King

Untitled, ca. 1967–70
Crayon, ink, colored pencil and graphite on paper
10.25 x 8.25 inches.

Parallel Phenomena: Works on Paper by Carroll Dunham, Susan Te Kahurangi King, Gladys Nilsson and Peter Saul. [Curated by Damon Brandt]
Andrew Edlin Gallery, New York
May 13 – July 2, 2021

Peter Saul

Untitled, 1962
Crayon on paper
35 x 39 inches

Carroll Dunham

Land, 1998
Graphite on paper
15 x 21.5 inches

Gladys Nilsson

Blue Glass, 1985
Watercolor on paper
21.75 x 41.75 inches

Parallel Phenomena [from the pressrelease] – Parallel Phenomena compares and contrasts the distinct yet related worlds these four artists have constructed and woven into being with graphite, colored pencil and watercolor. Every paper surface becomes the territory for a series of eccentrically fueled and compulsively composed narratives, each distinguished by a level of figurative distortion that bears the unmistakable signature of its author. By exploring the compositional and conceptual connective tissue among the works of Carroll Dunham, Susan Te Kahurangi King, Gladys Nilsson and Peter Saul, one can trace the mysterious phenomena of unorchestrated communal responses to deeply held individual impulses or needs. Through this clarifying process one can simultaneously highlight individual inspiration and celebrate the shared instincts and aesthetic parallels.

Susan Te Kahurangi King
Untitled, circa 1967
Crayon, ink, colored pencil and graphite on paper
10 1/4 x 8 inches

5 May 2021

Willem de Kooning

Two Women, c. 1950
Graphite and oil on paper
25 × 20 cm

Willem de Kooning. Drawings
5 May – 26 June 2021
Matthew Marks Gallery, New York

Willem de Kooning

Untitled (Painting Study), c. 1975
Charcoal on paper
22 × 28 cm

Willem de Kooning

Untitled (Clamdigger), c. 1970
Charcoal on paper
28 × 22 cm

“Even abstract shapes must have a likeness”
[from the pressrelease] – The exhibition Drawings features thirty-two works spanning the artist’s long career. The tension between abstraction and figuration that defined de Kooning’s art is apparent in the exhibition’s earliest works. Included are several of his most celebrated drawings from the 1930s, including a 1937 study for his World’s Fair mural, his 1938 portrait of the art critic Harold Rosenberg, and the Ingresque Reclining Nude (Juliet Browner) (c. 1938), one of his first female nudes. The traditional skills he learned at the art academy in Rotterdam are evident in a sheet of precisely drawn portraits of Elaine de Kooning from the early 1940s.

By the following decade de Kooning had traded deliberateness for velocity. Included in the exhibition are three Woman drawings from c. 1950 made up of swarms of graphite marks in constant motion, smeared or removed almost as quickly as they were laid down. Widely celebrated for his skilled draftsmanship, de Kooning nevertheless strived to avoid what he considered the pitfalls of virtuosity. In the mid-1960s he used experiments like drawing with his eyes closed to break old habits and discover new means of expression. 

Several drawings in the exhibition build on the lessons of those exercises. Drawn with charcoal, which facilitated even faster mark-making, they describe figures with an immediacy that the artist likened to snapshots. The human form still provides the departure point for three turbulent drawings from the late 1970s, the latest in the exhibition. As de Kooning famously said, “Even abstract shapes must have a likeness.”

Willem de Kooning

Woman, c. 1950
Graphite and wax crayon on paperboard, double
33 × 25 cm

27 March 2021

Amalia Pica

Joy in Paperwork 342, 2015
ink on paper
29.7 x 21 cm

27 March – 25 April 2021
König Galerie, Nave of St. Agnes, Berlin

Amalia Pica

Joy in Paperwork 338, 2015
ink on paper
29.7 x 21 cm

[from the pressrelease]

The series Joy in Paperwork addresses questions of bureaucracy and arbitrariness. The drawings are made with stamps that the artist picked up from different countries. In times of the digitalization documents are still essential in many official processes. Arranged in different patterns the stamps both play with and subvert our obeisance of bureaucracy. Joy in Paperwork Despite the discussion of the global digital world, bureaucratic procedures continue to be based on hard copies, e.g. one’s passport booklet, driver’s license, or official mail. Utilizing a lexicon of formal compositional possibilities Joy in Paperwork, presents elaborate rubber-stamp drawings.

As the texts of the stamps are repeatedly imprinted, their utility becomes abstracted and gives way to patterns or even recognizable forms – sometimes these drawings look like flowers, or even landscape. Pica has restricted her palette to the three ink colors most commonly used in official paperwork–black, red and blue–and with that. The stamps from different countries in different languages mark something has been paid, received, delivered, or duplicated within the abstraction of the bureaucratic machine. From the repetitive gesture of stamping, archiving and display emerges not only a defiant attitude, but also a resilience and joy that defy the very oppression of bureaucracy itself.

The drawings are meant to overwhelm viewers but also draw them in for close viewing as well. Pica is interested in things that get lost, are overheard, forgotten or miscommunicated. In her work, erasure and compensation happens both at the level of the historical anecdote, and at its mediation through art. Although not only linked to immigration, the work speaks to Pica’s arduous process as a non- European person applying for citizenship in a European country.

Amalia Pica

Joy in Paperwork 335, 2015
ink on paper
29.7 x 21 cm

6 November 2020

Stephan van den Burg

Untitled (borrowed settings #2), 2020
colored pencil on paper
29.7 x 21 cm

Positioning. Stephan van den Burg & Zaida Oenema
17 October – 14 November 2020
Gallery Helder, Den Haag

Zaida Oenema

Soft Ground/Hard Edge (graphite), 2020
Cogon grass paper, cut with soldering iron, graphite
50 x 42 cm

Stephan van den Burg

Untitled (sample book pages #12), 2020
colored pencil on paper
29.7 x 21 cm

Zaida Oenema

Soft Ground/Hard Edge (yellow #2), 2020
Cogon grass, colour pencil
50 x 42 cm

Stephan van den Burg

Untitled (graphite finish #15), 2020
colored pencil on paper
29.7 x 21 cm

7 October 2020

Joe Bradley

Untitled, 2019
Graphite on paper
23 x 30.5 cm

Works on paper.

Works by: Hurvin Anderson, Milton Avery, Georg Baselitz, Joe Bradley, Marcel Broodthaers, James Lee Byars, Enrico David, Peter Doig, Jörg Immendorff, Per Kirkeby, Florian Krewer, Eugène Leroy, Markus Lüpertz, Walter de Maria, Roberto Matta, Henri Michaux, A.R. Penck, Elizabeth Peyton, Francis Picabia, Sigmar Polke, Peter Saul, Raphaela Simon, and Don Van Vliet.
7 October – 22 November 2020
Michael Werner Gallery, New York

Francis Picabia

Untitled, 1933
Colored pencil, ink on paper
27 x 21 cm

Georg Baselitz

Untitled, 1992
Charcoal on paper
86.5 x 61 cm

Roberto Matta

Woman Impaled and Five Other Scenes, 1943
Graphite, crayon on paper
58.5 x 73 cm

Milton Avery

Misty morning, 1959
Watercolor on paper
55.5 x 76 cm

A.R. Penck

Untitled (Standart), ca. 1967-1968
Watercolor on paper
30 x 21 cm

Peter Doig

Untitled, 2015
Charcoal on paper
50 x 70.5 cm

Henri Michaux

Untitled (Mescaline Drawing), 1959
India ink, watercolor on paper
28 x 20 cm

12 September 2020

Rita Ackermann

Mama Backwards 7, 2020
Oil, acrylic and china marker on canvas
190.5 x 165.1 cm

Rita Ackermann | Mama ’20
12 September – 22 November 2020
Hauser & Wirth, Zurich

[from the pressrelease]
In Mama ’20 Rita Ackermann presents her latest body of work – a continuation of her Mama series – consisting of automatic drawings and paintings on canvas which reveal her persisting interrogation of line, color and form.

This new suite of paintings on both canvas and paper, feature figures and motifs which rise to the surface only to dissolve and reappear elsewhere again. In Ackermann’s Mama series, repeated imagery is often combined with vivid swathes of color, giving her work a complex visual component that oscillates between abstraction and figuration. Her images are the product of automatic lines and gestures, a subconscious unfolding of form.

Ackermann’s distinctive approach to layering yields a framework for a maelstrom of vibrant pigments and textures that invite and immerse the viewer. In works such as ‘Mama, The Best is Always Yet To Come’ (2020), the weight of the paint’s application combined with the additive and subtractive process of color and figurative line, evoke a nuanced interior realm. Pastel, pigment, china marker, and oil create a depth of surface, which are scraped away to reveal figures of shattered compositions.

For her new series of works on paper, Ackermann applies oil and china marker to create intimate incarnations of her larger canvases. Titling them as ‘studies’, Ackermann focuses on details of her Mama paintings, obscuring various pencil-drawn figures through thick veils of brightly colored oil paint. ‘Mama ‘20’ at Hauser & Wirth Zürich continues Ackermann’s distinctive approach to painting and the coalescence between the personal and collective experience within.

8 September 2020

Charlotte Schleiffert

Girl with dog and monkey, 2019
mixed media on paper
25 x 32,5 cm

Susanna Inglada, Charlotte Schleiffert: AROM(E)IS. Drawings, work on paper, animations, painting
6 September – 4 October 2020
Gallery Maurits van de Laar, Den Haag

Susanna Inglada

no title, 2020
charcoal, acrylic, pastel, on coloured paper
36 x 28 cm

Charlotte Schleiffert

no title (P29), 2019
pencil watercolour, pastel on paper
32,5 x 50 cm

Susanna Inglada

no title, 2020
charcoal, acrylic, pastel, on coloured paper
37 x 30 cm

15 August 2020

Bruce Nauman

Double Size Head and Hand, 1989
ink, pastel, pencil on transparent tape on paper
144.8 x 110.5 cm

Bruce Nauman
Read/Reap
, 1983
Colored chalks, pencil, and masking tape on cut-and-pasted papers
180.3 x 178.8 cm

Bruce Nauman
Face Mask
, 1981
Pastel, charcoal, and pencil on paper
132.8 x 180 cm

Bruce Nauman
All Thumbs
, 1996
graphite and masking tape on paper
56,5 x 76,5 cm

28 May 2020

Elizabeth Peyton

Eternal Return #2 (Tutankhamun), 2020
Monotype on Twinrocker handmade paper
76.8 × 56.5 cm

Elizabeth Peyton. Eternal Return
web-project Petit Crieu

Elizabeth Peyton

Yuzuru Free Skate, 2019
Watercolor on paper
41 × 31 cm

Elizabeth Peyton

Greta, 2020
Watercolor pastel, and glitter on paper
76.2 × 26 cm

Elizabeth Peyton

Reflection, 2020
Black glitter and colored pastel on paper
50.8 × 35.6 cm

24 May 2020

Terence Koh

Untitled, 2020
Charcoal, graphite, oil pastel, artist finger oils on drawing paper
14 x 17 inches

Terence Koh: Diary
May 24 – June 24, 2020
Andrew Edlin Gallery, New York

Terence Koh

Untitled, 2020
Charcoal, graphite, oil pastel, artist finger oils on drawing paper
17 x 14 inches

7 May 2020

Koen Delaere

About Dancing #06, 2020
Mixed media on paper
70 x 50 cm

Koen Delaere. About Dancing
7 May – 7 June 2020
Galerie Gerard Hofland

Koen Delaere

About Dancing #09, 2020
Mixed media on paper
70 x 50 cm

4 May 2020

Samson Young

Untitled, 2020
Pencil and pastel on paper
100 x 70 cm

Hanne Darboven, Wade Guyton, Allan McCollum, Stephen Prina, Samson Young
4 May – 19 June 2020
Petzel Gallery, New York

Hanne Darboven

Dostojewski, Monat January 1990
Ink and gelatin silver print collage on paper
16 parts: 22.5 x 29.5 cm (each)

Allan McCollum

Collection of Ninety Drawings, 1988/1993
Graphite pencil on museum board
Dimensions variable

5 March 2020

Kara Walker

Untitled, 2008
ink on paper
71.1 x 55.9 cm

Kara Walker. Drawings
5 March – 4 April 2020
Sikkema Jenkins & Co., New York

Kara Walker

Imposter Syndrome, 2020
charcoal on paper
210.2 x 182.9 cm

Kara Walker

Trolls, 2012
gouache on paper
suite of 28 works on paper
17.8 x 26 cm (each)

[from the pressrelease] – Among the most acclaimed artists working in the United States, Walker utilizes a diverse range of artistic practices to explore issues of race, gender, sexuality, and violence. Although she’s best known for her cut paper silhouette wall installations and monumental sculptural works, drawing remains the core of Walker’s artistic practice. Previously kept within her private archive, these works on paper reveal the scope of Walker’s process, from sketches, studies, and collages, to texts and “dream journals.” Materials such as watercolor, graphite, and ink give the drawings a sense of spontaneity and immediacy. To view these works on paper is to realize the intimacy and intensity of Walker’s vision in creating her subjects, speaking back to history and thus simultaneously reforming it within the present. The figures within Walker’s drawings insist upon themselves as the protagonists of a new narrative, revealed to us through bodies and words and unspeakable acts.

Kara Walker

Untitled, 2002-2007
graphite, colored pencil, pastel, marker and collage on paper
(suite of 2 works)
27.9 x 21.6 cm (each)

29 January 2020

Michaël Borremans

The Feast, 2019
pencil and white ink on paper
26,7 x 21,2 cm

Michaël Borremans, N. Dash, Marlene Dumas, Kees Goudzwaard, Mark Manders, Hyun-Sook Song, Luc Tuymans, Anne-Mie van Kerckhoven. Work on Paper
29 January – 14 March 2020
Zeno X Gallery, Antwerpen

Mark Manders

Untitled, 2009
pencil on paper
21 x 29,7 cm

N. Dash

Commuter (2), 2019 – 2020
acrylic, paper
52,4 x 37,8 cm

Hyun-Sook Song

Untitled, 2014 – 2018
tempera on paper
22,5 x 27,4 cm

Kees Goudzwaard

Working Materials, 2019
acrylic on cardboard
50 x 40 cm

11 January 2020

Diederik Gerlach

Nachtspiel, 2019
acrylic on paper
158 x 130 cm

Tobias Gerber (G), Diederik Gerlach. Kunsthalle
plaster drawings, sculptures, work on paper, paintings, video
11 January – 16 February 2020
Galerie Maurits van de Laar, Den Haag

Tobias Gerber

Ziel, 2019
plaster, cotton
53 x 42 cm

Diederik Gerlach

Ciao, 2019
gouache on paper
29,5 x 40 cm

Tobias Gerber

Waarom zwaai je niet? (Why don’t you wave?), 2019
plaster, cotton
60 x 33 cm

9 January 2020

Rose Wylie

Orange Spider, 2019
Ballpoint pen, pencil, coloured pencil and collage paper
21.3 x 13.5 cm

Rose Wylie. Painting a noun…
9 January – 22 February 2020
David Zwirner, New York

Rose Wylie

Small Black Serena, 2019
Ballpoint pen, pencil, coloured pencil and collage paper
19.2 x 17 cm

Rose Wylie

Mexican Can, 2019
Pen, coloured pencil, marker and collage on paper
32.5 x 31.7 cm

5 December 2019

Kiki Smith

Untitled (Woman with Bird), 2003
ink on paper
50.8 x 76.2 cm

A Passion for Drawing | The Guerlain Collection from the Centre Pompidou Paris
11 October 2019 – 26 January 2020
Albertina Museum, Vienna

With work from: Mark Dion, Marcel Dzama, Marcel van Eeden, Catharina van Eetvelde, Jana Gunstheimer, Erik van Lieshout, Robert Longo, David Nash, Cornelia Parker, Joyce Pensato, Chloe Piene, Pavel Pepperstein, Javier Pérez, Anne-Marie Schneider, Kiki Smith, Nedko Solakov, Renie Spoelstra, Aya Takano, Sandra Vásquez de la Horra, Jorinde Voigt

Sandra Vasquez de la Horra

La Fresca, 2006
graphite and colored pencil on paper in beeswax
50 x 35 cm

[from the pressrelease]
“Ever since the 1990s, Florence and Daniel Guerlain’s interest has been focused on contemporary drawing, and the two have by now accumulated an extensive collection of works by internationally known artists. They are also the initiators and sponsors of the Prix de dessin, which is conferred annually by a jury.
2013 saw this couple donate part of their collection—totaling 1,200 drawings—to the Centre Pompidou in Paris. And now, as the first Central European museum to do so, the Albertina Museum is providing a glimpse into the Guerlains’ activities as collectors by showing a selection of highlights from these holdings.”

Joyce Pensato

Flying Home, 2010
charcoal on paper
50.8 x 40.6

Mark Dion

The Shipwreck, 2001
graphite, watercolor and ink on paper
40.5 x 47.8 cm

Erik van Lieshout

Tim Dog, 1992
charcoal, oilpaint, aquarel on papercollage
70 x 100 cm

23 November 2019

Michael Williams

Untitled Puzzle Drawing, 2019

pen and collage on paper
30.5 x 22.6 cm

Carroll Dunham | Michael Williams. Drawings

curated by Cornelius Tittel
23 November 2019 – 11 January 2020
Gallery Max Hetzler, Berlin

Carroll Dunham

Untitled (12/21/91), 1991

pencil and ink on paper
11.4 x 16.5 cm

Michael Williams

Untitled Puzzle Drawing, 2019

pen and collage on paper
30.5 x 22.6 cm

Carroll Dunham

Untitled (5/25/17), 2017

watercolour crayon and pencil on paper

38.1 x 28.5 cm

[from the pressrelease]
30 years apart and both hailed as leading painters of their generations, Carroll Dunham and Michael Williams have been visiting each other’s studios and collecting each other’s drawings for years. Born out of their friendship and an ongoing dialogue in drawing — a medium at the core of both artists’ practices — Carroll Dunham | Michael Williams: Drawings is the first exhibition to present their work together. Curated by Cornelius Tittel, in close collaboration with the artists, the show brings together more than 50 drawings from the late eighties until today. Dunham has chosen examples from both an early phase he now calls “abstraction with a hard-on”, and more recent figurative drawings of “Bathers” and “Wrestlers”, while Williams has juxtaposed these with his technically complex “Puzzle” drawings, as well as a large group of absurdly comical, figurative drawings he often turns into large format inkjet paintings. By highlighting their shared inspirations — from Psychedelia to Underground comics in the style of Robert Crumb — and showing both artists’ development and stylistic diversity, the exhibition reveals, for the first time, the unique laboratory of ideas behind the subjects and techniques of two of America’s most challenging contemporary painters.

Michael Williams

Traditional Cornish Cottages, 2017

pen, coloured pencil and collage on paper

24.5 x 19.5 cm

20 November 2019

Per Kirkeby

Untitled, ca. 1989-1992
Charcoal, pastel, gouache on paper
100.5 x 65.5 cm

Per Kirkeby. Works on Paper, Works in Brick
20 November 2019 – 25 January 2020
Michael Werner Gallery, New York

Per Kirkeby

Untitled, ca. 1986
Pencil, charcoal, pastel, watercolor on paper
65 x 99.5 cm

Per Kirkeby

Untitled, ca. 1982
Pencil, pastel, ink, gouache on paper
64 x 45 cm

Per Kirkeby

Untitled, ca. 1985-1988
Pastel, ink, watercolor on paper
59 x 42 cm

17 November 2019

Paul McDevitt

Soundless Shoogie, 2004
Coloured pencil on paper
51.5 x 38 cm

Paul McDevitt

$toß, 2014
Charcoal on paper
198 x 148.5 cm 

Paul McDevitt

Notes to Self: 25 February 2014
Ink, acrylic, and oil on paper
30 x 21cm

Paul McDevitt

BD5 7LR, 2015
Spray paint, collage and screenprint on canvas
60 x 50cm

12 November 2019

Rachel Harrison

The Classics, 2019
Graphite, colored pencil, India ink, and wax crayon on pigmented inkjet print
55.9 x 43.2 cm

Rachel Harrison
The Classics, 2019
Colored pencil, India ink, and wax crayon on pigmented inkjet print
55.9 x 43.2 cm

5 November 2019

Francis Alÿs

Untitled, 2002
Graphite, paint, and tape on vellum
33.7 x 33.7 cm

Francis Alÿs

La Théorie des Ensembles (I), 1996
graphite, colored pencil, colored chalk and tape on attached sheets of vellum
29.8 x 36.8 cm

Francis Alÿs

Untitled (Boy with Jug), 2000
Oil and pencil on cut-and-taped transparentized paper
30.5 x 20 cm

4 November 2019

Louise Bourgeois

Ste. Sébastienne, 1998
ink on Xerox paper mounted on canvas
197 x 160 cm

Louise Bourgeois: To Unravel a Torment
12 October 2019 – 17 May 2020
Museum Voorlinden, Wassenaar

3 November 2019

Julie Mehretu

Sun Ship (J.C.), 2018
ink and acrylic on canvas
274.3 x 304.8 cm

Julie Mehretu
3 November 2019 – 17 May 2020
Los Angeles County Museum of Art

Julie Mehretu

Hineni (E. 3:4), 2018
ink and acrylic on canvas
96 × 120 in.

[from the pressrelease]
Co-organized by the Los Angeles County Museum of Art and The Whitney Museum of American Art, Julie Mehretu is a mid-career survey that will unite nearly 40 works on paper with 35 paintings dating from 1996 to the present by Julie Mehretu (b. 1970, Addis Ababa, Ethiopia). The first-ever comprehensive retrospective of Mehretu’s career, it covers over two decades of her examination of history, colonialism, capitalism, geopolitics, war, global uprising, diaspora, and displacement through the artistic strategies of abstraction, architecture, landscape, movement, and, most recently, figuration. Mehretu’s play with scale, as evident in her intimate drawings and large canvases and complex techniques in printmaking, will be explored in depth.

Julie Mehretu

Conjured Parts (eye), Ferguson, 2016
Ink and acrylic on canvas
213.4 x 243.8 cm

28 October 2019

Lenneke van der Goot

Flow #2, 2019
mixed media on paper
25 x 25 cm

Lenneke van der Goot

Up, 2019
mixed media on paper
40 x 40 cm

Lenneke van der Goot

Construction Place, 2019
mixed media on paper
80 x 80 cm

19 October 2019

Stephan van den Burg

untitled (borrowed settings, no/1), 2019
colored pencil on paper
29.7 x 21 cm

Drawing Festival

with works by: Stephan van den Burg, Niels Janssen, Hans van der Ham, Robin Kolleman, Hans Lemmen, Romy Muijrers, Paul Nassenstein, Zaida Oenema, Henri Plaat, Marisa Rappard, Tanja Smit, Sander Wiersma and Sigrid van Woudenberg 12 oktober – 9 november 2019 Gallery Helder, Den Haag

Marisa Rappard

We will meet, 2019
acrylics and pencil on paper
49 x 63 cm

Sigrid van Woudenberg

Gloss, 2019
Siberian chalk on paper
29,7 x 42 cm

Zaida Oenema

Burning (Dots) #1, 2019
soldering iron burns on paper
95 x 66 cm

Henri Plaat

Untitled, 2005
gouache, mixed media
18 x 24 cm

18 October 2019

Hans Lemmen

Untitled, 2015
ink on casein prepared acid-free paper
24 x 31 cm

Drawing Festival | Gallery Helder
with works by: Stephan van den Burg, Niels Janssen, Hans van der Ham, Robin Kolleman, Hans Lemmen, Romy Muijrers, Paul Nassenstein, Zaida Oenema, Henri Plaat, Marisa Rappard, Tanja Smit, Sander Wiersma and Sigrid van Woudenberg
12 oktober – 9 november 2019
Gallery Helder, Den Haag

Tanja Smit

Speciale, 2019
Ink on magazine page
40 x 28 cm

Romy Muijrers

Un Amour de… /Fade Out, 2019
graphite, colored pencil and nero pencil on paper
35 x 50 cm

Hans van der Ham

Untitled, 2019
gouache on paper
25.6 x 36 cm

Robin Kolleman

Untitled, nr.33, 2019
Paper sculpture
220 x 45 x 20 cm

16 October 2019

Raymond Pettibon

No Title (Raymes Ave though…), 2019
Ink, acrylic, and graphite on paper
149.9 x 132.1 cm

Raymond Pettibon. Frenchette
16 october – 23 november 2019
David Zwirner, Paris

Raymond Pettibon

No Title (3 sum, gumball? …), 2019
Ink, acrylic, and colored pencil on paper
66.4 x 101.6 cm

[from the pressrelease]
Pettibon’s influential oeuvre engages a wide spectrum of American iconography variously pulled from literature, art history, philosophy, religion, politics, sports, and alternative youth culture, among other sources. Intermixing image and text, his drawings engage the visual rhetorics of pop and commercial culture while incorporating language from mass media as well as classic texts by writers such as William Blake, Marcel Proust, John Ruskin, and Walt Whitman. Through his exploration of the visual and critical potential of drawing, Pettibon’s practice harkens back to the traditions of satire and social critique in the work of eighteenth- and nineteenth-century artists and caricaturists such as William Hogarth, Gustave Doré, and Honoré Daumier, while reinforcing the importance of the medium within contemporary art and culture today.

The works on view feature both entirely new subjects for the artist as well as characters and motifs that Pettibon has returned to often. Recurring figures and themes include Gumby, baseball, US presidents, animals, totalitarian dictators, and waves, among others. In the works depicting Gumby, Pettibon recodes the wide-eyed innocence of the classic children’s television character as strung-out paranoia. One work, No Title (John Ford directed …), shows Gumby wearing a cowboy hat and riding his sidekick, the orange horse Pokey. To the left of the figures, Pettibon has written ‘John Ford directed: Irish riding the Protestands’, comically merging Gumby with John Wayne, the star of many of Ford’s famous westerns, while injecting the contentious religious opposition between Irish Catholics and Protestants through the symbolism of the colours of green and orange.

Raymond Pettibon

No Title (Central to my…), 2019
Ink and graphite on paper
59.7 x 70.5 cm

14 October 2019

Spencer Sweeney

Self-Portrait Drinking with Snail, 2019
Distemper, oil pastel, and spray paint on paper
57.2 × 77.5 cm

Spencer Sweeney. Smalls
14 October – 20 December 2019
Gagosian Gallery, Paris

Spencer Sweeney

Aikido and Harmolodics/Studies for Self-Portrait Nudes, 2018
pencil and gouache on paper
29.5 × 41.6 cm

13 October 2019

Dirk Zoete

Hanging Figures (garden installation) (new clothes), 2019
colour pencil and pigment on paper
46 x 32 cm

Dirk Zoete | So Called Human
drawings, spatial work
13 October – 10 November 2019
Galerie Maurits van de Laar, Den Haag

Dirk Zoete

Camouflage scene 2 (cactus series), 2017-2018
pencil on paper
140 x 100 cm

[from the pressrelease]
The human figures in the work of Dirk Zoete (1969) often have a theatrical appearance, they wear masks or costumes and are usually on a stage-like space. He does not show man literally but rather an archetype or interpretation of the human form, that which we call a human being and recognize as such. In the spatial work they are composed of wood, plaster, metal, textile and wool, dead materials that bring a body to life. Their clothing consists of fabric, pvc tubes and iron stips, the mask-like faces of cast plaster from which woolen threads hang like hair, mustache and beard. They are distant cousins ​​of the suprematistic figures of Kazimir Malevich or Oskar Schlemmer’s ballet dancers. At the same time, Dirk Zoete connects with much older traditions of rituals, parades and the carnivalesque in which people adorn themselves with costumes and masks to defy reality.

In the exhibition the visitor has to pass through seven of these figures that hang from the ceiling in the front space of the gallery. In the back room on the central wall is a constellation of masks, images and drawings as you could find Dirk Zoete’s studio. On the other walls large and smaller drawings are shown in which human figures appear in one form or another. As stylized actors or dancers on stage, small pawns in a village or landscape or as decoration captured within the contours of a vase.

Dirk Zoete

Setting with figure and landscape, background 4 (hanging figure), 2019
pencil on paper
102 x 72 cm

9 October 2019

Robert Smithson

Earth Map (White Limestone) of the Hypothetical Ice Cap of Gondwanaland Made Near Uxmal
Yucatan, April 1969, Hypothetical Continent (Icecap of Gondwanaland), Yucatan, Mexico, 1969
Pencil and cut-and-pasted printed paper on graph paper and original 126 format transparency
24.4 x 37.1 cm

Robert Smithson

Movie Treatment for Spiral Jetty. Part II, 1970
Pencil and collage on paper, typed and handwritten text.
48 x 61 cm

18 September 2019

Marijn van Kreij

Untitled (Picasso, The Painter, 1963), 2019
gouache and pencil on paper
29.7 x 21 cm

Marijn van Kreij. The Painter
7 September – 12 October 2019
Gallery Andriesse Eyck, Amsterdam

1 June 2019

Christine Ödlund

Aspects of Linnaeus’ system of shape and color III, 2018
Plant pigment and acrylic medium on paper
72.5 x 53.4 cm

Modern Nature
Alberto Baraya, Mark Dion, Simryn Gill, Derek Jarman, Hilma af Klint, Margaret Mee, Christine Ödlund, David Thorpe, Viktor Timofeev
2 May – 7 July 2019
Drawing Room, London

25 April 2019

David Shrigley

Untitled (Public Opinion), 2019
acrylic and oil bar on paper
83 x 58.4 cm

David Shrigley: Fluff War
25 April – 15 June 2019
Anton Kern Gallery, New York

David Shrigley

Untitled (Exhibition of dirt), 2019
acrylic and oil bar on paper
105 x 74 cm

[from the pressrelease]
In his seventh solo exhibition at Anton Kern Gallery, entitled FLUFF WAR, British artist David Shrigley presents a large-scale kinetic sculpture, two neon sculptures, and 100 new drawings.

As visitors approach the gallery, they are greeted by a two-part magenta neon sign bearing contradictory instructions: one reads “WEAR SHOES” and the other “DO NOT WEAR SHOES”. The storefront window signage will seem perfectly at home to a passerby, as the gallery is located in New York’s famed Fifth Avenue shopping district. Here you are initiated into the world of David Shrigley.

Inside, further into the space, is another neon sign announcing that you have entered the arena of “FLUFF WAR”, the exhibition’s eponymous work. The structure of FLUFF WAR is a ten foot by ten foot square enclosure akin to a miniature soccer stadium or a giant air hockey table. Trapped inside are clusters of black wooly fluff being blown about a smooth white floor by gusts of wind coming in through surrounding vents.

War is a cheeky misnomer for what the fluff is engaged in. Incapable of exerting its own will, the fluff is at the whim of hidden fans, randomly sequenced by a computer program, blowing at varying intervals and strengths. It remains unclear which fluff is winning or losing, what the objective is, or if there is one at all. Regardless, one can easily become an enraptured observer of this nonsensical activity.

David’s new drawings continue in his tradition of combining image and text to deliver comically deadpan messages that resonate on philosophical, ethical, and political levels. The large color works rendered in acrylic and oil bar read immediately like signs or advertisements, while the small black ink drawings are graphically complex, and invite the viewer to inspect closely. The benign declarations and mischievous wishes in Shrigley’s works express the pathos, tedium, irony, and oftentimes ridiculousness of everyday life.

David Shrigley

Untitled (Candidates), 2019
ink on paper
29.7 x 21 cm

David Shrigley

Untitled (Kindness), 2019
Oil bar and gesso on paper
105 x 74 cm

27 March 2019

Karin van Dam

In the Hole, 2019
graphite and paperclips on paper
42 x 30 x 2,5 cm

Karin van Dam, Susanna Inglada
Drawing Now Paris (Process section)
28 – 31 March 2019
Maurits van de Laar, Den Haag

Susanna Inglada

El Balance, 2019
pencil, charcoal and gouache on paper
53 x 43 cm

Karin van Dam

no title, 2019
pencil, graphite and collage on paper
30 x 42 x 4 cm

Susanna Inglada

Before Going On, 2018
pencil, charcoal and gouache on paper
73 x 55 cm

11 March 2019

Katharina Grosse

Untitled, 2006
Acrylic on paper
194 cm x 134 cm x 5 cm

Works on Paper

Galleri Bo Bjerggaard | 26 January 2019 – 6 April 2019
With works by: Anna Barriball, Anna Bjerger, Arturo Herrera, Brigitte Waldach, Celia Paul, Chantal Joffe, Christian Holstad, Daniel Richter, Georg Baselitz, Hernan Bas, Ilse D’Hollander, Ivan Andersen, Jannis Kounellis, Jockum Nordstrom, John Korner, Jonathan Meese, Jules de Balincourt, Katharina Grosse, Maija Luutonen, Mamma Andersson, Marcel Dzama, Marcel van Eeden, Per Inge Bjorlo, Per Kirkeby, Peter Linde Busk, Ragnar Kjartansson, and Tal R.

Arturo Herrera

Untitled, 2017
Mixed media collage on lithographic plate
76 cm x 60 cm x 4 cm

Ilse D’Hollander

Untitled, 1996
Gouache on paper
42 cm x 50 cm x 4 cm

Anna Bjerger

Untitled, 2018
Watercolour on Hahnemühle paper
76 cm x 106 cm x 4 cm

Peter Linde Busk

Out of the Blue and into the Black, 2016
Acrylic and crayon on paper
121 cm x 91 cm

10 March 2019

Tal R

S, 2013
Crayon on artist made paper
71 cm x 60 cm x 2 cm

Works on Paper

Galleri Bo Bjerggaard | 26 January 2019 – 6 April 2019
With works by: Anna Barriball, Anna Bjerger, Arturo Herrera, Brigitte Waldach, Celia Paul, Chantal Joffe, Christian Holstad, Daniel Richter, Georg Baselitz, Hernan Bas, Ilse D’Hollander, Ivan Andersen, Jannis Kounellis, Jockum Nordstrom, John Korner, Jonathan Meese, Jules de Balincourt, Katharina Grosse, Maija Luutonen, Mamma Andersson, Marcel Dzama, Marcel van Eeden, Per Inge Bjorlo, Per Kirkeby, Peter Linde Busk, Ragnar Kjartansson, and Tal R.

Marcel van Eeden

Untitled, 2019
Compressed charcoal and watercolour on paper
36 cm x 46 cm x 3 cm

Jules de Balincourt

Fires and Flowers #5, 2018
Ink on paper
50 cm x 39 cm

Jannis Kounellis

Untitled, 2015
Oilstick on paper
81 cm x 112 cm

Jonathan Meese

ohne Titel, 2019
Acrylic, pencil, permanent marker and pen on paper
122 cm x 102 cm

Mamma Andersson

Buske / Bush, 2018
Charcoal on paper
65 cm x 50 cm

1 March 2019

Fernando Bryce

Untitled (Cadaveres Atomicos), 2018
Ink on paper
103 x 72.7 x 4 cm

Fernando Bryce

Untitled (La Croix), 2018
Ink on paper
103 x 72.7 x 4 cm

A weblog about contemporary drawing, scribbles, notes and an occasional painting or photograph. Click on images to go directly to original pictures, or on the links to learn more about the artist involved. 

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