| contemporary drawing |

Drawings & Notes

22 February 2024
drawing Jonathan Lasker Untitled, 2012 Graphite, colored pencil and india ink on paper 76 x 56.5 cm

Jonathan Lasker

Untitled, 2012
Graphite, colored pencil and india ink on paper
76 x 56.5 cm

Jonathan Lasker. Painting and Drawing
27 January – 13 March 2024
Gallery Jonathan Lasker, Salzburg

Jonathan Lasker

Untitled, 2019
Graphite and colored pencil on paper
57 x 76 cm

Jonathan Lasker

Untitled, 2012
Graphite and colored pencil on paper
76 x 56 cm

Jonathan Lasker

Untitled, 2014
Graphite and india ink on paper
56 x 76 cm

[from the pressrelease]
Jonathan Lasker: ‘To me, drawing is really graphite on paper because it’s conceptually what the image is about. It’s about the mark. The India ink is the only way to get that kind of really emphatic black line. So that’s what I was after with those bold lines. They’re intended to be softly referential and meant to engage the viewer’s imagination or subconscious with what that could be.’

19 February 2024

Leon Kossoff

From Constable ‘Salisbury Cathedral from the Meadows’
pastel on paper
46 x 56.5 cm

Leon Kossoff. Close Encounters: Paintings and Drawings
2 February – 30 March 2024
Xavier Hufkens, Brussels

Leon Kossoff

Arnold Circus, 2008-2010
charcoal and pastel on paper
65 x 50 cm

Leon Kossoff

From Goya ‘Auto de Fe’, 1994
charcoal and pastel on paper
55.5 x 81 cm

8 February 2024

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

5 February 2024

Anna Barriball

Window (blue fade), 2023
Pastel, wax, paper
101 x 76 cm

Anna BarriballNew Drawings
2 February – 14 March 2024
Frith Street Gallery, London

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]

25 January 2024

Gerhard Richter

11.8.2023 (3), 2023
Colored ink and pencil on paper
21.5 x 26 cm

Gerhard Richter
25 January – 28 March 2024
David Zwirner, London

Gerhard Richter

16.5.2023 (2), 2023
Ink and pencil on paper
21 x 29.7 cm

[from the pressrelease]

[…] An expansive group of new works on paper—some made with ink or pencil, others with a combination of the two—illuminates the newfound urgency and prominence that Richter has placed on method and technique in drawing.
Richter created the ink drawings, a number of which include unprecedented vividness of colour, by dripping the medium onto paper and shifting around the sheet to produce unexpected forms, further augmenting the improvisatory and captivating freedom of movement unique to this body of work. For the pencil drawings, Richter instead combines various elements from a limited set of forms and techniques—including meandering lines, broad tonal planes applied with angled strokes of graphite, and passages of smudging, hatching, and erasure—thereby uniting choice and chance through this infinitely generative process. These works on paper condense and distil the tenets that have remained central to Richter’s practice throughout his career. As noted by Dieter Schwarz, editor of the artist’s catalogue raisonné of drawings: ‘They are of stringent individuality and recognizably by Richter’s hand, not based on their signature style but rather because they make their theme the act of drawing itself, gauging the conditions of drawing.’

Gerhard Richter

15.5.2023, 2023
Colored ink, pencil, and colored pencil on paper
21 x 29.7 cm

Gerhard Richter

14.5.2023, 2023
Pencil and colored pencil on paper
21 x 29.7 cm

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

21 January 2024

Francis Picabia

La Chienne des Baskerville, c.1932–3
Ink and charcoal on paper
64 x 49 cm

Drawn into the Present: Portraits on Paper
Georg Baselitz, Elizabeth Peyton, Joseph Beuys, Francis Picabia, Adrian Ghenie, Robert Rauschenberg, David Hockney, Raqib Shaw, Alex Katz, Sturtevant, Robert Longo, Banks Violette, Bjarne Melgaard, Andy Warhol, Paul P., Yan Pei-Ming
14 December 2023 – 9 February 2024
Thaddaeus Ropac

Elizabeth Peyton

Volodymyr Zelenskyy, March 2022, 2022
Coloured pencil and pastel on paper
21.3 x 15.2 cm

Yan Pei-Ming

Autoportrait Jeune, 2006
Watercolour on paper
44.5 x 33.5 cm

Banks Violette

Not yet titled (dwg09_04), 2008
Graphite on paper
74.9 x 74.9 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

24 December 2023

Ad Reinhardt

Gouache Painting, 1949
Gouache on paper
69.9 x 65.4 cm

Ad Reinhardt
1 November 2023 – 27 January 2024
Gallery David Zwirner, New York

Ad Reinhardt

Untitled, 1949
Gouache and oil on paper
70.2 x 103.2 cm

Ad Reinhardt

Untitled, c. 1941-1943
Gouache and ink on printed paper
16.5 x 26.4 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

10 October 2023

Rose Wylie

2 Red tables, 2023
Coloured pencil on paper
Diptych, 29.8 x 42.4 cm

Rose WylieCLOSE, not too close
8 September – 14 October 2023
David Zwirner Gallery, New York

Rose Wylie

A Study for Cautionary Tales, (tele film notes), 2022
Coloured pencil, pencil, marker, biro, and collage on paper
21.2 x 29.7 cm

Rose Wylie

White Building, film notes, 2022
Pencil, coloured pencil, and collage on paper
21.4 x 30 cm

5 October 2023

Marcel van Eeden

Untitled, 2023
Compressed charcoal on canvas
100 x 150 cm

Marcel van EedenBlockbuster
8 September – 14 October 2023
Galerie Martin van Zomeren, Amsterdam

Marcel van Eeden

Untitled, 2023
Nero pencil on paper
28 x 38 cm 

Marcel van Eeden

Untitled, 2023
Nero pencil on paper
28 x 38 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

9 September 2023

Jim Nutt

Untitled, 2023
graphite on paper
38.1 x 35.6 cm

Jim Nutt. Shouldn’t we be more careful?
6 September – 4 October 2023
David Nolan Gallery, New York

Jim Nutt

Untitled, 2022
graphite on paper
38.1 x 35.6 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

16 July 2023

Katharina Wulff

Untitled, 2018
colored pencil on paper
42 x 29.7 cm

Katharina Wulff. Oh Masculin
8 July 2023 – 26 August 2023
Galerie Bucholz, Berlin

Katharina Wulff
Untitled, 2023
pencil and colored pencil on paper
160 x 106.5 cm

Katharina Wulff
Nmla (Die Ameise)”, 2018
colored pencil and felt tip pen on paper
47 x 33 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

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

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

13 March 2023

Joseph Beuys

Untitled (Score for Eurasienstab), undated (c.1967)
Pencil on watermarked paper
30 x 21 cm

Joseph Beuys40 Years of Drawing
18 January – 22 March 2023
Thaddaeus Ropac, London Ely House

Joseph Beuys
Untitled, undated
Pencil and watercolour or Beize on paper
15 x 21 cm

Joseph Beuys
Untitled, undated
Pencil and watercolour on paper, yellow abrasion; writing in pencil by Beuys (verso)
23 x 16.5 cm

Joseph Beuys
Untitled, 1982
Pencil, watercolour and paper collage on paper, mounted on cardboard
39.5 x 33 cm

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

7 March 2023

Rinus van de Velde

We realized we felt stronger inside…, 2022
oil pastel on paper
213.3 x 162.1 cm

Rinus van de Velde
2 March – 15 April 2023
Galerie Max Hetzler, London

Rinus van de Velde
It may seem pretentious,…, 2022
charcoal on canvas, artist frame
130 x 82 cm

Rinus van de Velde

I’ll make my studio wherever you want to go…, 2022
oil pastel on paper
110 x 73 cm

5 March 2023

Sol Lewitt

Vertical Brushstrokes, 1995
Gouache and pencil on paper
76 x 56.5 cm

Lines and Colors: An Artistic Path
2 February – 4 April 2023
Bailly Gallery, Geneva

Jean-Paul Riopelle

Untitled (Masque Eskimo), ca.1956
Gouache on paper
108.5 x 75 cm

3 March 2023

Franz West

Brower’s Rosen (unvollendet) (Brower’s Roses [uncompleted]), 1982
Acrylic and watercolor on newspaper in artist’s frame
62.5 x 85 cm

Franz West
12 March – 13 April 2023
Gallery David Zwirner, Paris

Franz West
Untitled (Chez Klimt), 1972
Watercolor, gold paint, and marker on paper
16.5 x 24.1 cm

27 February 2023

Kinke Kooi

Principle of Motion, 2015
acrylic, colored pencil on paper
60.96 x 46.04 cm

I have done it again./One year in every ten/I manage it
With work by: Katherine Bradford, Charles Burchfield, Mariel Capanna, James Castle, Vaginal Davis, William Edmondson, Joy Feasley, Michael Frimkess and Magdalena Suarez Frimkess, Frank Jones, Kinke Kooi, Jessica Jackson Hutchins, Jennifer Levonian, Rob Lyon, Dino Matt, Ryan McLaughlin, Marlon Mullen, Joan Nelson, Todd Norsten, Conny Purtill, Paul Swenbeck, Bill Traylor, Stefanie Victor, Bill Walton, Joseph Yoakum
25 February – 25 March 2023
Adams and Ollman, Portland

Frank Jones

Creeping Lizard House, 1960
colored pencil on paper
57.15 x 60.96 cm

Bill Traylor

Untitled (Man with Blue Pants and Cane), c. 1939–42
poster paint and pencil on found cardboard
27.94 x 20.32 cm

Charles Ephraim Burchfield

Dandelion Seeds, 1961-1965
conte crayon on paper
34.29 x 49.53 cm

21 February 2023

Martin Creed

Work No. 3765, 2023
Watercolor, acrylic, gouache on paper
31 x 23.2 cm

Martin CreedStep Paintings
11 February – 10 April 2023
Hauser & Wirth, St. Moritz

Martin Creed
Work No. 3768, 2023
Watercolor, acrylic, gouache, pencil on paper
31 x 23.2 cm

Martin Creed
Work No. 3764, 2023
Watercolor and pencil on paper
31 x 23.2 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

11 February 2023

Koen Taselaar

Pronounced Pancake, 2022
colored pencil on paper
42 x 30 cm

Koen Taselaar
Change Change, 2022
colored pencil on paper
42 x 30 cm

10 February 2023

Marcel van Eeden

Untitled, 2023
pressed charcoal on canvas
120 x 166 cm

Marcel van Eeden
Art Rotterdam: Galerie Barbara Seiler

Marcel van Eeden
Untitled, 2023
pressed charcoal on canvas
120 x 160 cm

10 February 2023

Sophie Steengracht

Dissolve, 2022
Botanical pigments and pastel on arches paper.
150 x 110 cm

Sophie Steengracht
Art Rotterdam: GoMulan Gallery

Links:
 [website Sophie Steengracht] [GoMulan Gallery]

Sophie Steengracht
Sunrise/ sunset, 2022
Botanical pigments and copper oxide on arches paper.
150 x 110 cm

9 February 2023

Dan Zhu

The North Sea Snails, 2023
ink and watercolour on paper
51 x 36 cm

Dan Zhu | Susanna Inglada
Art Rotterdam: Galerie Maurits van de Laar

Susanna Inglada

Character Carrying Character, 2022
charcoal and acrylic on coloured, collaged paper
84 x 85 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

5 February 2023

Kinke Kooi

Being Around, 2022
Acrylic, gouache, color pencil on paper
30 x 32.5 cm

Kinke Kooi. Being Around
14 January – 18 February 2023
Gallery Édouard Montassut, Paris

Kinke Kooi

Soft Approach, 2022
Acrylic, color pencil, gouache on paper
diptych: 38 x 37.2 cm / 38 x 20 cm

Kinke Kooi

Under The Surface, 2022
Acrylic, color pencil, gouache on paper
102 x 77 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

27 January 2023

David Nash

Red Dome, 2022
Pigment on paper
57 x 76 cm

David Nash
12 January – 4 March 2023
Galerie Lelong & Co., Paris

David Nash
May, 2020
pigment on paper
101 x 67 cm

David Nash
Red Over Red, 2018
Pigment on paper
47.5 x 62 cm

25 January 2023

Carroll Dunham

Wrestler Profile (5), 2014
water soluble crayon and pencil on paper
76.5 x 56.5 cm

Carroll Durham. Selected Drawings
25 January – 25 February 2023
Galerie Max Hetzler, Berlin

Carroll Dunham
Green Female, 2021
watercolour, water soluble crayon, watercolour pencil and pencil on paper
51 x 40 cm

Carroll Dunham
White Male Head Over Water, 2017
watercolour, water soluble crayon and pencil on paper
19.2 x 14.5 cm

[from the pressrelease]
To Carroll Dunham the act of drawing is both a routine and a cornerstone for all other media in his multidisciplinary approach. The focus of the show on works in this medium is therefore intimate and highly informative of his practice at large.

One of the leading artists of his generation, Dunham is celebrated for his independent and highly distinctive oeuvre. Across several decades, his work has evolved from anthropomorphic abstraction in the 1970s to a surreal universe inhabited by archetypal human figures. Dunham’s careful choreography provides insight into his subjects’ complex internal world. Riding the line between abstraction and figuration, planes of strong colour and the artist’s distinctive curvilinear line activate the energetically charged works.

The human body has been an ongoing primary subject in Dunham’s oeuvre. Including works from several prominent series of the past decade, a selection from Dunham’s celebrated ‘Wrestler’ series presents a male figure rendered in profile, contemplating his own reflection over a body of water, or wrestling with other male nudes in the landscape.

A mode for inventiveness and experimentation, drawing enables Dunham a raw and immediate pathway for his distinctive pictorial lexicon, without hierarchy towards painting. ‘There is no work of Carroll Dunham that doesn’t use drawing as a foundation. I wouldn’t even know what it would mean to make painting without drawing… I have always drawn a lot, I have always used drawing as a laboratory to think about other things.’

Carroll Dunham
White Male With Dog V, 2018
casein and graphite on paper
79 x 57 cm

22 January 2023

Bridget Riley

Study for Polarity, 1964
graphite and gouache on paper
46.7 x 40 cm 

Bridget Riley Drawings: From the Artist’s Studio
17 September  2022 – 16 January 2023
Art Institute of Chicago

4 February – 28 May 2023
Hammer Museum, Los Angeles

Bridget Riley
Egyptian Stripes with Revisions, 1983
gouache on graph paper

Bridget Riley
Study for Shuttle, 1964
gouache on graph paper
24.5 x 24.1 cm

Bridget Riley
Recollections of Scotland (2), 1959
conte crayon on paper

21 January 2023

Thomas Schütte

Untitled, 2008
Watercolor on paper
38.5 x 29 cm

Thomas Schütte. Works in Glass
27 October 2022 – 28 January 2023
Tucci Russo Chambres d’Art, Turin

Thomas Schütte
Haussegen, 2007
Watercolor on paper
38.5 x 29 cm

Thomas Schütte
Untitled, 2007
Watercolor on paper
38.5 x 29 cm

20 January 2023

René Daniels

Untitled, 1983
Ink on paper
54.4 x 46 cm

René DaniëlsWorks on paper
13 January – 25 February 2023
Modern Art, London

René Daniëls
Untitled, 1976
Ink and tape on paper
170 x 197.5 cm

René Daniëls
Untitled, n.d.
Watercolour on paper
47 x 40 cm

René Daniëls
Untitled (P.A.T.I.O.), 1986
Felt pen and ink on paper
40 x 47 cm

René Daniëls
Zal ik mijn stoel afzetten?, 1982
Watercolour, ink, chalk on paper
46.4 x 39.4 cm

19 January 2023

Adam Pendleton

Untitled (days for drawing), 2022
ink, spray paint, and oil on paper
74.5 x 112 cm

Ai Weiwei, Leilah Babirye, Simone Fattal, Adam Pendleton. Distant Voices
14 January – 25 February 2023
Galerie Max Hetzler, Paris

Adam Pendleton
Untitled (days for drawing), 2022
ink, spray paint and oil on paper
74.5 x 112 cm

17 January 2023

Günther Förg

Untitled, 1998
Acrylic on paper
148 x 100 cm

Günther FörgPeintures sur Canson
12 January – 4 March 2023
Gallery Lelong & Co., Paris

Günther Förg
Untitled, 1996
Acrylic on paper
148 x 100 cm

[from the pressrelease]

This new exhibition of Günther Förg (1952-2013) brings together an ensemble of twelve paintings on large sheets of Canson paper, made at the very end of the twentieth century (1996 – 2000). Most of them have never been on show before. Together, they suggest a kind of synopsis of several major artistic trends of the century that was then ending. Förg refused to be pigeon-holed into any artistic school or movement, whether abstract or figurative. He saw himself as a free artist who drew inspiration as much from observing reality around him as from the work of the major artists he admired. He considered painting on paper to be just as important as works on canvas. A previous exhibition at Galerie Lelong in 2015 displayed very large paper works from 1989-90.

This new grouping of works evokes – in an allusive and never ponderous manner – Ernst Wilhelm Nay or Nicolas de Staël, of Edvard Munch or Alberto Giacometti (the knee), as well as the artist’s own recurrent themes and structures such as grids and windows. Each of these works evinces the marvellous ease and accuracy that characterised the artist’s touch, the suppleness and liveliness of his brush. Ten years after his untimely death, his work has achieved a solid reputation internationally, a model of freedom that has become a point of reference and an inspiration for many young artists.

Günther Förg
Untitled, 1998
Acrylic on paper
148 x 100 cm

14 January 2023

Lynne Woods Turner

Untitled #9465, 2022
oil and pencil on linen over panel
25.40 x 20.32 cm

Vince Skelly and Lynne Woods Turner
10 December 2022 – 14 January 2023
Adams and Ollman, Portland

Lynne Woods Turner
Untitled #1047, 2013
pencil and colored pencil on Japanese paper
25.40 x 20.32 cm

Lynne Woods Turner
Untitled #9154, 2014
oil on linen over panel
40.64 x 33.02 cm

13 January 2023

Rebecca Horn

Im Inneren der Stadt, 2004
acrylic, pencil, and colored pencil on paper
81 1/2 x 69 x 1 3/4 inches (framed)

Rebecca Horn. Labyrinth of the Soul: Drawings 1965-2015
7 January – 18 February 2023
Sean Kelly, New York

Rebecca Horn
Am Kreuz, 2004
acrylic, pencil, and colored pencil on paper

[from the pressrelease]

Labyrinth of the Soul: Drawings 1965-2015 features fifty years of drawing by Rebecca Horn. It includes 55 works on paper and is the first dedicated exhibition exclusively to this aspect of Rebecca Horn’s practice, and the most extensive presentation of her work in the United States since her major retrospective at the Guggenheim Museum, New York, in 1993, curated by Germano Celant. From her earliest stages as an artist, drawing has been foundational and informed every aspect of Horn’s multi-faceted oeuvre, ranging from performances, which utilise bodily extensions, to feature films, poems, dynamic sculptures, and site-specific installations. Throughout her career, drawing has occupied a central role, with Horn working serially at different moments to create specific bodies of work, ranging from smaller, more intimate pieces to the later, large ‘Bodylandscape’ works on paper.

The earliest works in the exhibition, dating from the mid-1960s, evince Horn’s concern with the human form, bodily appendages, states of transformation, mechanisation, and machinery, making evident her dedication to the aesthetic form of performance. In 1968, Horn was hospitalised for a debilitating lung condition brought on by certain sculptural materials she was using. A subsequent period of convalescence at a sanitorium inspired a series of sculptures concerned with the body, isolation, and physical vulnerability. These themes became the artist’s subject, and her proposals for sculptures are documented in these early drawings. Other works, from the 1980s, 1990s, and 2000s, demonstrate the myriad approaches Horn has taken to the form, with each cycle of drawings having a distinct tempo, like the cadence of the poetry or rhythm of the music that have continuously inspired her. For her smaller drawings, Horn often worked simultaneously across multiple sheets of paper laid out before her, adding marks and details as she moved delicately and quickly, fluttering across the paper’s surface like a butterfly, touching down on each sheet at various intervals to make her marks.

From around 2003-2015, Horn produced an impressive group of large-scale works referred to as ‘Bodylandscape’, paintings on paper that extended her interest in the body as machine into an autobiographical, performative arena. Incorporating pencil, acrylic, and watercolour and gouache with text, these energetic works are scaled to the artist’s own proportions, defined by the limit to which her arms could extend when building the sometimes-frenzied compositions through the movements and actions of her own body. Horn’s progression from attaching performative apparatus to her body in her early work, to creating mark producing automatons and sculptural machines, is synthesised in these stunning works, which replace the replicant machine with the body of the artist, bringing the arc of her career full circle. In 2015, Horn suffered a devastating stroke, which sadly left her unable to continue making drawings, resulting in these psychologically charged works being among the final and finest works on paper that she produced.

Rebecca Horn
Passing Through, 1988
pencil and colored pencil on paper
100 x 70 cm

10 January 2023

Hans Hartung

Untitled, 1956
ink on paper
52.8 x 42.9 x 3.5 cm

Hans Hartung
11 November 2022 – 14 January 2023
Galerie Max Hetzler, Berlin

Hans Hartung
Untitled, 1955
ink on paper
39 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

7 January 2023

Robert Longo

Study of After Mitchell; Bleu, bleu, le ciel bleu, 1961, 2022
Ink and charcoal on vellum
81.8 x 53 cm

Robert LongoThe New Beyond
17 October 2022 – 7 January 2023
Thaddaeus Ropac, Paris

Robert Longo
Untitled (After Soulages; Painting, 195 x 130 cm, May 1953; 1953), 2022
Charcoal on mounted paper
243.8 x 161.8 cm

[from the pressrelease]
American artist Robert Longo presents his most recent series of monumental charcoal drawings paying homage to the European pioneers of post-war art. Following his 2014 series of drawings based on American Abstract Expressionism, in this exhibition, Longo explores the work of Karel Appel, Sandra Blow, Jean Dubuffet, Sam Francis, Arshile Gorky, Hans Hartung, Hans Hofmann, Asger Jorn, Yves Klein, Willem de Kooning, Maria Lassnig, Piero Manzoni, Joan Mitchell, Pierre Soulages, Wols and Zao Wou-Ki. Transposing their disparate works into a large-scale format and shades of black and white, Longo brings together the different approaches of these painters to form a new, unified visual language (…)
The process of creating a charcoal drawing is almost entirely opposite to the process of creating a traditional painting. Starting with a white page, Longo gradually and meticulously darkens certain areas to create shadow, ending with the points of deepest black, whereas, in a traditional painting, highlights are applied at the end, over the darker tones. 
Where black and white photography tends to equalise darker shades of different colours, the artist also works to maintain the infinite nuances of the original colours in his shades of grey. Carefully analysing the colours of each original work, he carefully nuances his work to  distinguish what would originally have been a dark red from a dark blue (…)
Longo’s drawings are saturated with the time of their making. His approach is measured, even ‘forensic’. But as he studies every brushstroke, carefully recreating their material modulations and nuances of colour out of dry, black charcoal, he celebrates the materiality of paint that is, according to Font-Réaulx, ‘the sensitive and intimate meaning of these works’.
In this way, Longo not only establishes a dialogue between drawing and painting, but also calls into question the value systems of the art world, prompting us to revisit our relationship to images.

Robert Longo
Untitled (Nagasaki Bomb, 1945), 2022
Graphite and charcoal on paper
21.3 x 17.8 cm

Robert Longo
Untitled (After Appel; Amorous Dance, 1955), 2022
Charcoal on mounted paper
177.8 x 228.6 cm