| contemporary drawing |

Drawings & Notes

7 November 2019
Mel Bochner | Blah, Blah, Blah / Need I Say More?, 2019 | oil on velvet, in three parts each: 76.2 x 228.6 cm | overall: 228.6 x 228.6 cm

Mel Bochner

Blah, Blah, Blah / Need I Say More?, 2019
oil on velvet, in three parts
each: 76.2 x 228.6 cm | overall: 228.6 x 228.6 cm

Mel Bochner. Exasperations
5 November – 21 December 2019
Peter Freeman, Inc., New York

Mel Bochner

HA HA HA, 2017-2019
oil on water based ink and UV screen print ink on paper
182.9 x 131.8 cm

Mel Bochner

Blah, Blah, Blah, 2017-2019
oil on water based ink and UV screen print ink on paper
182.6 x 131.4 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

3 February 2018

Dieter Roth

13 Lollies mit Rückseiten (13 Lollies with reverse sides) (detail), 1981
13 drawings (recto/verso), pencil, felt-tip pen, gouache on yellow paper
29.5 x 21 cm

Dieter Roth. Paper
19 January – 3 March 2018
Hauser & Wirth Zürich

Dieter Roth
246 little clouds (detail)
, 1968—1976
Original collaged manuscript, 170 pages, 3 pages handwritten instructions, pen, marker and tape on paper; Typed manuscript with drawings, 247 pages, pencil, marker on cardboard; 3 typed manuscripts with handwritten annotations by Dieter Roth & Emmett Williams; 3 pages typed letter & supplementary material
25.5 x 38 cm each

6 September 2017

Thomas Ruff

press++70.01, 2016
Chromogenic print
184 x 225.5 cm

[from pressrelease/David Zwirner]
Thomas Ruff’s press++ series are photographs of archival media clippings from American newspapers across several decades. In the serie he focused on space exploration, cars, car crashes, and Hollywood stars. Ruff scanned the front and back of the original documents, which he has been collecting over several years, and combined the two sides. Interested equally in the subject matter (and any touch-ups) on the front of the paper and the words, stamps, signatures, and smudges on the back, he thus created seamless montages of image and text, in the process compromising the integrity of the former as well as adding relevant context. The overlap causes each side to lose its intended information and merge into a new image altogether. As such, the often disrespectful treatment of press pictures by newspaper editors becomes obvious, as text, cropping, and retouching can all fundamentally change the original document.

press++ continues Ruff’s long-standing interest in the deconstruction of the image and the new structures of photography following digital technology. It relates to earlier series by the artist including Newspaper Photographs (1990-1991), in which images were sourced from analog newspaper prints, and jpegs(2004-2007), where he used digitally disseminated photographs. The new works further recall the emergence of photomontage in Germany in the 1920s, where it was employed by Dada artists as a potent and subversive political tool. Ruff’s digital composites, however, are not concerned with the often fragmented and surrealistic effects produced by these art historical precedents, but with the treatment of the photographic image when it is redistributed and re-archived. As layers of information coexist seamlessly, the idea of a source becomes increasingly obsolescent and the image acquires even greater agency. The information of the press image is lost in favor of an image of its own artistic value

Thomas Ruff

press++59.78, 2016
Chromogenic print
59.7 × 69.7 cm

Thomas Ruff

press++50.08, 2016
Chromogenic print
237 × 185 cm

Thomas Ruff

press++30.18, 2016
Chromogenic print
222.3 x 184 cm

Thomas Ruff

press++28.19, 2016
Chromogenic print
223 x 185 cm

16 December 2008

Raymond Pettibon

No Title (The eyes are), 2008
Pen, ink, gouache, acrylic and collage on paper
59.7 x 45.7 cm

Raymond Pettibon
Part II: Cutting-Room Floor Show
13 December 2008 – 24 January 2009
Regen Projects, Los Angeles

Raymond Pettibon

No Title (The birth of), 2008
Pen, ink, gouache, acrylic and collage on paper
69.9 x 68.6 cm

Raymond Pettibon

No Title (The Emperor has), 2008
Pen, ink, gouache and collage on paper
48.3 x 35.6 cm

[from the pressrelease] – Raymond Pettibon’s  Cutting-Room Floor Show (Part II) introduces recent explorations in both color and collage. Pettibon started working in collage in the mid 80’s with simple newsprint elements collaged onto black and white images, and in works from 1992-93, the process became more complex. In this current exhibition the collages are extremely worked, layering images and text to produce intricate scenarios and non-linear narratives. Also on view are his powerful paintings on paper, depicting an anarchic combination of the past and present. The works suggest that although history repeats itself, rupture is still possible.

The subject matter in these new works on paper are a continuation of Pettibon’s oeuvre: the landscape of war, politics, popular culture, and history. Eloquently playing with multiple ideas at once, Pettibon’s works have various levels of interpretation. As a result, a fluidity of images and text occur and meanings easily shift and change. The works operate comfortably between an explicit and implied narrative, making direct and indirect associations that elude a stringent definition.

Pettibon’s drawings seek to attract the spectator’s attention through their use of a familiar vernacular iconography that is already well established in the popular imagination, one that displays the emblems of optimism and bravery in a kind of equivalent to progress, the revelation of a social subconscious in which sin and pain dwell. In his illustrations, the perfectly-delimited roles of hero and villain become confused and interchanged, introducing a new relativism that calls into question society’s established values and immovable vision.

Raymond Pettibon

No Title (They don’t bring), 2008
Pen, ink, gouache and collage on paper
85.7 x 118.1 cm

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

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