| contemporary drawing |

Drawings & Notes

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

Thomas Müller

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

Art Brussels
Patrick Heide Contemporary Art

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

Sophie Bouvier Ausländer

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

Sophie Bouvier Ausländer

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

Thomas Müller

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

12 April 2023

Felipe Baeza

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

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

Gillian Wearing

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

Donald Urquhart

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

9 April 2023

Cay Bahnmiller

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

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

Cay Bahnmiller

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

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

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

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


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

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

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

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

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

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

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

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

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

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
, 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