| contemporary drawing |

Drawings & Notes

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

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 Carousel, 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

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

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

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

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

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

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

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

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

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

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

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
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

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

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

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

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

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

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