Page 1



To believe

The Intuitionists

The Drawing Center Main Gallery | The Lab July 11–August 24, 2014

The Intuitionists

Organized by Heather Hart, Steffani Jemison, and Jina Valentine Curated by Lisa Sigal

D R A W I N G P A P E R S 11 6

Introduction by Lisa Sigal Essay by Heather Hart, Steffani Jemison, and Jina Valentine


Lisa Sigal

I would like to thank Heather Hart, Steffani Jemison, and Jina Valentine for their unique spirit of intuitive investigation over the past year and a half. It was a privilege to work with them on The Intuitionists, my first curatorial project at The Drawing Center and the last Selections exhibition. I look forward to continuing working with Heather, Steffani, and Jina in the coming year as Open Sessions artists. The Intuitionists is deeply inspired by the ideas of Colson Whitehead, and we thank him for his support and generous contribution. I am also indebted to Sarah Workneh, Co-Director of the Skowhegan School of Painting and Sculpture, who inspired The Drawing Center’s collaboration with Heather, Steffani, and Jina and who advised Nova Benway and me to conceive of Open Sessions, our new program. The Drawing Center’s staff proved very valuable in realizing this exhibition. Special thanks to Brett Littman, Executive Director, and especially to Nova Benway, Assistant Curator, and Chelsea Cater, Open Sessions intern, who were invaluable in organizing a million details. Thanks also to Molly Gross, Communications Director; Anna Martin, Registrar; Dan Gillespie, Operations Manager; Alice Stryker, Development Manager; Hannah Cloepfil, Special Events & Public Programs; Margaret Sundell, Executive Editor; Joanna Ahlberg, Managing Editor; and Peter J. Ahlberg / AHL&CO, Designer. Finally, I am very appreciative of The Drawing Center’s Board of Directors as well as The Evelyn Toll Family Foundation and the New York City Department of Cultural Affairs for their steadfast support of this exhibition and its accompanying publication.



Lisa Sigal

From 1977 to 2014, the Viewing Program and its curated artist registry have epitomized The Drawing Center’s mission to broadly reflect on drawing as an evolving and responsive medium. Culled from an open application process, the registry—which features over 2,500 artists from around the globe and at all stages of their careers— has served as an important resource for curators, educators, and drawing enthusiasts. In addition, its participants have been featured in the annual exhibition series, Selections, typically organized by the Viewing Program Curator. For its final iteration, The Drawing Center has, instead, invited artists Heather Hart, Steffani Jemison, and Jina Valentine to develop an exhibit that engages and, in some sense, celebrates the Viewing Program’s thirty-seven-year-old archive. Hart, Jemison, and Valentine have worked together for a number of years on various projects. In the summer of 2005, while residents at the Maine artist colony Skowhegan, Hart and Valentine created the performance-event The Black Lunch Table, based on their experience of self-segregation during communal meals at residences and colonies. Realizing that no such “black table” had spontaneously coalesced, the artists self-consciously staged one, seizing the opportunity to initiate a dialogue about their existence that would raise


important questions regarding social divisions. In 2010, Jemison organized Future Plan and Program, a DIY publishing project featuring newly commissioned literary works by visual artists of color. Skowhegan’s director Sarah Workneh introduced me to the work of Hart, Jemison, and Valentine through “The Present Classification”— their proposal for a collaborative exhibition and performance centering on text-based art by black alumni of Skowhegan—which appeared in the 2012 edition of the Skowhegan Journal. The beautifully crafted proposition elaborates the three artists’ shared interest in collections, collectives, accumulation, and reclassification through association, via a maze of Borgesian references that poetically interweave ideas about language (a “collection” of words), observations on the associations and divisions in collectives, and the reflections of such mentor-figures as Susan Stewart, Giorgio Agamben, Deleuze and Guattari, and Michel Foucault. (In the preface to The Order of Things, Foucault imagines the meeting ground for all classified creatures in a space created by language, where the dis/similar find common ground and therein communality.) On the strength of “The Present Classification,” I asked Hart, Jemison, and Valentine to develop a method for organizing an exhibition derived from the Viewing Program’s sprawling online database that would take into account the self-identifications of its members (who must classify their portfolios under a series of searchable keywords: “abstraction,” “surrealism,” “feminism,” etc.) The result is The Intuitionists—a project inspired by the 1999 novel by Brooklyn-based author Colson Whitehead, from which it takes its name. Whitehead’s story describes a version of New York City in a time that feels both past and future, when civil rights, labor unions, and integration were new issues. The protagonist, an African-American woman, is the city’s first and only female elevator inspector. She becomes caught in the struggle between two competing schools of evaluation: “The Intuitionists,” whose method of identifying mechanical problems is entirely intuitive, and the “The Empiricists,” who employ traditional, instrument-based verification of an elevator’s condition. In the novel, the elevator is used as a metaphor to express movement, racial progress, and the limitations and power of language.


For their Selections project, Hart, Jemison, and Valentine picked a paragraph from Whitehead’s text. The passage was chosen for its associations with the by turns halting and accelerating pace of each artist’s studio practice (in which they see a metaphor for human communication) and its inclusion of a quotation by Surrealist poet André Breton about a train that constantly roars out of the station, but that we know will never leave. Taking a cue from the book’s labyrinthine use of language, they divided the paragraph into short phrases. Every phrase was then assigned a unique group of keywords from the Viewing Program’s database, based on a sense of resonance or affinity between the two. “To believe” was, thus, linked by the artists to the keywords spiritual, conceptual, meditative, and fantasy; “in silence” was associated with the keywords language, meditative, dreams, and gestural, etc. In this way, each keyword became one element of a newly invented poetic language. (The analog archives that predate and were not converted into the online version of the Viewing Program’s registry were also included in the process; artist statements were searched for similarly self-describing language to pair with keywords.) Matching clusters of keywords to the phrases in the selected paragraph, Hart, Jemison, and Valentine identified nearly seventy participants in the Viewing Program’s registry for their exhibition (one for each phrase). The artists—who represent myriad styles, a range of career paths, different generations, and far-flung geographies—were each asked to contribute one artwork in response to their assigned phrase. Installed according to the sequence determined by Whitehead’s organizing text, the exhibition is accompanied by a series of closely connected lectures, readings, and panel discussions, which address information organization and visualization, graphic notation, poetry, and text-based art. The project’s beauty lies in the fluid, intuitive, and empirical system that Hart, Jemison, and Valentine have devised to realize The Intuitionists as they find new ways to think about collectivity and the unique interdependence of objects.












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To believe

A collective is a group of people who work cooperatively toward a common goal. Our challenge is to develop a collective of objects— objects that remain individual agents with independent agendas. In information technology and database theory, “to aggregate” is to bring together individual streams that remain independent and theoretically divisible; the noun “aggregate” refers to a dense cluster of separate units that do not cohere, e.g., a flower is composed of an aggregate of florets, petals, or fruits. We imagine the constituent elements of a collection as dynamic objects on distinct trajectories, temporarily funneled into a single current. Objects are classified, clustered, situated, and affiliated in an immense web of ever-changing relations. They enlarge, accumulate, thicken with each new encounter. Every object is an archive. The exhibition proposes a synchronic analysis of general conditions. Relying on a non-hierarchical, keyword-based system to identify artists and organize artworks, TH∑ + IN + ��I� = (I�N) x IS�S imagines discrete artworks as autonomous actors and the exhibition as a generous interface. Viewers are offered a path shaped by a passage from Colson Whitehead’s speculative novel The Intuitionist that is both arbitrary and intentional. Arbitrary, because it is one among an infinite number of valid ordering systems. Intentional, because Whitehead’s playful investment in the politics and aesthetics of knowing, in the limits of observation, and in the ironies of progress, prefigures our own commitments. Relay: to receive and to pass; a switch. Our drawings trace the closed path of a relay logic elevator’s electric circuit. The diagram describes an obsolete technology that was not dead after all, but merely dormant. Can data truly be at rest? Is a picture active only when it is beheld? Why is the thought of perpetual motion so pleasing? “To play with series is to play with the fire of infinity.”1 1

Susan Stewart, On Longing: Narratives of the Miniature, the Gigantic, the Souvenir, the Collection (Baltimore: Johns Hopkins University Press, 1984), 159.

in silence a never in concert

we knew

in bubbles

one warm:

that warmth.


speaking in chemicals articulate



never said around

your companion the womb



simple Fight.

words Follow.

time no sentence

mortality a fear of

nature before

provided a sla very






the time the train






and leaves

ample train plat form con

ductor the platform

accr eted

pa ces

Speak, speak

his platform


timetable. blight






departure. messy business

the battle the muck

allowed to




black box

elevator waits human freight



a train.

h warm ing

your words to pass between


redu ced

a waits

you always leaving

Nothing is the words An elev ator

to grab

that thing between


the train


perfec tion

ter min ates

ox leaving




ple Heaven

have not

hu man com muni cation understood excr eted chem icals

recep tors.

the soul



words find





PL . 1

Shaun Acton, You Are Standing, Here, Here, Here and Here... , 2014

PL . 2

Valerio Berruti, Come era nel principio (as it was in the beginning), 2014

PL . 3

A.J. Bocchino, Arab Spring (Nothing is Allowed to Pass), 2014

PL . 4

Dana Boussard, So Reluctant To Leave Her Home, 2014

PL . 5

Hannah Burr, A Visit With You, 2014

PL . 6

Maria Bussman, The train is always leaving, 1 - 3, 2014

PL . 7

Enrique Chagoya, The Portentous Life of Death in Mayalandia (detail), 2012

PL . 8

Joyce Chan, Sketchbook 1 & 4 Diptych (detail), 2011

PL . 9

Catalina Chervin, Untitled, 2013–14

PL . 10

Hannah Cole, Studio Note #1, Studio Note #2, Studio Note #3, 2014

PL . 11

Kenny Cole, MDNJPN, 2014

PL . 12

Vincent Colvin, Balena, 2013

PL . 13

Hollis Cooper, Vignette, 2014

PL . 14

Cui Fei, Leaves, 2014

PL . 15

Gabriel Delgado, Muslim Woman with Sacred Cow, 2009

PL . 16

Wendy DesChene, Generation 5 DuckFeet, 2014

PL . 17

Asya Dodina and Slava Polishchuk, Day # 293, 2009

PL . 18

Debra Drexler, To Believe in Silence, 2014

PL . 19

Derek Dunlop, Fear of Invisibility (Erased oval on the back of Annie’s Drawings), 1915/2014

PL . 20

Elisabeth Eberle, A train. The perfection, 2014

PL . 21

Lisa Endriss, Intuition in the playground of intentions - self-portrait, 2014

PL . 22

Rodney Ewing, For Safekeeping (1 of 11 images), 2014

PL . 23

Tory Fair, Inside Mirror, 2014

PL . 24

Douglas Florian, Was Once, 2014

PL . 25

Nicholas Fraser, The Inexhaustible Clarity of His Screaming (detail), 2014

PL . 26

Carl Fudge, Bricklayer 1, 2014

PL . 27

Brett Goodroad, other, 2014

PL . 28

Barry Gray, Untitled, 2010

PL . 29

Stephen Grossman, 3 Luftmentsh: arriving-departing, 2014

PL . 30

Nathan Haenlein, Followed, 2014

PL . 31

Patrick Earl Hammie, Platform, 2014

PL . 32

Skowmon Hastanan, Random Haikus, 2014

PL . 33

HENSE, Shape, 2014

PL . 34

Elizabeth Hoak-Doering, Little Bitty Dive (the act) (detail), 2014

PL . 35

Cynthia Ona Innis, Secret, 2014

PL . 36

Tatiana Istomina, Alissa Blumenthal, Small abstractions, late 1960s, 2013-2014

PL . 37

Hedwige Jacobs, Tomorrow, 2014

PL . 38

Chiaki Kamikawa, 10 possible locations for secret talks (detail), 2014

PL . 39

Manfred Kirschner, Kunsttheorieuntersetzer - Lila-Mae, 2014

PL . 40

Kimia Kline, Eve, 2014

PL . 41

Nicholas Knight, Sentences (Bachelard), 2014

PL . 42

Kang Joo Lee, Untitled, 2014

PL . 43

Kate Tessa Lee, AMPUTATION, 2014

PL . 44

Cynthia Lin, neg2YCsidemouth41407, 2014

PL . 45

Hung Liu, Time Flows, 2014

PL . 46

Maess, The perfect elevator waits while its human freight tries to grab through the muck and find the words., 2014

PL . 47

Mario Marzan, Ma単ana a las 9:00, 2014

PL . 48

Linn Meyers, Untitled, 2014

PL . 49

Nyeema Morgan, Like It Is: Prelude, 2014

PL . 50

Paul Morrison, Last Day, 2014

PL . 51

Seamus Liam O’Brien, The Twin Poles, 1-3, 2014

PL . 52

Alison Owen, Rise and Fall, 2012

PL . 53

Jenny Perlin, Sequence (detail), 2007

PL . 54

Mel Prest, Mirror Ziggurat, 2013

PL . 55

Jo Ann Rothschild, 4-17-2014, 2014

PL . 56

Anna Schachte, Biological Clock, 2013

PL . 57

Fausto Sevila, In advance of a broken language, 2014

PL . 58

Jill Shoffiet, The Nature of Redemption, 2013

PL . 59

Tom Slaughter, Boy Scout Jack Knife, 2014

PL . 60

Chris Spinelli, C Wave 014, 2008

PL . 61

Karen Tam, Automata Tea Drinkers, 2014

PL . 62

Caroline Tavelli-Abar, Ag . opening, 2011

PL . 63

Scott Teplin, Save for the one nature imposes (mortality), 2014

PL . 64

Jen Urso, The Map is Accurate, 2014

PL . 65

Kris Van Dessel, AS THE CROW FLIES (the distance between my studio and the Drawing Center (3666 miles), drawn on scale 1/1, 5900000 lines of 39.37 inch), 2014

PL . 66

Kara Walker, Gone, An Historical Romance of a Civil War as it Occurred between the Dusky Thighs of One Young Negress and Her Heart, 1994

PL . 67

Margaret Withers, between light and obscurity the lush paradise breathed a silent kĹ?an, 2014


PL . 6

Maria Bussman PL . 1

The train is always leaving, 1 - 4, 2014

Shaun Acton

Pencil and old postal stickers on paper

You Are Standing, Here, Here, Here and Here... ,

3 7/10 x 6 2/5 inches ( 9.5 x 16.5 cm)

2014 Plaster, paper, vellum, pencil, plastic,

PL . 7

ink, and paint

Enrique Chagoya

43 x 43 inches (10.2 x 109.2 cm)

The Portentous Life of Death in Mayalandia

Photo by Brian Buckley

(detail), 2012 Monoprint with lithographic ink transfers

PL . 2

7 1/2 x 51/4 inches each (19 x 13.3 cm)

Valerio Berruti

(16 pages)

Come era nel principio (as it was in the beginning), 2014

PL . 8

Oil pastel on pure cellulose

Joyce Chan

15 x 11 1/2 inches (38 x 29.5 cm)

Sketchbook 1 & 4 Diptych (detail), 2011 Xerox copy

PL . 3

22 x 8 1/2 inches (27.9 x 21.6 cm)

A.J. Bocchino Arab Spring (Nothing is Allowed to Pass), 2014

PL . 9

Watercolor and spray paint on newspaper

Catalina Chervin

16 x 38 inches (40.6 x 96.5 cm)

Untitled, 2013–14 Pen and charcoal on paper

PL . 4

15 3/4 x 60 inches (40 x 152.4 cm)

Dana Boussard

Courtesy of the artist and Cecilia de Torres, Ltd.

So Reluctant To Leave Her Home, 2014

Photo by Pablo Messil

Colored pencil on paper 14 x 11 inches (35.6 x 27.9 cm)

PL . 10

Hannah Cole PL . 5

Studio Note #1, Studio Note #2, Studio Note #3,

Hannah Burr


A Visit With You, 2014

Watercolor and pencil on paper

Mixed media

Each 7 1/2 x 10 inches (19 x 25.4 cm)

Dimensions variable

Courtesy of Slag Gallery, New York Photo by Aubrey Holland


PL . 11

PL . 17

Kenny Cole

Asya Dodina and Slava Polishchuk

MDNJPN, 2014

Day # 293, 2009

Gouache on paper

Graphite on paper

8 1/2 x 7 inches (21.6 x 17.8 cm)

5 x 7 inches (12.7 x 17.8 cm)

Courtesy of Aucocisco Gallery, Portland, Maine

PL . 18

Debra Drexler PL . 12

To Believe in Silence, 2014

Vincent Colvin

Graphite and acrylic on mylar and paper

Balena, 2013

14 x 11 inches (35.6 x 27.9 cm)

Oil ink woodcut on archival paper 9 x 36 inches (22.9 x 91.4 cm)

PL . 19

Derek Dunlop PL . 13

Fear of Invisibility (Erased oval on the back of

Hollis Cooper

Annie’s Drawings), 1915/2014

Vignette, 2014

Graphite on paper

Digital animation still

14 1/8 x 30 1/4 inches (35.9 x 76.8 cm)

PL . 14

PL . 20

Cui Fei

Elisabeth Eberle

Leaves, 2014

A train. The perfection, 2014

Mixed media

Ballpoint pen on Asian paper, plotter drawing

8 1/2 x 4 1/4 x 1 1/2 inches

35 3/4 x 46 3/4 inches (91 x 118.5 cm)

(21.6 x 10.8 x 3.8 cm)

Image courtesy of HC Wepfer

PL . 15

PL . 21

Gabriel Delgado

Lisa Endriss

Muslim Woman with Sacred Cow, 2009

Intuition in the playground of intentions -

Ink on paper

self-portrait, 2014

20 x 24 inches (50.8 x 60.9 cm)

Mixed media on paper 11 3/5 x 8 3/10 inches (29.5 cm x 21 cm)

PL . 16

Wendy DesChene

PL . 22

Generation 5 DuckFeet, 2014

Rodney Ewing

Colored pencil on paper

For Safekeeping (1 of 11 images), 2014

12 x 15 inches (30.5 x 38.1 cm)

Sumi ink, and ink jet print on paper 10 1/2 x 13 inches (26.7 x 3 cm)


PL . 23

PL . 28

Tory Fair

Barry Gray

Inside Mirror, 2014

Untitled, 2010


Sumi ink on paper with acetate overlay

5 1/2 x 13 1/2 x 6 1/4 inches

14 x 11 inches (35.6 x 27.9 cm)

(13.9 x 34.3 x 15.9 cm) PL . 29 PL . 24

Stephen Grossman

Douglas Florian

3 Luftmentsh: arriving-departing, 2014

Was Once, 2014

Encaustic on panel

Oil on board

8 x 20 inches (20.3 x 50.8 cm), diptych

14 5/16 X 11 3/16 inches (36.4 x 28.4 cm) Courtesy of Douglas Florian and

PL . 30

Bravin Lee Programs

Nathan Haenlein

Image courtesy of Marshall Jones

Followed, 2014 Graphite on Bristol

PL . 25

9 x 12 inches (22.8 x 30.4 cm)

Nicholas Fraser The Inexhaustible Clarity of His Screaming

PL . 31

(detail), 2014

Patrick Earl Hammie

Cut black Tyvek

Platform, 2014

36 x 58 1/4 x 1 1/2 inches

Oil on Mylar

(91.4 x 147.9 x 3.8 cm)

84 x 11 inches (213.3 x 27.9 cm)

PL . 26

PL . 32

Carl Fudge

Skowmon Hastanan

Bricklayer 1, 2014

Random Haikus, 2014

Woodcut on paper

Acrylic, sand, graphite, and gesso on hardboard

12 x 10 inches (30.5 x 25.4 cm)

30 panels, 5 x 7 inches (12.7 x 17.7 cm) each,

Courtesy the artist, Ronald Feldman Gallery,

60 x 42 inches (152.4 x 106.6 cm) overall

and Gallery Richard

Photo by Stefan Hagen

PL . 27

PL . 33

Brett Goodroad


other, 2014

Shape, 2014

Charcoal, white chalk, sumi on paper

Monoprint silkscreen on paper

5 3/4 x 7 1/4 inches (14.6 x 18.4 cm)

26 x 40 inches (66.04 x 101.6 cm)

Courtesy of the artist and Gregory Lind Gallery Image courtesy of the artist


PL . 34

PL . 39

Elizabeth Hoak-Doering

Manfred Kirschner

Little Bitty Dive (the act) (detail), 2014

Kunsttheorieuntersetzer - Lila-Mae, 2014

Carbon, graphite, red pencil on

Drawing with C-print

vintage blotter paper

11 7/10 x 8 3/10 inches (29.7 x 21 cm)

24 x 88 1/5 inches (60 x 224 cm) Image courtesy of Antonis Minas

PL . 40

Kimia Kline PL . 35

Eve, 2014

Cynthia Ona Innis

Oil on canvas

Secret, 2014

9 x 12 inches (22.9 x 30.5 cm)

Acrylic, ink and velvet on paper 10 x 14 inches (25.4 x 35.5 cm)

PL . 41

Courtesy of the artist and

Nicholas Knight

Walter Maciel Gallery

Sentences (Bachelard), 2014

Photo by Dana Davis

Graphite on wall 28 x 20 inches (71.1 x 50.8 cm)

PL . 36

Tatiana Istomina

PL . 42

Alissa Blumenthal, Small abstractions, late 1960s,

Kang Joo Lee


Untitled, 2014

Oil on canvas

Acrylic, spray paint and screen print on canvas

Three paintings, each 12 x 12 inches

10 x 12 inches (25.4 x 30.4 cm)

(30.5 x 30.5 cm) PL . 43 PL . 37

Kate Tessa Lee

Hedwige Jacobs


Tomorrow, 2014

Drawing and writing excerpts from

Pen and ink on paper

feature film, Amputation

9 x 24 inches (22.8 x 60.9 cm)

Carbon tracings scroll of 143 7/10 x 11 4/5 inches (365 x 30 cm);

PL . 38

printed text on photo paper, series of 16,

Chiaki Kamikawa

10 3/5 x 7 inches (27 x 18 cm) each

10 possible locations for secret talks (detail), 2014 10 drawings, pencil on paper

PL . 44

8 3/10 x 9 1/10 inches (21 x 23 cm) each

Cynthia Lin neg2YCsidemouth41407, 2014 Citrasolv transfer on paper 85 x 28 inches (215.9 x 71.12 cm)


PL . 45

PL . 50

Hung Liu

Paul Morrison

Time Flows, 2014

Last Day, 2014

Mixed media on paper

Ink on fabric

9 1/2 x 15 1/2 inches (24.1 x 6.1 cm)

120 x 88 inches (304.8 x 34.6 cm)

Photo by Jeff Kelley

Courtesy of the Artist and Alison Jacques Gallery, London

PL . 46

Photo © Paul Morrison Studio

Maess The perfect elevator waits while its human freight

PL . 51

tries to grab through the muck and find the words.,

Seamus Liam O’Brien


The Twin Poles, 1-3, 2014

Marker on paper

Mixed media

58 1/2 x 49 1/2 inches (148.5 x 125.7 cm);

10 7/8 x 10 7/8 inches (27.7 x27.7) each

composite drawing of 15 segments 11 7/10 in x 16 1/2 inches (29.7 x 41.9 cm) each

PL . 52

Alison Owen PL . 47

Rise and Fall, 2012

Mario Marzan

Dust, thread, pencil, and sequins on paper

Mañana a las 9:00, 2014

14 x 18 inches (35.6 x 45.7 cm)

Acrylic, graphite, and ink on panel 7 x 7 inches (17.7 x 17.7 cm)

PL . 53

Jenny Perlin PL . 48

Sequence (detail), 2007

Linn Meyers

Ink on vellum, set of 160 drawings

Untitled, 2014

Each 11 7/10 x 8 1/5 inches (29.7 x 21 cm)

Ink on paper

Courtesy the artist and

8 1/2 x 11 inches (21.6 x 27.9 cm)

Simon Preston, New York

Courtesy of the artist and Sandra Gering Inc, NYC

PL . 54

Mel Prest PL . 49

Mirror Ziggurat, 2013

Nyeema Morgan

Metallic and phosphorescent acrylics

Like It Is: Prelude, 2014

on wood panel

Media and dimensions variable

14 x 11 x 2 inches (35.6 x 27.9 x 5 cm)


PL . 55

PL . 60

Jo Ann Rothschild

Chris Spinelli

4-17-2014, 2014

C Wave 014, 2008

Tulip petals, handmade paper, tracing paper,

Ink and acrylic on paper

sticker, coffee, ink , watercolor, acrylic, colored

12 x 9 inches (30.5 x 22.9 cm)

pencil, crayon, graphite on paper 14 1/4 x 11 inches (5.6 x 4.3 cm)

PL . 61

Image courtesy of Clements Photography and

Karen Tam

Design, Boston

Automata Tea Drinkers, 2014 Gold paper cutout

PL . 56

15 x 11 inches (38.5 x 28 cm)

Anna Schachte

Courtesy of the artist and Galerie Hugues

Biological Clock, 2013


Oil, enamel, canvas 20 x 16 inches (50.8 x 40.6 cm)

PL . 62

Image courtesy of Ariana Page Russell

Caroline Tavelli-Abar Ag . opening, 2011

PL . 57

Mixed media (one side of double sided image)

Fausto Sevila

9 1/4 x 8 3/4 inches (23.5 x 22.2 cm)

In advance of a broken language, 2014 Printed paper, performance video, Dremel,

PL . 63

stand and ink markers

Scott Teplin

44 x 56 x 56 in (111.8 x 142.2 x 142.2 cm)

Save for the one nature imposes (mortality), 2014 Pen & ink and watercolor

PL . 58

9 x 12 inches (22.9 x 30.5 cm)

Jill Shoffiet

Courtesy of the artist and Ryan/Lee Gallery

The Nature of Redemption, 2013

Image courtesy of the artist

Watercolor and ink on paper 24 x 36 inches (60.9 x 91.4 cm)

PL . 64

Jen Urso PL . 59

The Map is Accurate, 2014

Tom Slaughter

Pencil, pen & marker on paper

Boy Scout Jack Knife, 2014

30 x 30 inches (76.2 x 76.2 cm)

Ink on paper 9 x 12 inches (22.9 x 30.5 cm)


PL . 65

Kris Van Dessel AS THE CROW FLIES (the distance between my studio and the Drawing Center (3666 miles), drawn on scale 1/1, 5900000 lines of 39.37 inch), 2014 Inkjet print on paper 33 1/10 x 46 4/5 inches (84 x 118.9 cm) Image courtesy of Peter Cox PL . 66

Kara Walker Gone, An Historical Romance of a Civil War as it Occurred between the Dusky Thighs of One Young Negress and Her Heart, 1994 Cut paper on wall Installation dimensions variable; approximately 156 x 600 inches (396.2 x 1524 cm) Image courtesy of Sikkema Jenkins & Co., New York, and Orcutt Photo PL . 67

Margaret Withers between light and obscurity the lush paradise breathed a silent kĹ?an, 2014 Watercolor, ink, pigment and vinyl paint on paper mounted on board with string and wire 21 x 44 inches (53 x 111.8 cm) Photo by Scott Withers All works courtesy of the artist unless noted otherwise.



Shaun Acton is a New York-based artist whose works are inspired by theories of

science, both far-fetched and widely accepted. Valerio B err u ti was born, in 1977, in Alba, in the north of Italy. He set up

his studio inside a seventeenth-century church. His drawings and frescoes represent moments of transition in a human landscape. A . J . B occhino lives and works in New York City. D ana B o u ssard creates drawings, paintings, textile, and glass installations for

private and public collections internationally. She lives with her husband on their ranch in western Montana. H annah B u rr lives and works in Boston. She redescribes subtle and fleeting

elements of experience and interaction in vivid material arrangements. M aria B u ssmann works at the intersection of Art (drawing/sculpture) and

philosophy (in which she holds a Ph. D.). Curating and teaching art philosophy are also part of her spectrum. Born in 1966, in W端rzburg, Germany, she currently lives in Vienna and New York City. E nri q u e C hago ya , born in Mexico City, is an American artist based in San

Francisco. He works as a painter and printmaker and teaches at Stanford University. His art is included in the collections of the Museum of Modern Art and the San Francisco Museum of Art, among many others. J o y ce C han is interested in the inherent contradictions in her materials and ideas.

Her work combinines sculpture, drawing, and conceptual practices. She received an M.F.A. from Queens College, City University of New York. C atalina C hervin is an Argentinian artist whose works on paper evoke a never-

ending quest. Her art is included in the collections of Graphische Sammlung Albertina, Victoria & Albert Museum, and The British Museum, among others. H annah C ole is a painter who lives and works in Brooklyn. She is represented by

Slag Gallery.


K enn y C ole moved from New York City to Maine in 1994. In 2014, he exhibited his

interactive installation Parabellum at the University of Maine Museum of Art’s Zillman Gallery. V incent C olvin creates interdisciplinary art blending concepts based on memory,

time, place, and the viewing experience. Colvin received a M.F.A. in painting from the Pennsylvania Academy of the Fine Arts and a B.F.A. in painting and printmaking from the Virginia Commonwealth University. H ollis C ooper is a Los Angeles-based artist whose work deals with the intersection

of media, architecture, and space. C u i F ei , based in New York, is an artist who makes mixed-media work with materials

found in nature. G abriel D iego D elgado is an artist, writer, and arts administrator. He is

currently the gallery director of J.R. Mooney Galleries of Boerne, Texas. He is a freelance art critic and writer in Texas and a board member of NHOME magazine. W endy D es C hene is a Canadian artist, whose interdisciplinary projects have been

exhibited internationally in such countries as Japan, Austria, Egypt, Iceland, Finland, Holland, China, and Italy. A s ya D odina and S lava P olishch u k , based in New York, work in

collaboration . Their recent exhibitions include BAC Gallery, ARTS Porta International, Maloney Gallery, and Chelsea Art Museum. D ebra D re x ler maintains studios in New York, where she regularly exhibits, and

Honolulu, where she is a professor of drawing and painting at the University of Hawai’i. D erek D u nlop has a studio art practice influenced by a variety of critical discourses.

He lives and works in Winnipeg, Canada. A nnie R ose C ollie (1890–1951) specialized in pencil and ink drawings on paper.

She was one of the founding members of the Western Art Academy. E lisabeth E berle is a Swiss artist who creates plotter drawings, sculptures, and

video animations. She is in charge of an artist-run space in Zurich.


L isa E ndriss lives and works in Griesstaett, Germany, and exhibits internationally.

Endriss’s large-scale paintings and drawings are inspired by newspaper stories and images. She studied at Munich’s Academy of Art and Vermont College of Art’s M.F.A. program. R odne y E wing is an artist who creates drawings and mixed-media works. His art

focuses on intersections of body and place to re-examine human histories and cultural conditions. T or y Fair is an artist working in Boston. She is an associate professor of sculpture at

Brandeis University, home to the Rose Art Museum. D o u glas F lorian is an abstract painter who lives and works in New York City. He

is represented by Bravin Lee Programs. N icholas F raser drinks coffee, records videos of storefronts, and fails to keep up

with old friends. Almost every day. C arl F u dge , born in London, lives and works New York. He is represented by

Ronald Feldman Gallery in New York and Galerie Takako Richard in Paris. B rett G oodroad is a painter working in San Francisco. He won the Tournesol

Award in 2012. B arr y G ray is an artist and designer whose work traverses multiple disciplines

including painting, sculpture, photography, and printmaking. S tephen G rossman is an artist; perhaps, he is a luftmentsh. He makes drawings

and paintings. N athan H aenlein is an artist who works on paper. His work explores economy,

repetition, and place. He is a professor of drawing and printmaking at Sonoma State University in California. Patrick E arl H ammie is best known for his monumental portraits related to

themes of identity, history, and narrative. He is currently an assistant professor at the University of Illinois at Urbana-Champaign.


S kowmon H astanan was born in Thailand and lives and works in New York City.

Hastanan creates mixed-media works on subjects relating to diasporic experience. H E N S E combines the quick pace and point of view of street culture with tumultuous

compositions often characterized by highly keyed color, vertiginous line, and biomorphic shapes. E li z abeth H oak- D oering is an interdisciplinary artist based in Nicosia, Cyprus.

She is an associate professor of art at the University of Nicosia. C y nthia O na I nnis is a Berkeley-based painter who explores notions of landscape

to create abstract compositions with acrylics and fabric. Tatiana I stomina is a Russian-born, North American artist working with painting,

drawing, and video. She lives in New York. H edwige J acobs is an artist who makes drawings on paper and canvas. In her

animations, the drawings “come alive for a few seconds.� She currently lives and works in Singapore. C hiaki K amikawa is a Japanese artist who makes drawings and sculptures. She

lives and works in Paphos, Cyprus, where she runs the gallery Chiaki Kamikawa Contemporary Art. M anfred K irschner is a Berlin-based artist who is influenced by neo-structural

conceptualism and engages a multiplicity of media and techniques to fulfill his personal credo of freedom. He also directs the Crystal Ball Gallery. K imia F erdowsi K line is an artist who makes paintings and mixed-media works

on panel. She is the curator at the Wythe Hotel in Williamsburg, Brooklyn. N icholas K night lives in New York and Marfa, Texas. K ang J oo L ee is an artist and an art education director at P.I. Art Center in New

York. She received an M.F.A. from the School of the Art Institute of Chicago. K ate T essa L ee is an artist/traveler based in Berlin, whose multidisciplinary

practice explores the correspondence and translation of life into forms of reality/ies.


C y nthia L in , from Brooklyn, makes monumental, hyper-detailed drawings of skin

and scars. She is an assistant professor at Purchase College, State University of New York. H u ng L i u is known for paintings based on Chinese historical photography. Her work

focuses on what she calls the “mythic poses” that underlay the photographic surfaces of history. M aess was born, in 1982, in Poland. She graduated with a Master’s Degree from the

Academy of Fine Arts in Warsaw, was nominated to the Grand Prix FID Prize in Paris, and exhibits internationally. M ario M ar z an ’s work explores geographical spaces between individual and cultural

identity. Born in San Juan, Puerto Rico, Marzan is an associate professor of studio art at the University of North Carolina at Chapel Hill. L inn M e y ers makes drawings and site-specific works. She is a graduate of Cooper

Union (B.F.A.) and the California College of the Arts (M.F.A.). N y eema M organ is a New York-based artist. Her art practice is developed within

an interdisciplinary framework that explores the personal and cultural economy of knowledge through familiar artifacts. Pa u l M orrison lives and works in Sheffield, UK, and studied at Goldsmiths

College, London. Selected solo exhibitions include: Las Vegas Art Museum; Rhode Island School of Design; Magasin, Grenoble; IMMA Dublin; and Kunsthalle Nürenburg. S eam u s L iam O ’ B rien is a fine artist and sign painter based in Brooklyn. A lison O wen is an artist who lives in Brooklyn. She makes installations and

drawings using found objects and common materials like thread, staples, and tape. J enn y P erlin mostly makes films and drawings. She lives and works in Brooklyn,

New York. M el P rest is an educator and visual artist based in San Francisco. Her work explores

color and perception.


J o A nn R othschild is an abstract painter living in Boston. She founded the art

program at Pine Street Inn, the largest homeless shelter in New England. A nna S chachte is an artist who lives and works in Brooklyn. She is a founding

member of the curatorial collective Regina Rex. Fa u sto S evila was born, in 1960, in Santiago, Cuba, and came to the United States

in 1970. “I have been trying to belong ever since, but have failed every time.� J ill S hoffiett , a Mississippi-native, moved to New York City in 1996. Her esoteric,

southern gothic drawings have been widely exhibited. T om S la u ghter was born in New York City in 1955. He first exhibited at The

Drawing Center in 1983. C hris S pinelli lives and works in Brooklyn and makes drawings, paintings,

sculptures, and videos. He received his M.F.A. from the School of Visual Arts in 2005. K aren Tam is an installation artist who divides her time between MontrĂŠal and London. C aroline Tavelli - A bar is a multi-disciplinary artist living in Vermont. She

curated art collections in New York City after traveling to the United Stated from her native Switzerland to explore her American roots. S cott T eplin lives in New York City. He draws almost constantly in his handmade

sketchbooks and on huge sheets of paper. J en Urso is a Phoenix, AZ-based artist. She creates works utilizing interventions,

drawing, writing, and video to explore persistence, compliance, language, and authority. K ris Van D essel is an artist who tests everyday elements on their potential to

crystallize into visual recordings of actions in time and space. K ara Walker is a New York-based artist best known for her candid investigation of

race, gender, sexuality, and violence through silhouetted figures. M argaret W ithers is a painter. She is represented by Arcilesi | Homberg Fine Art

in New York, William Baczek Fine Arts in Northampton, Massachusetts, and Bluestone Fine Art in Philadelphia.


B ibliograph y

T e x ts

13X, Clarence. “Lessons Degrees & Manifestations,” in My Book of Life ‘Peace To Father Allah,’ New York: Nation of Gods and Earths, 1964. Adams, Richard C. “Battle With the Monsters.” In Legends of the Delaware Indians and Picture Writing, New York: Syracuse University Press, 1997. Agamben, Giorgio. The coming community. Minneapolis: University of Minnesota Press, 1993. Badiou, Alain. “Some Remarks Concerning Marcel Duchamp.” The Symptom no. 9 (2008): Baraka, Amiri. “Expressive Language.” The Poetics of New American Poetry, 373-7. 1963. Barthes, Roland. Image, Music, Text. “The Photographic Message.” Ed. and trans. Stephen Heath. New York: Hill, 1977. Barthes, Roland, Richard Miller, and Richard Howard. The pleasure of the text. New York: Hill and Wang, 1975. Benjamin, Walter. “Unpacking My Library.” Illuminations: Essays and Reflections. Trans. Harry Zohn. New York: Schocken Books, 1968. 59-67. Bergson, Henri, and Nancy Margaret Paul. Matter and memory. New York: Zone Books, 1988. Borges, Jorge Luis, and Margarita Guerrero. “Celestial Emporium of Benevolent Knowledge.” In The book of imaginary beings. ed. New York: Dutton, 1969. Jen Boyle. “Treading the Digital Turn: Mediated Form and Historical Meaning.” Journal for Early Modern Cultural Studies 13, no. 4 (2013): 79-90. Breton, André. Nadja. New York: Grove Press, 1960. Brown, Bill. Things. Chicago: University Of Chicago Press, 2004.


Cole, Teju. Open city: a novel. New York: Random House, 2011. Melinda Cooper. “Vitesses de l’image, puissances de la pensée: la philosophie épicurienne revue par Deleuze et Guattari.” French Studies: A Quarterly Review (Oxford), LVI(1), January 2002: 45-60. Cooper, Melinda. Life as surplus: biotechnology and capitalism in the neoliberal era. Seattle: University of Washington Press, 2008. Crimp, Douglas, and Alvin Baltrop. “Disss-co (A Fragment): From Before Pictures, a Memoir of 1970s New York.” Criticism (2008): doi:10.1353/crt.0.0057. Delany, Samuel R. Babel-17. New York: Ace Books, 1966. Deleuze, Gilles, and Félix Guattari. A Thousand Plateaus: Capitalism and Schizophrenia. Minneapolis: University of Minnesota Press, 1987. Derrida, Jacques, and Eric Prenowitz. Archive fever: a Freudian impression. Chicago: University of Chicago Press, 1996. Doane, Mary Ann. The emergence of cinematic time: modernity, contingency, the archive. Cambridge, Mass.: Harvard University Press, 2002. Featherstone, Mike. “Archiving cultures.” British Journal of Sociology 51 (2000): 161-184. Foster, Hal. “An Archival Impulse.” October 110 (2004): 3-22. Foucault, Michel. The Order of Things: An Archaeology of the Human Sciences. New York: Pantheon Books, 1971. Freedman, Jonathan, N. K. Hayles, Jerome McGann, Meredith L. McGill, Peter Stallybrass, and Ed Folsom. “Responses to Ed Folsom’s Database as Genre: The Epic Transformation of Archives” Pmla-publications of The Modern Language Association of America 122, no. 5 (2007): 1580-1612. Gaines, Charles, “Reconsidering Metaphor/Metonymy: Art and the Suppression of Thought,” Art Lies 64 (2009): 48-57. Gell, Alfred. Art and Agency: An Anthropological Theory. Oxford: Clarendon Press, 1998.


Hall, Stuart, “Encoding / Decoding.” In Hall, Stuart Dorothy Hobson, Andrew Love, and Paul Willis (eds.), Culture, Media, Language: Working Papers in Cultural Studies, 1972–79. London: Hutchinson (1980) 128–138. Hampton, James. Hamptonese. Notebook, accessed 2014. ca. 1950-1964. Hayles, N. Katherine. How We Think: Digital Media and Contemporary Technogenesis. Chicago: University Of Chicago Press, 2012. Joselit, David. “What to Do with Pictures.” October 138 (2011): 81-94. Lippard, Lucy R. 557,087: An Exhibition. Seattle: Seattle Art Museum, 1969. Lippard, Lucy R. Six Years: the Dematerialization of the Art Object from 1966 to 1972; A Cross-Reference Book of Information on Some Esthetic Boundaries. New York: Praeger, 1973. Manovich, Lev. The Language of New Media. Cambridge, Mass: MIT Press, 2002. Packer, Jeremy. “What is an Archive?: An Apparatus Model for Communications and Media History.” The Communication Review 13, no. 1 (2010): 88-104. Rammellzee. “Ionic treatise Gothic Futurism Assassin Knowledges of the Remanipulated Square Point’s One to 720° to 1440°.” Artist writings. 1979. Raqs media collective. “Stammer, Mumble, Sweat, Scrawl, and Tic.” e-flux 0 (2008): Rotman, B. Becoming Beside Ourselves: The Alphabet, Ghosts, and Distributed Human Being. Durham: Duke University Press, 2008. Lash, Scott. “Objects that Judge: Latour’s Parliament of Things.” In Another Modernity, A Different Rationality. Oxford: Blackwell Publishers Ltd., 1999. Stewart, Susan. On Longing: Narratives of the Miniature, the Gigantic, the Souvenir, the Collection. Baltimore: Johns Hopkins University Press, 1984. Thévoz, Michel. “Dubuffet le casseur de noix.” In Détournement d’ écriture. Paris: Éditions de Minuit, 1989.


Virilio, Paul, and Sacha Goldman. “Celebration: A World of Appearances.” Cultural Politics: An International Journal 8, no. 1 (2012): 61-72. Virilio, Paul. The Vision Machine. Bloomington: Indiana University Press, 1994. Whitehead, Colson. The Intuitionist. New York: Anchor Books, 1999. E x hibitions and O ther projects

Brucennial, Bruce High Quality Foundation. New York, 6 Mar 2014. Exhibition. Chain Letter, Global Group Exhibition. Chain letter art blogspot. 16 Jun 2011. Exhibition. Alba, Elia. The Supper Club, Recess. New York. 2012. Beckwith, Naomi and Huey Copeland. “Black Collectives,” Museum of Contemporary Art, Chicago. 3-4 May 2013. Conference. Cyrus, Jamal, and Steffani Jemison. Museum as Hub: Alpha’s Bet Is Not Over Yet, The New Museum. New York, 4 Dec 2011. Artist project. Gaines, Malik, and Alex Segade. The Meeting, courtesy of the artists. 2013. Curation as Collaboration. Gates, Theaster. Dorchester Projects, Chicago, 2009. Gilbert, Aaron, and Deana Lawson. 68 Months Discussion Group, New York, 2012. Collaboration. Hart, Heather, Jina Valentine and Steffani Jemison. Sketches Present Classification, Pinterest Website, 2013. Joo, Eungie, and Kara Walker. “6 to 8 Months,” New York, 2010. Collaborative and participatory project. Roysdon, Emily. “Ecstatic Resistance,” Grand Arts, New York (Nov. 13–Jan. 16 2010) and X Initiative, New York (Nov. 21– Feb. 6 2010). Artist project and exhibition.



Based in Brooklyn, New York, Heather Hart has been an artist-in-residence at the Skowhegan School of Painting and Sculpture, the Robert Blackburn Printmaking Workshop Program, Santa Fe Art Institute, Open Sessions at The Drawing Center, Fine Arts Work Center, Lower Manhattan Cultural Council Workspace, and the Whitney Independent Study Program. She has received grants from the Joan Mitchell Foundation, Harvestworks, the Jerome Foundation, and a fellowship from New York Foundation for the Arts. Her work has been exhibited at Socrates Sculpture Park, Seattle Art Museum’s Olympic Sculpture Park, the Studio Museum in Harlem, Art in General, The Drawing Center, No Longer Empty, Museum of Arts and Craft in Itami, Portland Art Center, Figure One at University of Illinois, and the Brooklyn Museum. She studied at Seattle’s Cornish College of the Arts, Princeton University, and the Mason Gross School of the Arts at Rutgers University, from which she received an M.F.A. Hart will be an artist-in-residence at Bemis and the Hermitage in 2014. Steffani Jemison is based in Brooklyn, New York. Her work has been exhibited nationally and internationally at the New Museum of Contemporary Art, the Royal Danish Academy of Fine Art, LAXART, the Studio Museum in Harlem, Laurel Gitlen, Team Gallery, and the Elizabeth Foundation for the Arts. She has presented performances and lectures at such venues as the Museum of Modern Art, Philadelphia’s Institute of Contemporary Art, and the Menil Collection. Jemison has been an artist-in-residence at Project Row Houses, the Core Program at the Museum of Fine Arts Houston, the Skowhegan School of Painting and Sculpture, the Studio Museum in Harlem, and the International Studio and Curatorial Program. She is a 2013 Art Matters Foundation grantee, a 2014 Louis Comfort Tiffany Biennial awardee, and a 2014–2015 artistin-residence at Smack Mellon. She received a B.A. in Comparative Literature from Columbia University and an M.F.A. from the School of the Art Institute of Chicago. Jina Valentine was born in Pennsylvania and is based in North Carolina. She has exhibited at The Drawing Center, the Studio Museum in Harlem, the CUE Foundation, the Elizabeth Foundation for the Arts, the DiRosa Preserve, Southern Exposure, Marlborough Gallery, and the Fleisher Ollman Gallery. She has participated in residencies at the Atlantic Center for the Arts, Women’s Studio Workshop, Sculpture Space, the Skowhegan School of Painting and Sculpture, the Santa Fe Art Institute, and the Cité Internationale des Arts in Paris. She has received a Joan Mitchell M.F.A. Grant and a San Francisco Arts Commission Fellowship. Valentine received her B.F.A. from Carnegie Mellon University and her M.F.A. from Stanford University. She is currently an assistant professor of studio art at the University of North Carolina, Chapel Hill.




The Intuitionists is made possible with the support

Frances Beatty Adler

of The Evelyn Toll Family Foundation and with

Eric Rudin

public funds from the New York City Department

Jane Dresner Sadaka

of Cultural Affairs in partnership with the City Council.

Treasurer Stacey Goergen Secretary Dita Amory Brad Cloepfil Anita F. Contini Steven Holl Rhiannon Kubicka David Lang Merrill Mahan Iris Z. Marden Nancy Poses Galia Stawski Pat Steir Barbara Toll Isabel Stainow Wilcox Candace Worth Emeritus Melva Bucksbaum Bruce W. Ferguson Michael Lynne George Negroponte Elizabeth Rohatyn Jeanne C. Thayer Executive Director Brett Littman


This is number 116 of the Drawing Papers, a series of publications documenting The Drawing Center’s exhibitions and public programs and providing a forum for the study of drawing. Margaret Sundell Executive Editor Joanna Berman Ahlberg Managing Editor Designed by Peter J. Ahlberg / AHL&CO This book is set in Adobe Garamond Pro and Berthold Akzidenz Grotesk. It was printed by BookMobile in Minneapolis, Minnesota.

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Drawing Papers 115: Len Lye: Motion Sketch Drawing Papers 114: Lebbeus Woods: Architect Drawing Papers 112: Rashaad Newsome: FIVE (The Drawing Center) Drawing Papers 111: Deborah Grant: Christ You Know it Ain’t Easy!! Drawing Papers 110: Ferran Adrià: Notes on Creativity Drawing Papers 109: Dickinson/Walser: Pencil Sketches Drawing Papers 108 Drawing Time, Reading Time Drawing Papers 107 Alexis Rockman: Drawings from Life of Pi Drawing Papers 106 Susan Hefuna and Luca Veggetti: NOTATIONOTATIONS Drawing Papers 105 Ken Price: Slow and Steady Wins the Race, Works on Paper 1962–2010 Drawing Papers 104 Giosetta Fioroni: L’Argento Drawing Papers 103 Igancio Uriarte: Line of Work Drawing Papers 102 Alexandre Singh: The Pledge Drawing Papers 101 José Antonio Suárez Londoño: The Yearbooks Drawing Papers 100 Guillermo Kuitca: Diarios Drawing Papers 99 Sean Scully: Change and Horizontals Drawing Papers 98 Drawing and its Double: Selections from the Istituto Nazionale per la Grafica Drawing Papers 97 Dr. Lakra Drawing Papers 96 Drawn from Photography Drawing Papers 95 Day Job Drawing Papers 94 Paul Rudolph: Lower Manhattan Expressway Drawing Papers 93 Claudia Wieser: Poems of the Right Angle Drawing Papers 92 Gerhard Richter: “Lines which do not exist” Drawing Papers 91 Dorothea Tanning: Early Designs for the Stage Drawing Papers 90 Leon Golub: Live & Die Like a Lion? Drawing Papers 89 Selections Spring 2010: Sea Marks Drawing Papers 88 Iannis Xenakis: Composer, Architect, Visionary Drawing Papers 87 Ree Morton: At the Still Point of the Turning World Drawing Papers 86 Unica Zurn: Dark Spring Drawing Papers 85 Sun Xun: Shock of Time Drawing Papers 84 Selections Spring 2009: Apparently Invisible Drawing Papers 83 M/M: Just Like an Ant Walking on the Edge of the Visible Drawing Papers 82 Matt Mullican: A Drawing Translates the Way of Thinking Drawing Papers 81 Greta Magnusson Grossman: Furniture and Lighting Drawing Papers 80 Kathleen Henderson: What if I Could Draw a Bird that Could Change the World? Drawing Papers 79 Rirkrit Tiravanija: Demonstration Drawings

T O O R D E R , A N D F O R A C O M P L E T E C ATA L O G O F PA S T E D I T I O N S , V I S I T D R AW I N G C E N T E R . O R G


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Drawingpapers116 intuitionists  

The Drawing Center's Drawing Papers Volume 116 featuring an introduction by Lisa Sigal and an essay by Heather Hart, Steffani Jemison, and J...

Drawingpapers116 intuitionists  

The Drawing Center's Drawing Papers Volume 116 featuring an introduction by Lisa Sigal and an essay by Heather Hart, Steffani Jemison, and J...