Spatial Flux: Contemporary Drawings from the JoAnn Gonzalez Hickey Collection by Gregory Allicar Museum of Art

SPATIAL FLUX Contemporary Drawings from the JoAnn Gonzalez Hickey Collection

This exhibition, part of the Critic and Artist Residency Series, is made possible by the FUNd at Colorado State University, by a grant from the City of Fort Collins Fort Fund, and through the SYZYGY Study Platform. This catalogue was generously supported by the Department of Art and Art History, Colorado State University, and the Advisory Board of the Gregory Allicar Museum of Art: Dennis Bookstaber, Mary Crow, Lloyd Crumb, Suzanne Faris, Sue Kreul-Froseth, Francisco Leal, Tom Lundberg, Tonya Malik-Carson, Jane Nevrivy, David Riep, Gwen Hatchette, Abby Shupe, and Torleif Tandstad, along with Mickey Bookstaber.

This publication accompanies the exhibition Spatial Flux: Contemporary Drawing from the JoAnn Gonzalez Hickey Collection, on view from May 29 through September 22, 2018, in the Griffin Foundation Gallery and Works on Paper Gallery, Gregory Allicar Museum of Art at Colorado State University, Fort Collins, Colorado. All works in the exhibition are on loan from the collection of JoAnn Gonzalez Hickey. Editors: Lynn Boland and Emily Moore Authors: Johnny Plastini, Marius Lehene, Emily Moore, Lauren Faherty, Jasmine Holmes, Samuel Dong Saul, Janine Thornton, Christy Nelson, Zach Miller, Christy Nelson, Kyle Vincent Singer, and Emily Sullivan Catalog Design: Silvia Minguzzi Printer: Creative Services at Colorado State University ÂŠ 2018 by Gregory Allicar Museum of Art, Colorado State University, 1778 Campus Delivery, 80524, Fort Collins, CO All rights reserved. No part of this publication may be reproduced in any manner without permission. All images are ÂŠ the artists, reproduced with the kind permission of the artists and/or their representatives. ISBN: 978-1-7323476-0-1

Cover Image Mauro Giaconi (b. 1977, Buenos Aires, Argentina) El Atlas de Nuestro Tiempo (The Atlas of Our Time), 2013 (detail) Graphite and eraser on atlas pages Each page: 15 3/8 x 21 1/4 inches

SPATIAL FLUX Contemporary Drawings from the JoAnn Gonzalez Hickey Collection

Table of Contents Foreword ............................................................... 4 Creating Spatial Flux: The Backstory ............................................. 8 Space Created ............................................................... 14 Space Existing ............................................................... 20 Space Destroyed ............................................................... 28 Interview with JoAnn Gonzalez Hickey Authors’ Bios Artists’ Bios Checklist

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42 44 47

FOREWORD Lynn E. Boland, Ph.D., Gregory Allicar Museum Director and Chief Curator

syzygy, plural syzygies: the nearly straight-line configuration of three celestial bodies (such as the sun, moon, and earth during a solar or lunar eclipse) in a gravitational system. Merriam-Webster.com SYZYGY is a curatorial and study platform focused on unique contemporary works on paper held in the JoAnn Gonzalez Hickey collection. It is a resource available to graduate level curatorial, studio art and art history students, poets and creative writers for scholarly investigation. SYZYGY has been established in an effort to promote a deeper understanding of the nature of works on paper while mining the many layers of artworks held in the collection. Serving as a lending library, the program offers students and scholars the opportunity to access the collection for historical research, genre studies, critical analysis, catalogue writing, installation methodology, collecting and archival practices, salon presentations and formal exhibitions. http://syzygy-nyc.org

I’ll admit that I had to look up the word that gave the name, but the concept of the SYZYGY platform was clear to me immediately: it’s the sort of thing that university museum directors dream about but rarely see. It is a collection and a way of putting it to use, both built with purpose and vision. SYZYGY is based around a group of objects that reflect the interests and intellect of an

individual collector, yet at the same time, the collection is expansive and rich, capable of extended and diverse readings, and of countless conceptual threads and thematic groupings. It is more than a collection, it is way of activating a collection. It reflects a generosity that has been formalized within the structure of the platform itself, and generosity of the less formal sort through the person of JoAnn Gonzalez Hickey herself. I and the entire project team at Colorado State University thank her deeply and sincerely. Elizabeth Tenenbaum, director of SYZYGY also deserves more thanks than these words can give. Liz has been an enthusiastic partner in this endeavor from the start and we have relied on her expertise and professionalism throughout the project. We are also grateful to all of the artists in this exhibition, and especially those appearing in this catalogue, who very graciously granted gratis rights to reproduction of their work. I feel fortunate every day to be working with faculty and staff throughout Colorado State University, and it should come as no surprise that the museum has special

ties to the Department of Art and Art History, upon whom we rely constantly. The department’s commitment to creating service-learning and other experiential opportunities for students greatly enriches both the students’ educations and the museum’s efforts. Projects like this one are a boon to us all. It has been a joy to work with the graduate student curators for this project, and each deserves high praise. Some curators might balk at the suggestion that they quadruple the size of their exhibition on short notice. Maybe they didn’t fully know what would be involved in the exhibition’s expansion. They do now, but I think they’re still glad they jumped at the chance. As in all that we do at the museum, it would be impossible without tremendous support from my fellow staff, Keith Jentzsch, Suzanne Hale, and Silvia Minguzzi; from our affiliated staff at the University Center for the Arts, Jennifer Clary and Mike Solo; in the Department of Art and Art History, Maggie Seymour, Kathy Chynoweth, and Nathan “Cory” Seymour; in the College of Liberal Arts Development Office, Tonya Malik-Carson and her exemplary staff; and from our tireless volunteers, Dennis

and Mickey Bookstaber. I’m lucky to work with such energetic, positive, and highly skilled individuals. All of the project’s participants join me in thanking them. Great thanks are also due to my predecessor, the indomitable Linda “Linny” Frickman, who laid the most solid of foundations for all that we do here, this exhibition included. The exhibition was generously supported by a grant from the City of Fort Collins Fort Fund, and is part of the Critic and Artist Residency Series, made possible by the FUNd at CSU. We are also dearly grateful to the sponsors of this catalogue, including the entire advisory board of the Gregory Allicar Museum of Art. They immediately recognized its potential, and we could not have realized it without each of them. Like the exhibition, preparing this publication has provided our students the kind of invaluable opportunity for hands-on learning for which we strive.

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CREATING SPATIAL FLUX: THE BACKSTORY “Drawing is the opening of form.” Jean-Luc Nancy

Johnny Plastini, Assistant Professor of Printmaking I first became acquainted with the SYZYGY study platform in late 2015 through a flurry of e-mail communications with associate professor Haley Bates, who serves admirably as chair of the graduate committee and as area coordinator of Metalsmithing and Jewelry at Colorado State University. These communications announced a 2017 exhibition of contemporary works “on, of, or about paper” at the Denver Art Museum, but more importantly they highlighted the potential for our graduate students to meet the collector and view these works prior to their exhibition. Upon further research into the SYZYGY study platform and the collector, JoAnn Gonzalez Hickey, I volunteered to spearhead a graduate student trip to her Beaver Creek residence in March of 2016. It became immediately clear that JoAnn embodies the qualities of an incredibly thoughtful and dedicated collector, who cares deeply about each and every artist in her collection. We discussed many things, but notably, I remember correlating my experience at the Barnes Foundation, specifically with regard to Dr. Albert Barnes and John Dewey’s teaching philosophies of “Art as Experience,” which were in direct dialogue with concepts JoAnn shared as to how she selects works for her collection. When our group eventually returned to Fort Collins, I arranged an appointment with our then museum director, Linny Frickman, in order to discuss the possibility of graduate students curating an exhibit of works from JoAnn’s collection in line with the SYZYGY

study platform. Linny secured us a slot for summer 2018 in the museum’s intimate Works on Paper Gallery. In summer of 2016, I was scheduled to travel to Philadelphia for a conference at the Tyler School of Art, Temple University. Serendipitously, this conference coincided with Dot, Dash, Dissolve, an exhibition of selections from JoAnn’s collection at the Pennsylvania Academy of Fine Arts curated by students from Robert Cozzolino’s Fall 2015 advanced drawing seminar. Dot, Dash, Dissolve challenged me to examine my own assumptions about drawing and specifically how the physicality of paper is often overlooked. After viewing the exhibition at PAFA, I decided to contact JoAnn, and then visited her at the collection’s main archive and the gorgeous SYZYGY study space in the heart of Manhattan where Liz Tenenbaum serves as director of the collection. These experiences deepened my hope that graduate students at CSU could also work with JoAnn’s collection, which became a reality when Linny Frickman, the graduate committee at CSU, and newly appointed department chair Suzanne Faris allocated funds to host JoAnn and Liz at Colorado State University for a formal introduction to the SYZYGY study platform at the beginning of Fall semester 2016. In spring 2017, I led a graduate student field trip to the Word Dance exhibition at the Denver Art Museum, which included works selected exclusively from JoAnn’s collection. Liz graciously put me in contact with

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Rebecca R. Hart, curator of modern and contemporary art at the DAM, who was very generous with her time in speaking with our graduate students and sharing insights into some of the exhibition’s content. The trip to Word Dance was important for our students to understand the scale and scope of potential for the SYZYGY study platform and how a professionally curated museum exhibition can be successfully culled from such a large collection. During summer of 2017, Linny Frickman began retirement and passed the baton to newly hired director and chief curator of the Gregory Allicar Museum, Dr. Lynn Boland. His excitement at the project’s potential was such that he offered to

expand the graduate curated exhibition to encompass both the Works on Paper Gallery and the larger Griffin Foundation Gallery. The plan developed to include a Fall 2017 graduate seminar led by Professor Marius Lehene, dealing primarily with the conceptualization of the exhibition, while Dr. Emily Moore’s Spring 2018 seminar would focus on preparing the exhibition itself and the publication.

Marius Lehene, Professor of Drawing In the seminar I led in Fall 2017, the group spent the early days reviewing images, reading about JoAnn’s principles of collecting, and exchanging thoughts informally. The initial wonderment was followed by students making individual selections, which grew to fill the expanded space that the museum’s director, Lynn Boland, had allocated for the exhibition. Lynn did a great job assisting us on our steep curatorial learning curve without interfering with the work, allowing us full autonomy. One of the graduate students, Samuel Dong Saul, helped the group bring the initial selection

of images together to look them over at once and make decisions, but we found ourselves in an early impasse when the multitude of ideas did not coalesce right away. As we read more, lists got longer and longer. Discussions returned to a beginning again and again. Just like fate is only visible retroactively, we now realize this may have been in the nature of what was in front of us. The sense of perpetual beginning could have been our group’s way of finding out that drawing is neither the rendering of a fully formed thought nor is it a thing before any forming; it is form in (the

midst of its) formation. Without thinking of drawing as preliminary, our group was interested in the manner in which the “form to come” is coming: its coming into presence, coming into an idea. We noticed the same hermeneutical dynamic in reverse. Other patterns the group was caught in resembled the anticipation of travel. The sense of potentiality in any departure is ultimately the same as contemplating something about to come but not fully there yet. Accidentally, this is the reverse of melancholia, which, as mourning for what is not yet lost, permeates the spirit of our time. In such untimeliness, the group might have found its contemporariness. After all, one cannot be contemporary with her own time by being identical with it. In Agamben’s words “[contemporariness] is that relationship with time that adheres to it, through a disjunction and an anachronism.’’1 Meandering through the alluvium of ideas generated by the works, we slowly discovered the dominant current, a river of sorts. We were already floating on it. A dialectical triad of sub-themes emerged out of the murky waters after Jan Thornton found a negative, apophatic way of defining drawing. She had fallen in love with Alain Badiou’s proposal that drawing be approached as that which opens up the empty paper (otherwise an inert object) as a background, namely as an open imaginary space.2 The triad saw drawing, in turn, as construction (through the eyes of Lauren Faherty and Jasmine Holmes); as motion

and instability—a kind of trembling, to paraphrase Kierkegaard (through the eyes of Samuel Dong Saul, Zach Miller, and Jan Thornton); and as the destruction of space, or, as one student put it, the longing for a space without dimensions (through the eyes of Christy Nelson, Kyle Singer, and Emily Sullivan). Just like a true drawing finds what exactly it is tracing only in the process of doing so, it seems like this group of students found a (rather existential) way of approaching drawing, not in seven stages, like Solon’s life phases, but in three that succinctly describe the same arc of emergence, trembling in temporary flourish, then a withering away.

1. Giorgio Agamben, “What is the Contemporary?” in What is an Apparatus? And Other Essays, translated by David Kishik and Stefan Predatella (Stanford: Stanford University Press, 2009), 41. 2. Alain Badiou, “On Drawing,” in The Symptom 12, online journal, 12 September 2011, http://lacan.com/symptom12/drawing.html.

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Emily Moore, Ph.D., Assistant Professor in Art History and Associate Curator of North American Art Spring 2018 was less poetic. Having selected the drawings and developed the exhibition’s themes, the graduate students now faced the nitty gritty work of figuring out display logistics, and arranging the artworks in the Allicar Museum; they also had to develop their ideas into essays for this catalogue. We met in the evenings, after the seminar, with Tupperware dinners and Girl Scout cookies to fuel our work. Suzanne Hale, collection manager at the Allicar, schooled us about the insurance and shipping costs required to bring art work to the museum, and we wrestled with final choices for the exhibit. Then Kyle Singer made scale plywood models of the galleries, and the grads toyed with various arrangements of art works to consider how best to introduce the public to the themes of the exhibition. The grads already knew the basics of “hanging a show,” based on their experience exhibiting their own artwork. But hanging other people’s art—and communicating their vision of that art to the public— required some new leaps. I asked them to think about the spatial narrative they wanted the public to experience while walking through different rooms of the museum: did they want to divide the rooms into themes of creation, existence, and destruction of space, or compare and contrast art works representative of all three themes side by side? Did they want viewers to read one big block of wall text for each section, or write descriptive labels for every drawing hanging in

the show? We debated how to provide a conceptual framework for the exhibit without being overly didactic, how to ask viewers to engage with the pulsating forms of space in the drawings while still giving viewers space for their own encounters. One of the great benefits of a university museum is that it allows for—indeed strives for—student involvement in its operations, from studying artwork in collections to developing an entire exhibit. Spatial Flux is a strong example of the possibilities afforded by a university museum, especially as it was supported by the SYZYGY platform that also emphasizes student engagement. To me, this was one of the most exciting aspects of the exhibit: to watch graduate students develop as curators and as a cohort able to articulate a shared vision for a range of artworks that interested them. In the end, even as an associate curator for the museum, I didn’t do much for this exhibit. The grads did the work—arranging the galleries, preparing exhibition texts, and developing their catalogue essays collectively through rounds (and rounds) of edits in Google Docs. They developed as a cohort and as curators, and they created the space for Spatial Flux.

SPACE CREATED Lauren Faherty, Jasmine Holmes

In drawing, mark making can imply, capture, and build space upon an empty surface. Space is used as a technique to allow the viewer a reference point when examining a work of art to differentiate between the positive and negative, the illusion or creation of perspective. We read these as clues from the artist, inviting us to venture into their constructed world through their created space. To create space is to see the reflected voice of the marks being made. For many, the blank white page is the start of this process. Empty and pure, the blank page offers boundless opportunity. To manipulate this surface is to see dimension, layers and a hierarchy within a two-dimensional surface. This process recognizes the agency in the reciprocal communication between creator and material. We are witness to the beginning of space being created in Marti Cormand’s work Formalizing their concept: Liliana Porter’s “untitled, wrinkle white, with string” 1970 (2012), as a singular black line cuts through the middle of the paper. This individual action of one line physically begins to shape the ways in which space is formed by the crumpled texture at the bottom of the page. As this bold mark seemingly “cuts” through the paper, the transformation of space takes place in a very physical way, changing the surrounding page through its interruption. Sebastian Rug’s Untitled (2008) displays an immersion of space through a different approach as his work fills the

space through soft gray impressions placed in the left corner of the drawing. This mark is timid, and suggests a sense of meekness to the approach, much like the apprehension an artist often feels when placing the first stroke onto a fresh surface. Jay Kelly applies a similar mark in Untitled #1714 (2007); the blurred shapes are in flux as they teeter between solid designs and atmospheric forms. As artists explore space, a new sense of weight is implied and spatial awareness of its surroundings become clearer to the viewer. The physical markings on a surface allows one to impose order onto the void of a blank page. We see this when viewing the graphite drawings of Alejandro Aguilera. In Aguilera’s Some Place (2000), there is an abstracted attempt to depict a landscape in turmoil with swirling tides and crashing waves. There is a suggestion of a natural presence, but the scene is left loose and displaced without definition. Through intricate line work, the void takes shape, ebbing and weaving in the reversed mimicry of line. This free space forever binds itself to the surrounding environment, captured in a moment of untouched yet formed volume. The mark making within drawing plays with the fragile equilibrium between the visible and invisible. From this perspective, it seems that drawing is not a directed embodied activity or conscious gesture, but an exploration of the sensible world through the ambiguity of thought itself.

Marti Cormand (b. 1970, Barcelona, Spain) Formalizing their concept: Liliana Porter’s “untitled, wrinkle white, with string” 1970, 2012 Graphite and oil on paper 15 1/2 x 11 1/2 in.

Drawing in its simplest description is the direct act of mark making with intent of exploring the paper for the process of orientation. The marks exist because they are made on a blank space, but it is more than a mere surface; it becomes an open space defined by the imprinting. This open space can often be perceived as the background or an afterthought carved out of the initial inspiration of shape and form that emerges onto to the surface. We sometimes begin to disregard the conversation presented in the inversion from the line. Yet this conversation is ever present; they are the shadows an artist creates, preserved in a space without dimension.

Sebastian Rug (b. 1974, Vacha/Rhรถn, Germany) Untitled, 2008 Graphite on paper 11 3/4 x 16 9/16 in.

Jay Kelly (b. 1961, Pasadena, California) Untitled #1714, 2007 Oil on vellum 5 x 5 in.

Alejandro Aguilera (b. 1961, Havana, Cuba) Some Place, 2000 Ink on paper 13 3/4 x 12 in. Photo: Gary Huibregtse

SPACE EXISTING Samuel Dong Saul, Jan Thornton, Zach Miller

What does it mean that space “exists” when thinking about a two-dimensional medium like drawing? John Sparagana’s collage, Espous: The Revolutionaries (2013) activates the content of the artwork by obscuring the identity of the revolutionary figures themselves through the cutting and pasting of paper. This obscuration allows the silhouettes of the figures the potential to simultaneously exist in various moments of history and in different geographical locations. The anonymity of the space of the revolutionaries also gives them the potential to be filled by any person or group inspired to incite change in their world. Our world is in a constant state of revolution--not only socio-politically and scientifically but also ecologically. Mia Rosenthal’s ink drawing, Google Portrait of the Ultra Deep Field (2014) portrays an image of deep space captured by the famous Hubble Space Telescope. The two-dimensional paper surface of this drawing represents an infinite void of space filled with stars. Ironically, the material of ink represents a lack of material in the drawing itself, while the areas of blank paper imply the cosmic material in the universe. The space within the boundaries of the paper provides a window into the universe through implied metaphorical space within the matrix. The spatial proximity of Rosenthal’s ink drawing to John Sparagana’s Untitled (2011) in this exhibition space is intended to suggest ways in which the relationship between separate artworks can invoke

new and unforeseen meanings that would not be possible with individual works presented in isolation. The significance of the group of revolutionaries in John Sparagana’s work is relationally flattened by the conceptual elements of Rosenthaal’s work; it is a reminder that all revolutions happen in localized instances but also within an undefinable, immeasurable universe. Rosenthal’s drawing reminds us not only of our insignificance as humans at the cosmic level, but of our scientific and philosophical achievements that provoke an expanded understanding of our existence. Humans do not just exist as victims, revolutionaries, or actors upon the universe, we reside within the universe as a part of it. Lauren Seiden’s Mylar Wrap 4 (2014) has a substantial dimensional quality. Depending on the specific light in the environment surrounding Seiden’s work, shadows will fall differently onto the object’s surface, altering the viewer’s reception. The translucency of the mylar gives the viewer a sense of what lies behind the work while the graphite acts to obscure and interrupt the transparency of the mylar. The essence of these two materials contradict each other. The topology created by the destruction of the mylar surface creates new spaces in which the graphite can exist because of its relief application and the folds in the work’s surface. Does Mylar Wrap 4 suggest the possibility of a hidden material relationship within the wrapped form? Could the topology of this work’s surface be creating a barrier

John Sparagana (b. 1958, Rochester, New York) Espous: The Revolutionaries, 2013 Fatigued, sliced, and mixed magazine pages with oil stick on paper 24 x 35 in. Photo: Gary Huibregtse

Mia Rosenthal (b. 1977, Rhode Island) Google Portrait of the Ultra Deep Field, 2014 Ink on paper 26 x 17 in.

Lauren Seiden (b. 1981, New York City, New York) Mylar Wrap 4, 2014 Graphite on Mylar 19 x 17 x 4 in.

Pablo Helguera (b. 1971, Mexico City) My Eyes Widened and Tears Came, 2008 Collage 11 x 14 in.

between these two materials and their sensual ability to know and interact with each other? Contemporary philosopher Graham Harman, who is associated with the revolutionary movement of Object Oriented Ontology, argues that art objects withdraw behind their relations. Harman explains that practitioners of art and art history are under special responsibility to be aware that art objects and objects in general have an autonomous depth of existence that must be understood not through objective or exact explanations, but through indirect approaches such as literary paraphrasing and poetry.1 Take the work of Pablo Helguera: My Eyes Widened and Tears Came (2008), for example. How might this drawing communicate the functions of human sensorial experience? What sets art objects apart from other objects? Could art exist without humans, all on its own? Or are humans a necessary ingredient in the classification and creation of an object as a work of art? The space of the artwork in this exhibition exists beyond the boundaries of the objects themselves. In our case, the works of art in this exhibition exist in an institutional and educational space. This changes how the works interacts not only with the others around 1. Graham Harman, â&#x20AC;&#x153;Anthropocene Ontology,â&#x20AC;? YouTube Lecture, recorded February 2015. Posted June 2017. https://www.youtube. com/watch?v=cR1A4ILPmjE.

them, but with this specific moment in history, the geography of the larger area, the architecture of the museum, its inhabitants and their use of the works for various purposes beyond their autonomous singularity. Artist and writer Victor Burgin theorizes that through situational aesthetics, the environment in which artworks exist gives them agency depending on their situational surroundings. Burgin addresses the question of the conditions that underlie the perception of art by stating that “the specific nature of any object is largely contingent upon the details of the ‘situation’,” and that, “objects formed are intentionally located partly in real, exterior space and partly in psychological, interior space.”2 Embrasser (2012) by Diogo Pimentão exists in three-dimensional space. How does this affect its reception as a drawing and a sculpture at the same time? What does it mean that the work is being shown at the museum rather than in a gallery, home, or alleyway? How might this work communicate meaning in the distant past or far into the future? How might these artworks differently affect each person who views them? What is your role in the existence of this space?

2. Victor Burgin, Situational Aesthetics, edited by Alexander Streitberger (Belgium: Leuven University Press, 2009), vii-xxix.

Diogo PimentĂŁo (b. 1973, Lisbon, Portugal) Embrasser, 2012 Paper and graphite 26 x 51 3/16 x 28 3/4 in. Photo: Gary Huibregtse

SPACE DESTROYED Christy Nelson, Kyle Vincent Singer, Emily Sullivan

Viewers follow dynamic movement through a composition, visually tracing shapes and forms. Illustrated space embraces a concept known as parallax: the apparent displacement of an object, caused by a shift in observational position that provides a new line of sight against a background. The works in Spatial Flux can be seen as two-dimensional visual effects of line on paper, or be explored three-dimensionally as movement of energy in an infinite expanse. This phenomenon is best seen in Mauro Giaconi’s El Atlas de Nuestro Tiempo (2013), where the spatial illusion brings tension and instability to a viewer’s awareness. Line is carved out of negative space, and the formed grid fragments this infinite expanse and the maps that provide the underlying substrate. Our incomplete knowledge of the thing turns into a positive feature, forcing the viewer to orient and rationalize the deconstructing space. Contemporary philosopher Slavoj Žižek argues that “the function of parallax at its purest” is when “the gap between the two versions is irreducible, it is the ‘truth’ of both of them, the traumatic core around which they circulate, there is no way to resolve the tension, to find a ‘proper’ solution.”1 A similar unstable energy is found in the gradating lines of Tiffany Dow’s Eulogy (2007). Her lines record the concentrated energy of gesture through the charcoal drawing instrument. Shifting and restless, almost chaotic, these lines point at Georges Bataille’s declassification of form known

as informe.2 The instability of Dow’s structure embodies this informe by breaking down “rational thought...to depend on aimlessness as process, to disenfranchise the master author, to favor putrefaction and decay over progress, to make laws only to undercut them, to sacrifice shape and composition in favor of formlessness.”3 Eulogy, and other drawings, highlight a shared fragile state and leave viewers in a fluctuating reality, preserved in a space without dimension. The fundamental frailty of drawing can also be seen in Allyson Strafella’s Untitled (2007), composed of typed colons on carbon paper. The fragile, lyrical lines are contrasted by violent colons smashing through the original surface, exposing a white background below. Gashes smatter the tenuous paper plane, while simultaneously creating elevations and depressions in the two-dimensional carbon paper, physically transforming the paper into a threedimensional object. This ripping into another plane is also seen in Sarah Rapson’s Morning Raga (2012) and Jamal Cyrus’s Eroding Witness (Episode #204) (2011). The deconstruction of fibers, in these works and others, pulls the viewer into a collapsing existence, echoing Alain Badiou’s words about “the reason for the fragility of Drawing: not a clear alternative, to be or not to be, but an obscure and paradoxical conjunction, to be and not to be.”4 There is an embedded internal conflict of creation and destruction that exists in drawing as a spatial flux.

1. “The Parallax View,” Lacan Dot Com: is Jacques Lacan in the US, accessed April 1, 2018, http://www.lacan.com/zizparallax.htm. 2. Georges Bataille quoted in Jodi Hauptman, Drawing from the Modern 1880-1945 Volume 1, (New York: Museum of Modern Art: 2004), 30. 3. Ibid. 4. “Drawing,” Lacan Dot Com: is Jacques Lacan in the US, accessed April 1, 2018, http://lacan.com/symptom12/drawing.html.

Mauro Giaconi (b. 1977, Buenos Aires, Argentina) El Atlas de Nuestro Tiempo (The Atlas of Our Time), 2013 Graphite and eraser on atlas pages Each page: 15 3/8 x 21 1/4 in.

Tiffany Dow (b. 1974, Walnut Creek, California) Eulogy, 2007 Charcoal on paper 22 1/2 x 46 1/2 in.

Allyson Strafella (b. 1969, Brooklyn, New York) Untitled, 2007 Typed colons on carbon paper 8 1/2 x 5 in. Photo: Gary Huibregtse

Sarah Rapson (b. 1959, London, UK) Morning Raga, 2012 Ink on newsprint 22 x 13 1/2 in.

Jamal Cyrus (b. 1973, Houston, Texas) Eroding Witness (Episode #204), 2011 Laser cut papyrus 17 x 13 1/2 in.

Interview with JoAnn Gonzalez Hickey Samuel Dong Saul, Lauren Faherty, Jasmine Holmes, Zach Miller, Christy Nelson, Kyle Vincent Singer, Emily Sullivan, and Janine Thornton March 31, 2018 SYZYGY is a really unique platform you have developed. Why was this important for you to facilitate the collection as a curatorial and study platform for students? A few years after I formally began to collect drawings, a friend, who was in a graduate MFA program, asked if she might have access to the collection and database for purposes of a paper she was to write. Later, after her project was presented, she remarked that the collection could be of value to students for research and project development. That thought remained stored in my mind until several years later when I was asked to participate in a panel discussion during Vienna Art Week. There the thought resurfaced as I found myself in dialogue with several European museum directors and another collector exploring the relationship between collections and museums. I found myself uncomfortable in this context. Given the nature of the collection, I just could not see its value fully realized other than through academic channels. I returned to New York with clarity and immediately began to structure a plan that would become SYZYGY, a lending library of drawings made available to graduate students across disciplines, curators and art institutions for research, project development, curatorial study and exhibition purposes. Public exhibitions of drawings from the collection require an academic component.

How did you get started collecting art? I remember as a child having strong visual leanings. I fantasized about being an artist. From young adulthood, I have always needed to surround myself with art. In fact, my first apartment featured a large wall with a salon hang of drawings my sister had brought home from college. I never thought of myself as a collector until many years later, retired and children grown, I moved to New York City. I was seeking to have a meaningful engagement in the visual arts, something direct and personal. I initially thought I would create a small drawings archive to eventually gift to my daughters. I chose drawing because it seemed affordable, easy to transport, and archivable without requiring much space. It would all fit under the bed. I soon came to realize what I held for art was more personal than this, a true passion. So, in 2005, I sold most all the art I had accumulated and set out to build a collection with purpose. Your collection features a lot of works on paper. What is the significance of this medium for you and how do you see the definition of drawing to be expanding? I chose to focus on contemporary abstract works on paper because the genre was alive to my eye. I never

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tired of the drawings I owned, whereas paintings began to appear as wall paper.

How do you see your role as an art collector to be a type of practice?

Over time, as my collecting experiences accumulated, I was often reminded of associations and moments in my history where paper held some significance in my life. There were handwritten letters from my grandfather, sheets of organ music, memories of working in a stationary store, and an ever present yearning for books, magazines and newspapers absent from my home, all contributing to an innate response to paper that would eventually guide my collecting practice.

What does it mean to say you are a collector? It’s a term I don’t feel at ease with. People collect many things in many different ways and for differing purposes. I studied numerous collections before I actually went out on my own. I wanted to know “how.”

I couldn’t have anticipated in 2005 how the definition of drawing would soon expand to what I know it to be today. In fact, the collection began as contemporary abstract works on paper, then expanded to contemporary works on and of paper, only to advance to contemporary works on, of and about paper......who knows what might be next? Part of my mission into the future is to keep searching for works that continue to broaden the notion of what a drawing can be. I use “drawing” to reference most all works in the collection as a museum curator might, where all works pertaining to paper are typically archived in prints and drawings departments.

What I discovered was an interest in those where the collecting practice was private, individualized, and purposeful. From these collections, I not only learned about the artists and their work, but I learned about those doing the collecting as well. There was a rich story, a narrative to be found between the maker and observer through the work. Further, I had a confident eye. I chose not to be guided by any individual, trend, or market dictate. I combed the early to mid-career area to make my own discoveries, trusting my eye and instinct to guide me well, where the whole, seen through one aesthetic, would become as important as each of its parts.

You have spoken of the importance of having personal interactions with the artists you collect and have compared visiting their studios to an “archeological dig.” What does this mean to you?

Each show that has drawn on your collection has presented the works in a different manner. Have you gained any new insight on your collection through this process?

Since I am interested in the narrative behind abstract works, the materiality and unique leanings of each artist, the iconic markings and overall choices that come to define them, the studio is the best place to investigate. I enter a studio with an interest in the work of the present but what I want to know is where it has come from. I have a curiosity about how a life plays out in the creative process. I used to tell my children as they were growing that all of their life experiences would one day intersect. I assured them that, one day, all would matter. A greater purpose for even the most mundane would be revealed over time.

In some ways, the motivation behind SYZYGY is selfish. I believe we each see the world through our own unique independent lens. I learned from a book group that while we all may read the very same words, our interpretations will vary based on our individual lives and perspectives. Ever sit in a theater and hear the person next to you laughing and wonder why? I’m interested in how other people see life, so giving curators and students the freedom to do their own “archeological dig” through the collection offers me an opportunity to see the drawings through different lenses revealing relationships I’d never find on my own. For me, SYGYZY is dynamic and expansive, organic. These engagements help keep it alive. I can never predict so I’m always wonderfully informed and surprised.

So it is for an artist. That leaning toward a particular color, the shape of that stroke, the presence of this texture and so forth, are rooted in something once familiar, experienced, known from some mistake, perhaps a trauma or happening, a place or a relationship. The mind and body absorb everything no matter the significance at the time. We are unaware and carry on developing patterns and ideas through a creative process almost on autopilot, allowing our curiosities, energies and passions to exist in a free flow often without any overt awareness or even interest in the “why.” I enter the studio looking for the “why.”

For this reason, I purposefully grant artistic license to those doing the interpreting. It is important to not interfere or influence. Most importantly, the collection acts as an equalizer. Works determined to be suitable for an exhibition are chosen on their own merit. There’s an absence of hierarchy in name, recognition, representation, monetary value, or history.

The show that is exhibited in the museum is an exploration of the creation, existence, and destruction of space. Can you comment on the theme and how it relates to the pieces of your collection?Â The collection can seem confounding to many upon first glance. The path the students have chosen for the exhibition, in many ways, epitomizes the very curiosity that went into the making of the collection. Paper is the essential. Unto itself, a piece of paper is an object, a starting point, a middle ground, an ending point, a space. An essential for me is the paper and how its character, nature, presence is affected in a work. I have to be able to feel the paper. So, as it is obliterated, impressed upon, invaded, washed, marred, reconfigured, masked, or transformed, its â&#x20AC;&#x153;essenceâ&#x20AC;? remains as space in some form or iteration.

Authors’ Bios

FACULTY Johnny Plastini received his BA in visual art with a painting emphasis from the University of California, Santa Cruz and received his MFA in printmaking from the Tyler School of Art, Temple University. In addition to teaching, he has also worked professionally in the museum world at the Museum of Art and History in Santa Cruz, California and at the Barnes Foundation in Philadelphia, Pennsylvania. Johnny currently is an assistant professor and area coordinator of printmaking at Colorado State University where his advisement ranges from introductory undergraduate courses to graduate level theses. Johnny’s current research focuses on issues of interaction, intra-action, transaction, and transmission through the lens of contemporary art and art history. His pluralistic approaches to exploring both dichotomies and kinships of erudition and neo-mysticism specifically with regard to hypermodernism, dromology, vital materialism, and agential realism have been exhibited extensively at museums, multidisciplinary conferences, art fairs, and galleries, nationally and internationally. He has been featured in numerous fine art publications including CRED, Studio Visit, and New American Paintings. Johnny’s work is held in the permanent public collections of Zayed University, United Arab Emirates, and in the Zuckerman Museum of Art at Kennesaw State University. Marius Lehene teaches all levels of drawing courses, the Studio Art Graduate Seminar ART696I, and works with graduate students in the Drawing Area as well in other areas of the Department of Art and Art History at Colorado State University (CSU). Romanian-born, he is active as an artist in the United States and internationally. Lehene’s recent exhibitions include shows at Boulder Museum of Contemporary Art, Casa Matei Gallery at the University of Art and Design in Cluj, Romania, Manifest – Creative Research Gallery and Drawing Center in Cincinnati, Ohio, Pollock Gallery at Southern Methodist University in Dallas, Texas, and the Ice Cube Gallery in Denver, Colorado. Lehene is the winner of the 2010 McNeese National Works on Paper Exhibition and of the 2007 edition of Positive/Negative National Juried Exhibition, and he received an award from

the 7th Dave Bown Projects Competition. His collaborative book with poet Matthew Cooperman, Imago for the Fallen World, was published by Jaded Ibis Press, Seattle, in 2013. Lehene holds an MFA degree in Painting and Drawing from Southern Methodist University and a BA in Economics from Babeş-Bolyai University, Romania. Emily Moore is Assistant Professor of Art History at CSU, where she teaches Native American and American art history courses, among others. She earned her M.A. (2007) and Ph.D. (2012) in the History of Art from the University of California, Berkeley; she also has an M.F.A. (2004) in Creative Writing from West Virginia University. Professor Moore’s research focuses on contemporary and historic North American Native arts, as well as the inclusion (and exclusion) of Native arts in American and world art histories. She also teaches a graduate seminar in art historical methodologies.

STUDENTS Samuel Dong Saul earned his Bachelor of Science in Industrial Design from the Institute of Technology and Higher Education Campus Queretaro in 2009. After graduation, he completed his Master’s degree in Educational Technology at the University of Northern Colorado. He is now pursuing his MFA with a concentration in graphic design at CSU, where he explores visual representations of his own life experiences through digital drawings. Lauren Faherty earned her BFA in Sculpture and Ceramics at the University of Minnesota-Duluth in 2016, and is currently pursuing her MFA with a concentration in sculpture at CSU. Her studio practice examines the ways systems bind interdependent groups of life together to create unified beings. She has recently shown her work at The Hatton Gallery, Department of art and Art History, CSU, the Indianapolis Art Center, as well as the Prøve Gallery in Duluth, Minnesota. Lauren is currently an instructor for Sculpture 1 at CSU.

Jasmine Holmes is a mixed media artist with a BFA in Studio Art from the University of West Florida. Currently, she is pursuing her MFA with a concentration in drawing from CSU. Her artwork examines identity through race and gender in order to offer current social commentary, and has been exhibited in many group and solo shows, including TAGGED ART and Blue Morning Gallery in Pensacola, Florida, and the Carlow Arts Festival of 2016 in Carlow, Ireland. Zach Miller graduated with an MFA in printmaking from CSU in 2018. In addition to his daily studio practice, Zach acts as an interim instructor of printmaking at the university level and as a staff member at the Gregory Allicar Museum of Art. His work has been shown at the Atlanta Print Biennial in Atlanta, Georgia; the Wheaton Biennial in Norton, Massachusetts; Art Now: Printmaking in Ann Arbor, Michigan; and the TVAA National Competition in Mesquite, Texas, where he was awarded best in show. Zach’s work is also included in the permanent collection of Oklahoma State University. Christy Nelson lives and works in Laporte, Colorado. She received her BFA from Mississippi State University in 2007. Since then, she has been exploring themes of vulnerability and healing in her work. She recently was awarded the Kennedy Center Art Scholarship and the Lilyblade Scholarship along with the Juror’s Award for Excellence and the Magnolia House Purchase Award in the Colorado State Student Exhibition. Christy is currently an instructor for TwoDimensional Visual Fundamentals at CSU where she is also an MFA candidate. Kyle Vincent Singer attended Eastern Illinois University where he obtained his BA in printmaking and MA in drawing and painting in 2014. He received his MFA with a concentration in drawing from CSU in 2018, where he currently works as an adjunct drawing professor. Kyle’s work explores the importance of flaws, trauma, and repression within the artistic process. He encourages the pursuit of a personal becoming no matter how vulnerable and unfamiliar that outcome may prove.

Emily Sullivan earned a BFA in Painting, Drawing, and Art Education from Xavier University in 2014, and is currently pursuing an MFA with a concentration in painting at CSU. Her work explores liminality, movement, and perceptions of time. She has won two awards at CSU’s Graduate Student Showcase, and was awarded the Keith Foskin MFA Scholarship and Charlie and Gwen Hatchette Creativity Scholarship. She was an artist-in-residence at Homestead National Monument in 2017. Emily is an instructor of TwoDimensional Visual Fundamentals at CSU. Janine Thornton graduated from University of California, Santa Barbara, with Bachelor of Science in Mechanical Engineering in 1984. She is currently pursuing an MFA with a concentration in fibers arts at CSU. Her work explores our interconnection with the natural world.

Artists’ Bios

Alejandro Aguilera (b. 1964, Havana, Cuba) was trained in both the United States and in his native Cuba and now lives and works in Atlanta. In addition to being an exquisite draftsman, Aguilera is also a prolific painter and sculptor.

Justin Cooper (b. 1976, Tulsa, Oklahoma) received a BFA from the University of Colorado in 2003 and a MFA from the Art Institute of Chicago in 2005. He lives and works in Brooklyn, New York.

Jesse Alpern (b. 1979, Long Beach, New York) lives and works in Brooklyn. Alpern earned a BA from Sarah Lawrence College and a MFA from the School of Visual Arts in New York City.

Marti Cormand (b. 1970, Barcelona, Spain) obtained a MFA from the Universitat de Barcelona in 1994. He is now based in Brooklyn, New York.

Alice Attie (b. 1950, New York City, New York) obtained her BA in French Literature from Barnard College in New York City, her MFA in Poetry from City College of New York, and her PhD in comparative literature from City University of New York. Her work is included in the collections of the Whitney Museum of American Art and the Jewish Museum.

Jamal Cyrus (b. 1973, Houston, Texas) received a BFA from the University of Houston in 2004. In 2005, Cyrus attended the Skowhegan School of Painting and Sculpture, and went on to earn a MFA from the University of Pennsylvania in 2008.

Astrid Bowlby (b. 1961, Bath, Maine) received a BFA from University of Southern Maine in 1994, and a MFA from the Pennsylvania Academy of the Fine Arts in Philadelphia in 1996.

Tiffany Dow (b. 1974, Walnut Creek, California) Tiffany Dow uses her art as a cathartic means of confronting grief and loss, while also celebrating life. Through painstaking detail, she strives to express the ephemeral beauty of life and death at an organic level, and to manifest a glimpse of the complexity of nature and the cycle of life.

Sarah Bridgland (b. 1982, Cambridge, UK) lives and works in Wales, UK. Bridgland was awarded a BA with honors from the University of Brighton in England and a MA in printmaking for the Royal College of Art in London.

Jeff Feld (b. 1964, Queens, New York) received a MFA from the Parsons School of Design and now lives and works out of Brooklyn, New York.

Nicholas Buffon (b. 1987, Seattle, Washington) lives and works in New York. Buffon received a BFA from the School of the Museum of Fine Art in 2008 and a MFA from Milton Avery Graduate School of the Arts at Bard College, Annandale-onHudson in 2011.

Mauro Giaconi (b. 1977, Buenos Aires, Argentina) is an Argentinian artist based out of Mexico City. He attended the architecture program at Buenos Aires University, and in 2001, he earned a degree from Prilidiano Pueyrredón National Fine Arts School in painting.

Jonathan Callan (b. 1961 Mancester, UK) studied at the Goldsmith’s College of Art and at the Slade School of Fine Arts.

Sebastian Gogel (b. 1978, Sonneberg, Germany) earned a Master’s Degree from Akademie der Bidenden Künste in Leipzig, where he still lives and works.

Sarah Cain (b. 1979, Albany, New York) lives and works in Los Angeles. Cain received her BFA from the San Francisco of Art Institute, a MFA from University of California at Berkeley, and attend the Skowhegan School of Painting and Sculpture in Skowhegan, Maine.

Felice Grodin (b. 1969, Bologna, Italy) lives and works in Miami Beach, Florida. Grodin obtained a Bachelor’s of Architecture from Tulane University School of Architecture and later attended Harvard University Graduate School of Design, receiving a MA of Architecture with Distinction in 1997.

Sergio Gutiérrez (b. 1982, Mexico) lives and works in Oaxaca, Mexico. Gutiérrez received a BA in Fine Arts from the National School of Painting, Sculpture, and Printmaking in 2006.

Sara MacKillop (b. 1973, Bromley, UK) now lives and works in London. MacKillop received a BA with honors from Leeds University, and a MA in painting from the Royal College of Arts in 2001.

Joseph Hart (b. 1976, Peterborough, New Hampshire) lives and works in Brooklyn, New York. Hart received a BFA from the Rhode Island School of Design in 1999 and was a Residency Fellow in the Dieu Donné Workspace in 2014. His work is in the collections of the San Francisco Museum of Modern Art and the Metropolitan Museum of Art.

Manfred Müller (b. 1950, Düsseldorf, Germany) lives and works in Los Angeles. He apprenticed as a technical draftsman and studied visual communication at Fachhochschule, a university in Düsseldorf. In 1981 Muller obtained a MA studying under Erwin Heerich.

Pablo Helguera (b. 1971, Mexico City, Mexico) lives and works in New York City. Helguera received a BFA from the Art Institute of Chicago and a PhD from Kingston University in London. He has worked for the Museum of Contemporary Art of Chicago, the Guggenheim Museum, and the Museum of Modern Art, New York.

Deborah Nehmad (b. 1952, Long Island, New York) lives and works in Honolulu, Hawaii. She received a BA in Government from Smith College in 1974 and a Juris Doctor from Georgetown University Law Center in Washington, D.C. in 1982. Due to a back injury, she stop practicing law and obtained a MFA in printmaking from the University of Hawaii, Manoa, in 1988.

Christine Hiebert (b. 1960 Basel, Switzerland) lives and works in Brooklyn. She earned a BFA from Philadelphia University of the Arts in 1983 and a MFA from Brooklyn College, City University of New York, in 1988.

Matthew Northridge (b. 1974, Manchester, New Hampshire) lives and works in Brooklyn. Northridge received a BA from Boston College and a MFA in painting and drawing from The School of the Art Institute of Chicago. He also went to the Skowhegan School of Painting and Sculpture residency.

Jay Kelly (b. 1961, Pasadena, California) received a BA in 1983 from Syracuse University in New York. His work is in the collections of the Metropolitan Museum of Art, the British Museum, and the Princeton University Art Museum. Manuela Leal (b. 1977, Rio de Janeiro, Brazil) is an artist based in Rio de Janeiro. She was born in Rio de Janeiro and moved to the US as a teenager, later returning to Brazil. She holds a BFA degree from Parsons School of Design, (2003) and an MFA from the Yale University School of Art (2006). Kate Levant (b. 1983, Chicago, Illinois) lives and works in New York. Levant received a BFA from the School of the Museum of Fine Art in Boston, and a MFA from Yale University School of Art. Levant also attended the Rijksakademie van beeldende Kunsten, in Amsterdam.

Olivier Nottellet (b. 1963, Algiers, Algeria) lives and works in Lyon, France. Nottellet studied fine art at Metz and received a National Postgraduate Diploma in Visual Arts. Diogo Pimentão (b. 1973 in Lisbon, Portugal) lives and works in London. Pimentao attended the International Centre of Sculpture in Pêro Pinheiro, Portugal, and the Sculpture Seminar in Gotland Sweden. Luboš Plný (b. 1961, Ceska Lipa, Czech Republic) earned the self-created title of “Academic Model” from the Prague Academy of Fine Arts in 1999. Sarah Rapson (b. 1959, London, UK) lives and works in Bridgeport, England. Rapson attended Hornsey College of Arts in London and L’École des Arts Décoratifs in Paris.

Karlis Rekevics (b. 1963, Harogate, UK) attended Seattle University and the New York Studio School of Drawing, Painting and Sculpture. He lives and works in Brooklyn. Mia Rosenthal (b. 1977, Rhode Island) obtained a BFA from Parsons School of Design, in 1991 and a MFA from Pennsylvania Academy of the Fine Arts in 2008. She lives and works in Philadelphia. Sebastian Rug (b. 1974, Vacha/RhĂśn, Germany) lives and works in Leipzig, Germany. Rug studied at the Academy of Fine Art in Dresden and the Academy of Visual Arts in Leipzig. Lauren Seiden (b. 1981, New York City, New York) lives and works in the city of her birth. Seiden received a BA in painting and drawing from Bennington College in Vermont. John Sparagana (b. 1958, Rochester, New York) is the Grace Christian Vietti Chair in Visual Arts, and Chair of the Department of Visual and Dramatic Arts at Rice University. His work has been shown internationally, most recently with exhibitions in Berlin, Chicago, Houston, New York, and ZĂźrich, and is included in the collections of the Art Institute of Chicago; Museum of Fine Arts, Houston; Museum of Contemporary Photography, Chicago; and Nelson Atkins Museum of Art, Kansas City, among others. Sparagana received a MFA from Stanford University in 1987. Allyson Strafella (b. 1969, Brooklyn, New York) lives and works in New York. She obtained a BFA in 1992 from Tufts University and later attended the School of the Museum of Fine Arts in Boston. Deven Troy Strother (b. 1986, West Covina, California) lives and works in Los Angeles. In 2009 Strother obtained a BFA from the Art Center College of Design in Pasadena, California and in 2010 attended the Skowhegan School of Painting and Sculpture residency.

Andrea Sulzer (b. 1961) received a BA from New York University in 1984, and a MA from the Teachers College at Columbia University in 1985. In 1991, Sulzer obtained a Master of Science in Forest Biology from the University of Maine and a MFA from Glasgow School of Art in 2004. She lives and works in Woolwich, Maine. Amanda Valdez (b. 1982, Seattle, Washington) lives and works in New York City. She earned a BFA from The School of the Art Institute of Chicago in 2007 and a MFA from Hunter College, New York in 2011. Margaret Inga Wiatrowski (b. 1978, Wroclaw, Poland) lives and works in Brooklyn. She received a BA in Literature from Barnard College, Columbia University in 2001 and a Master of Science in Design from Pratt Institute in 2004. Letha Wilson (b. 1976, Honolulu, Hawaii) lives and works in Brooklyn. Wilson obtained a BFA from Syracuse University School of Visual and Performing Art in 1998 and a MFA in combined media from Hunter College in 2009.

Checklist

1. Marti Cormand (b. 1970, Barcelona, Spain) Formalizing their concept: Liliana Porter’s “untitled, wrinkle white, with string” 1970, 2012/2018 Graphite and oil on paper 19 1/2 x 14 5/8 in.

10. Anonymous Untitled, date unknown Ink on paper 7 1/2 x 11 3/4 in.

19. Lauren Seiden (b. 1981, New York City, New York) Tied Up, 2010 Graphite, and ink on Mylar 24 x 40 in.

2. Sarah Rapson (b. 1959, London, UK) Morning Raga, 2012 Ink on newsprint 22 x 13 1/2 in.

11. John Sparagana (b. 1958, Rochester, New York) Espous: The Revolutionaries, 2013 Fatigued, sliced, and mixed magazine pages with oil stick on paper 24 x 35 in.

20. Sarah Cain (b. 1979, Albany, New York) Last Rose, 2008 Paper, tinfoil, canvas, acrylic, and gouache on paper 27 1/2 x 15 1/2 in.

3. Nicholas Buffon (b. 1987, Seattle, Washington) Green Trouble, 2011 Ballpoint pen on paper 14 x 11 in.

12. Allyson Strafella (b. 1969, Brooklyn, New York) Untitled, 2007 Typed colons on carbon paper 8 1/2 x 5 in.

21. Devin Troy Strother (b. 1986, West Covina, California) We Like Grids and Shit, 2012 Mixed media on paper 30 x 22 in.

4. Jamal Cyrus (b. 1973, Houston, Texas) Eroding Witness (Episode #204), 2011 Laser cut papyrus 17 x 13 1/2 in.

13. Jesse Alpern (b. 1979, Long Beach, New York) Currently Occupied, 2, 2007 Pencil on paper 22 x 21 in.

22. Felice Grodin (b. 1969, Bologna, Italy) Tata, 2008 Ink on Mylar 42 x 64 in.

5. Nicholas Buffon (b. 1987, Seattle, Washington) Double Up, 2008-2011 Ballpoint pen and ink on paper 9 x 12 in.

14. Diogo Pimentão (b. 1973 in Lisbon, Portugal) Embrasser, 2012 Paper and graphite 26 x 51 3/16 x 28 3/4 in.

23. Pablo Helguera (b. 1971, Mexico City, Mexico) My Eyes Widened and Tears Came, 2008 Collage 11 x 14 in.

6. Luboš Plný (b. 1961, Ceska Lipa, Czech Republic) Vincent Lucien, 2006 Ink on paper 33 1/8 x 23 1/4 in.

15. Manuela Leal (b. 1977, Rio de Janeiro, Brazil) Wall, 2008 Colored pencil on digital print mounted on Masonite 7 x 8 3/4 in.

24. Lauren Seiden (b. 1981, New York City, New York) Spiraling, 2010 Graphite on Mylar – 2 sheets layered 12 x 10 in.

7. Jay Kelly (b. 1961, Pasadina, California) Untitled #1714, 2007 Oil on vellum 5 x 5 in.

16. Inga Margaret Urías (b. 1978, Wrocław, Poland) Untitled_03, 2010 Pen and ink on paper 24 x 19 in.

25. Tiffany Dow (b. 1974 Walnut Creek, California) Eulogy, 2007 Charcoal on paper 22 1/2 x 46 1/2 in.

8. Alice Attie (b. 1950, New York City, New York) Red Weather, 2010 Ink on paper 30 x 22 in.

17. Olivier Nottellet (b. 1963, Algiers, Algeria) Untitled (EON0703), 2007 Ink on paper 8 x 11 1/2 in.

26. Astrid Bowlby (b. 1961, Bath, Maine) 7.10.07 (Variegated Spirals), 2007 Ink on paper 22 x 18 in.

9. Jonathan Callan (b. 1961, Manchester, UK) Abstraction, 2006 Paper, and carved book pages 13 3/8 x 11 7/16 x 1 in.

18. Sebastian Gogel (b. 1978, Sonneberg, Germany) Maschine, 2008 Graphite on paper 25 9/16 x 19 11/16 in.

27. Mauro Giaconi (b. 1977, Buenos Aires, Argentina) El Atlas de Nuestro Tiempo, 2013 Graphite and eraser on atlas pages 15 3/8 x 21 1/4 in. (each page)

28. Mia Rosenthal (b. 1977, Rhode Island) Google Portrait of the Ultra Deep Field, 2014 Ink on paper 26 x 17 in. 29. John Sparagana (b. 1958, Rochester, New York) Untitled, 2011 Sampled magazine pages, fatigued and mixed, on paper 19 1/2 x 15 1/2 in. 30. Justin Cooper (b. 1976, Tulsa, Oklahoma) Fields x2, 2012 Pen, marker, colored pencil, and graphite on paper 62 x 50 in. 31. Sara MacKillop (b. 1973, Bromley, UK) Two halves of the same book, 2006 Book pages 5 7/8 x 8 7/16 in. 32. Sarah Bridgland (b. 1982, Cambridge, UK) Construction 8, 2014 Oil pastel, balsa wood, paint, and pencil on paper 7 5/16 x 6 5/16 in. 33. Manfred Müller (b. 1950, Düsseldorf, Germany) UMS Expanded #3550, 2007 Oil pastel on folded grid paper 34 x 12 in. 34. Sebastian Rug (b. 1974, Vacha/Rhön, Germany) Untitled (.004), 2007 Graphite on paper 11 3/4 x 8 1/4 in. 35. Sebastian Rug Untitled (.010), 2008 Graphite on paper 11 3/4 x 8 1/4 in. 36. Sebastian Rug Untitled (.009), 2008 Graphite on paper 11 3/4 x 16 9/16 in. 37. Sebastian Rug Untitled (.006), 2007 Graphite on paper 11 3/4 x 8 1/4 in.

38. Christine Hiebert (b. 1960, Basel, Switzerland) Untitled (rd. 10. 12), 2010 Water-based ink, charcoal, graphite on paper (rives lightweight) 26 1/4 x 40 1/4 in. 39. Andrea Sulzer (b. 1961) Little Peak, 2011 Colored pencil and graphite on paper 33 x 34 1/2 in. 40. Matthew Northridge (b. 1974, Manchester, New Hampshire) The World We Live In (no. 81), 2008 Collage on paper 8 x 10 in. 41. Jeff Feld (b. 1964, Queens, New York) 66 West 12th, 2006 Inter-office mail envelopes, ink, and enamel 9 3/4 x 7 in. 42. Amanda Valdez (b. 1982, Seattle, Washington) Untitled, 2012 Gouache, acrylic, and graphite on paper 13 1/4 x 10 1/4 in. 43. Amanda Valdez (b. 1982, Seattle, Washington) Sunset Revenge, 2012 Gouache, acrylic, and graphite on paper 14 x 17 1/2 in. 44. Alice Attie (b. 1950, New York City, New York) Festival, 2009 Ink on paper 30 x 22 in. 45. Letha Wilson (b. 1976, Honolulu, Hawaii) Joshua Tree Bronze Push (Broken Ground Flip), 2016 Archival inkjet prints, bronze, museum plexi, wood frame 59 x 45 x 2 1/2 in. 46. Joseph Hart (b. 1976, Peterborough, New Hampshire) Untitled (Purple), 2014 Collaged paper, oil crayon, acrylic, and graphite on paper 58 x 38 in. 47. Lauren Seiden (b. 1981, New York City, New York) Mylar Wrap 4, 2014 Graphite on Mylar 19 x 17 x 4 in.

48. Alejandro Aguilera (b. 1964, Havana, Cuba) Some Place, 2000 Ink on paper 13 3/4 x 12 in. 49. Deborah, Nehmad (b. 1952, Long Island, New York) Set in Paper (eva iii), 2006 Scoring with carving tools on handmade paper 9 x 9 in. 50. Karlis Rekevics (b. 1963, Harogate, UK) J6-B, 1999 Charcoal on paper 29 1/2 x 42 in. 51. Kate Levant (b. 1983, Chicago, Illinois) Untitled, 2014 Magazine print and graphite on paper 12 x 6 1/2 in. 52. Sergio Gutiérrez (b. 1982, Mexico) Luz y Materia, 2012 White Chinese ink and white conté crayon on paper 10 1/2 x 7 3/4 in. each, series of 24 drawings

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