| contemporary drawing |

Drawings & Notes

10 September 2023
drawing Sophie Taeuber-Arp Composition Verticale-Horizontale, 1926-1927 Gouache over preliminary drawing in pencil on drawing paper 43.1 x 29.2 cm

Sophie Taeuber-Arp

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

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

Ellen Lesperance

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

Sophie Taeuber-Arp

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

13 August 2023

Roni Horn

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

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

Roni Horn

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

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

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

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

Roni Horn

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

Roni Horn

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

25 July 2023

Jonas Wood

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

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

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

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

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

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

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

4 July 2023

Elizabeth Peyton

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

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

Elizabeth Peyton

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

Elizabeth Peyton

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

Elizabeth Peyton

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

21 April 2023

Thomas Müller

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

Art Brussels
Patrick Heide Contemporary Art

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

Sophie Bouvier Ausländer

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

Sophie Bouvier Ausländer

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

Thomas Müller

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

12 April 2023

Felipe Baeza

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

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

Gillian Wearing

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

Donald Urquhart

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

9 April 2023

Cay Bahnmiller

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

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

Cay Bahnmiller

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

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

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

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

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

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

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

2 February 2023

Jennifer Bartlett

Untitled, 1971
Pen and colored pencil on paper
27.9 x 21.6 cm

Jennifer Bartlett. Works on Paper, 1970–1973
21 January – 18 February 2023
Marianne Boesky Gallery, New York

Jennifer Bartlett
Untitled
, 1971
Pen and colored pencil on paper
27.9 x 21.6 cm

Jennifer Bartlett
Untitled
, 1971 (detail)
Pen and colored pencil on paper
27.9 x 21.6 cm

Jennifer Bartlett
Untitled, 1971
Pen on paper
27.9 x 21.6 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

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

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

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

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

Robert Longo
Study of After Hofmann; Laburnum, 1954, 2022
Ink and charcoal on vellum
53 x 66.2 cm

6 January 2023

Isa Genzken

Untitled, n.d. (ca. 1983)
pencil, ink, and watercolour on paper
61 x 43 cm

Isa GenzkenZeichnung Plan Collage 1965-2018
9 December 2022 – 18 February 2023
Galerie Buchholz, Köln

Isa Genzken
Untitled, n.d. (ca. 1983)
pencil and coloured pencil on paper
42 x 29,6 cm

Isa Genzken
Untitled (More Light Research), n.d. (ca. 1992)
lacquer on paper
29,7 x 42 cm

Isa Genzken
Untitled, n.d. (ca. 1981)
collage, photograph, ink, pencil on paper
38,7 x 23,9 cm

3 January 2023

Adrian Ghenie

Study for “Studio Scene 2” 2, 2022
Charcoal on paper
100 x 65 cm

Adrian GhenieThe Fear of Now
12 October 2022 – 10 January 2023
Thaddaeus Ropac, London

Adrian Ghenie
Study for “Studio Scene” 3, 2022
Charcoal on paper
100 x 65 cm

[from the pressrelease]
Adrian Ghenie employs a new drawing technique to construct the complex compositions of his figurative works. He applies charcoal to a paper primed for use with oil paint, which allows him to lay down, erase and rework his mark making. He is able to ‘rehearse’ his paintings through these preparatory studies ‘without the stress of being precise’, enacting what he describes as a ‘drawing based on mistakes’.

This innovative drawing technique informs new developments in Ghenie’s painting practice. Earlier works are characterised by thick impasto and gestural swathes of paint applied with a palette knife. In contrast, the recent works take a more linear approach as the medium is applied thinly with a small brush. He compares these works to ‘coloured drawings’, collapsing clear distinctions between mediums in a style evocative of the figurative works of Austrian artist Egon Schiele.

1 January 2023

David Shrigley

Untitled (I Like It), 2022
acrylic on paper
55 x 55 cm

David Shrigley. Proposals for Record Covers
3 December 2022 – 28 January 2023
Galerie Francesca Pia, Zürich

David Shrigley
Untitled (I Still See Him When I Close My Eyes), 2022
acrylic on paper
55 x 55 cm

[from the pressrelease]
Shrigley’s oeuvre includes classical artistic media such as drawing, painting, sculpture, photography, video, and installation, among others, as well as the publication of numerous books, cartoons for newspapers, his own merchandising products, and the design of record covers. Thus, the exhibition’s title Proposals for Record Covers can also be understood as a reference to his own navigation between the art world— in the narrower sense—and a more commercial context, whereby one does not exclude the other. Instead, these different spheres enrich each other. At the same time, the title can also be understood as an absurd task that does not seek fulfilment.
Formally, the fifty new paintings on display—all acrylic on paper—in fact resemble oversized record covers. They are square, and the subjects are usually depicted frontally and centered; they take up a large part of the surface and are compelling in their reserved colourfulness, which strongly stand out against the background, which is always white. In terms of content, the works are based on the humorous image-text combinations for which Shrigley has become known, particularly in the context of his drawings. These range from obvious tautologies, as in Untitled (Centre Parting) and his surprising health tips as in Untitled (Cigarettes Are Good for You, in a Way) or negotiate strange fears as in Untitled (Red Guitar, Do Not Be Afraid of It), to mention only a few examples.
In these paintings, Shrigley manages to reduce his ideas to the absolute minimum in order to communicate as simply and directly as possible. In combination with his dry, often biting humour, Shrigley’s works address banalities and shortcomings of everyday life, society and the state of the world, in order to demonstrate just how valuable humour is as a means of healthy detachment, especially in times like ours.

David Shrigley
Untitled (Here), 2022
acrylic on paper
55 x 55 cm

David Shrigley
Untitled (Punk Cannot Be Created or Destroyed), 2022
acrylic on paper
55 x 55 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

22 December 2022

André Butzer

Untitled (Todes-Blei), 2001
Ink on paper
29.7 x 21 cm

André ButzerThüringer Wald (Works on Paper 2001–2022)
5 November 2022 – 7 January 2023
Nino Mier Gallery

André Butzer
Untitled, 2002
Watercolor and pencil on paper
48.2 x 66 cm

[from the pressrelease]
Thüringer Wald (Works on Paper 2001–2022) is a survey of the past two decades. This selection of works on paper captures the full expressive diversity of André Butzer’s practice. The formal range present in these works, reflects his thematic interest in the opposing poles of modernity: its horrors, particularly those of 20th century Germany, and its wonders. 

Figuration and abstraction always are one upon Butzer’s highly chromatic and solidified picture planes. Certain images and forms repeat across the papers in circuits. Works containing tangles of scribbles or intersecting bands of color lay bare the apparatus of representation. Other works appropriate pinnacles of painterly representation—like a reproductions of Raphael’s famous self-portrait, inscribed with a large, red N for Butzer’s utopian place in space that is his NASAHEIM.  

Regarding Butzer’s works on paper, Gwen Allen, professor of art history and director of the School of Art at San Francisco State University, writes: “As a draftsman, Butzer is as fiercely uninhibited as he is a painter, employing a vast repertoire of linear expression […]. If, at the dawn of modernist abstraction, such expressive license served as a foil to the mechanization of the industrial age, Butzer’s drawings prompt us to consider what such properties might signify today, in our own post-industrial—and increasingly post-human—era.” 

André Butzer
Untitled, 2019
Pencil on paper
54.6 x 35.6 cm

André Butzer
Untitled (ALL! ALL!), 2019
Watercolor, crayon, and pencil on paper
35.6 x 27.9 cm

19 December 2022

Stanley Whitney

Untitled, 2020
gouache on paper
55.9 x 76.2 cm

Stanley WhitneyPaintings on Paper
19 December 2022 – 23 January 2023
Gagosian, Gstaad

Stanley Whitney
Untitled, 2016
gouache on paper
55.9 x 77.5

[from the pressrelease]

Whitney’s paintings imbue loose “stacked” compositions with dynamic and unpredictable rhythms of color and space. Inspired by sources as diverse as experimental jazz and American quilt making, he marshals energetically brushed blocks and bars of pigment distinguished by transparency and tension wherever they intersect. Having worked in an abstract mode since the 1970s, he consolidated his current approach in the early 1990s during time spent in Italy. There, captivated by the effect of light on the façades of ancient Roman buildings such as the Colosseum and Palazzo Farnese, he achieved a new understanding of the relationship between color and geometry.

In the gouaches on view in Gstaad, which were made over a seven-year period, Whitney translates the square format of his large-scale canvas paintings to smaller works on paper. These compositions reveal the consistency of structure that undergirds his ostensibly spontaneous project. Far from being mere studies, they are robust independent undertakings in which the artist discovers new possibilities. Like other greats of abstract painting such as Ad Reinhardt and Al Taylor, Whitney takes the simplicity and flexibility of his medium and support as starting points from which to further extend his visual and atmospheric range.

Allowing the surface and tone of the paper to introduce texture and white space into his compositions, Whitney orchestrates a figure/ground interplay that is absent from his canvases, in which paint accounts for the works’ entire coloration and fully covers their supports. At certain moments the works’ stacked “parcels” of color bleed into one another, or into the bars that divide them horizontally, while at others they remain distinct. Throughout, however, the untouched surface of the paper intervenes to become a compositional element. This shift allows the grid to emerge here with especial clarity; it also makes apparent the point at which that structure disintegrates, transforming itself into something new.

Gouache, a water-based matte paint composed of ground pigments and plant-based binders, has a notable opacity derived from the addition of white fillers, such as clay or chalk, or a high pigment content. While making striking use of the medium’s color saturation, Whitney also dilutes his paint to give the application a translucent luminosity more often associated with watercolor. The resultant works have a distinctive mottled surface and blushing tint that, as is the case with their oil-on-canvas counterparts, recalls Whitney’s Roman inspiration through an active interplay of extemporaneity and design.

Stanley Whitney
Untitled, 2018
gouache on paper
55.9 x 76.2 cm

18 December 2022

Thomas Elshuis

HVV #012, 2021
(press)ink and tipp-ex on newspaper in wooden frame
71,5 x 53,5 x 4 cm

Thomas ElshuisHet Vrije Volk
We Like Art, Amsterdam

Thomas Elshuis
HVV #009
, 2021
(press)ink and tipp-ex on newspaper in wooden frame
71,5 x 53,5 x 4 cm

Thomas Elshuis
HVV #013, 2021
(press)ink and tipp-ex on newspaper in wooden frame
71,5 x 53,5 x 4 cm

Thomas Elshuis
HVV #008, 2021
(press)ink and tipp-ex on newspaper in wooden frame
71,5 x 53,5 x 4 cm

16 December 2022

Sara Issakharian

Tripped Trick, 2022
Ink, colour pencil, pastel, watercolour on paper
56.2×74.6 cm

Sara Issakharian. Behold mother, I make all things new
22 November –  17 December 2022
Tanya Leighton, Berlin

Sara Issakharian
WLF, 2022
Ink, colour pencil, pastel, watercolour on paper
56.8×67.3 cm

Sara Issakharian
Here and Then There and Now, 2022
Ink, colour pencil, pastel, watercolour on paper
151.5×200.3 cm

7 December 2022

Hans op de Beeck

Dandelion Clock (study), 2022
black-and-white watercolour on Arches paper
59.4 x 49 cm

Hans op de BeeckWorks on Paper
26 November – 31 December 2022
Gallery Ron Mandos, Amsterdam

Hans op de Beeck
Winter Road (study), 2022
black-and-white watercolour on Arches paper
81 x 100 cm

Hans op de Beeck
The Pond, Last Winter, 2022
black-and-white watercolour on arches paper
130 x 290 cm

[from the pressrelease]
In 2009, Op de Beeck exhibited at Rome’s historic Galleria Borghese. In dialogue with the old masters from the collection, he developed six expansive monochrome watercolours. Today, these paintings exist as part of the MAXXI (Museum of Contemporary Art, Rome) permanent collection. Since then, Op de Beeck has worked prolifically on continuing this series – a steadily growing oeuvre of watercolours. Though fully matured and autonomous works in their own right, they have evolved into a kind of picture-book, an ever-expanding universe of images.

Op de Beeck’s watercolours envisage fictional places – within these spaces dark and fairy-like characters emerge in nocturnal settings. These enigmas elicit a sense of alienation and melancholy, whilst radiating peace and tranquility in equal measure. The figures and places offer seeds for the audience to create a story.

Each of the works is painted at night, alone in a silent studio. Here, without interruption the creative process becomes one of being intoxicated with timelessness. Just as in a dream, the process is one of accessing the subconscious – a ritual of surrender to the unknown. Op de Beeck wrestles with the growing pains and obstacles of the human condition. Here, the futility of man in the face of the sublime and the natural world becomes his point of departure (…)

Op de Beeck often balances the gentle and idyllic with the disturbing and dark. Notions of mystery, the unexplainable and the fundamental loneliness of our existence recur regularly. Alongside, we see other subtly recurring motifs – still lives of banal objects as memento mori; or the micro-poetry of raindrops on water and soap bubbles floating languidly by.

Hans op de Beeck
Vanitas (flowers and soap bubbles), 2022
black-and-white watercolour on Arches Paper
118 x 147 cm

22 November 2022

Guy Vording

Black Pages VI: An Abiding Affection, 2022
aquarel pencil on paper
76 x 57 cm

Guy Vording en Stefan Serneels. Fear isn’t so difficult to understand
21 October – 26 November 2022
galerie dudokdegroot, Amsterdam

Guy Vording
Black Pages III: One was badly hurt, 2022
Aquarel pencil on paper
39 x 30 cm

Guy Vording
Black Pages VI: To another Life, 2022
Aquarel pencil on paper
40 x 57 cm

17 November 2022

Daniel Jensen

Shipwrecked, 2022
Soft pastel, Graphite and Gesso on canvas
140 x 100 cm

Daniel JensenHover on the Edge of Sleep
17 November – 18 December 2022
Alzueta Gallery, Madrid

Daniel Jensen
Tunnel Vision, 2022
Charcoal, soft pastel and gesso on canvas
140 × 100 cm

Daniel Jensen
Untitled, 2022
Soft pastel, charcoal acrylic and varnish on canvas
180 × 130 cm

10 November 2022

Jockum Nordström

Ek (Oak), 2022
watercolour and collage on paper
109 x 76,5 cm

Jockum Nordström. Wishing Well
9 November – 17 December 2022
Zeno X Gallery, Antwerpen

Jockum Nordström
Suset i skogen (Wind in the Forest), 2022
watercolour and collage on paper
77 x 91 cm

Jockum Nordström
Nattljus (Night Light), 2022
watercolour on paper
99 x 69 cm

Jockum Nordström
Skafferi (Pantry), 2022
pencil on paper
48 x 64 cm

6 November 2022

Mounira Al Solh

13 April, 13 April, 13 April, 2022
Ink, blood, pastels, charcoal and watercolour on paper
56,4 x 42 cm

Mounira Al Solh
13 April, 13 April, 13 April, 2022
Ink, blood, pastels, charcoal and watercolour on paper
29,5 x 41,4 cm

Mounira Al Solh
I strongly believe in our right to be frivolous #180
, 2012 –
mixed media drawing on legal paper
28.6 x 21 cm

4 November 2022

Charmaine Watkiss

Double Consciousness: Be Aware of One’s Intentions, 2021
Graphite, pencil, watercolour and ink on paper
76 x 56 cm

Charmaine Watkiss
The Hidden Presence, 2021
Graphite, watercolour and ink on paper
29.7 x 21 cm

Charmaine Watkiss
Amplified perception
, 2021
Pencil, graphite, watercolour and ink on paper
88 x 66cm

29 October 2022

Margarita Gluzberg

Pink-Violet 1960 Mix, 2022
Pastel and graphite pencil on canvas
186 x 165 cm

Margarita Gluzberg Proper Time
20 October – 19 November 2022
Karsten Schubert, London

Margarita Gluzberg
Glass 1950 Mix, 2022
Colour and graphite pencil on paper
78 x 56 cm

Margarita Gluzberg
Ground-Green 1960/80 Mix, 2022
Pastel on canvas
200 x 166 cm