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CH n n e e l AcTTR M ANN withgtobatscope,a pseudo-didactic' (zool-o4)| presenta systemof geometry ln TheNewGeometry of thenotionof theAxisof Evit' exploration in-depth in W.Bush'szoozStateof the Unionaddress' in George TheAxisof Evil,of course,wasfirstunveiled notonty of lran,lraq,andNorthKorea-countries consisting a basicversion whichhe introduced but mass destruction of weapons harboring and States the United against promoting violence altegedly that revealed line.Laterworkat the StateDepartment alsofattingalonga single,straightcartographic wasfundamental: Thediscovery thewayto Cuba. in fact alt West, further the tinecouldbe extended of Cuba,lraq,lran,NorthKorea-andforthatmatterSyria,aswelt-forma single[ine:the Thecapitals Axisof Evil. of a seriesof displayplates,schoolmaps,blackboards,anda PowerPoint consists TheNewGeometry tendto havelabelssuchas"TheNewHome presentation. of majorshiftsin thecurriculum Launches of TheNewGeometry: Herearethe mainelements Economics." zo Axiomsof the NewGeometrY: andP (Pyongyang) f (Tehran), I (Baghdad), r. A linethroughanypairof the fourpointstl (Havana), formsthe Axisof Evil.

Libya,lsrael(ptusGotan), Algeria, Morocco, on theAxisin Cuba,the Bahamas, z. r35 citiesarelocated andNorthKorea' China, Syria,lraq,lran,Afghanistan, Lebanon, in MexicoandNorthKorea. of the Axisaddsa handfulof locations 3. Extrapolation patterns under divergent viewsproduce continental andNorthAmerican African, Pacific, a. Atlantic, orthograPhic Projection. produces a curve. proiection obviously Conical 5. cubes. of twodifferent asthediagonal 6. ThemindseestheAxissimultaneously globe capcut off by theAxisof hatbox,thenthe surfaceof the 7. lf a gtobefits snugtyintoa cylindrical of theAxisonto bythehorizontalprojection of the rimof the boxdelimited Evilisequaltothesurface the box. of theAxisis at Point8.

Section 8. TheGolden Thesenotesare andmi=Efor MISERY).

9. Keplersaidthe earthplaystwo notes(fa=Ffor FAMINE with pointsI andf on theAxisof Evil. associated out on theAxisof Evilis at pointB. PointIUlieson the ro. Thenavelof a humanfigurestretched in pointB. circtecentered Achiltes-heel the firstreaIaxis. rt. TheAxisof Evilis historically Axiscreatessixtyninemaiorgtobaltriangles. rz. Thefour-point theshapevisible* the a shapeon theAxisof Evitandtheviewer, between interposed r3. Ona screen 9ooabovetheshape. actualshapeon theAxis,unlessthevieweris located pointP beinga recentexception. attention, most the receive Axis of the r4. Thehottestsegments r5.TheAxisof Evilis mostlyin thedark. significant. notstatisticalty 16.TheAxisof Evitis apparently longitude. at 3oowestern witha counterweight rz. TheAxisis balanced by the confirmed system(thisis furthermore Ptolemaic rg. TheAxisof Evitis in tinewiththe geocentric z). see axiom of Evil, Axis on the in Libyais located factthatthe townof Ptotemais space. in a two-dimensional of formson theAxisis onlypossible r9. Mirroring (Quod Demonstrandum)' Erat the circle. zo.TheAxisof Evilsquares

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ORTHOGRAPHICPROJECTION

North American ContinentalView

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Av nnrt r R BR w n strandsof formalist Withinthe contextof latemodernart,thereseemto appeartwo intertwined in manifest interaction phenomenological of hot abstraction thehotandthecotd-the engagement: work of in the found andthecoolaesthetics andReinhardt, Potlock, theworkof artistssuchas Rothko, andJudd(etal).

Newman, artistssuchasAtbers, Theworkof AvantikaBawaappearsat firstglanceto be of the coldvariety.Hercoolandoftenmuted Yethercool thisposition. patette,alongwiththe usuallymodestscaleof herworks,seemsto reinforce artistswho andotherphenomenologicaI of lrwin,Turrell, turnshotthroughtheinfluences aesthetic an andsite.Hersis also art to location reacting senseof "presence," thecontextual engage thena sortofyearning Thegazeoftheviewerbecomes intothespaceofthe gatlery. externalized We deviceto offerthesolaceof closure. or mirroring withoutsubject for meaning, stretching machine, materialin theseworks. whichserveas Bawa's shadows, arethenin the reatmof netherworld to thespace-are as references serving Whatremains, In manyof herworks,theart is attbutabsent. on the production existing of andsimilarincidentats folds,edges, Shadows, almost. art ghosts, in a quietwarwith engage Theseplayfulspirits spaces. demarcate periphery andintention of visibitity possessed.

Theboxes perhaps or revivified (zooz)packingcontainers are In Consfruct the architecture. andhence theirstructures by mimicking of thespaceandthecityskytine hereechothearchitecture of the walls form on the their echoing structures, illusionary canbe seenasworksthathavebecome the thatwouldseemto indicate a colorworld andgraysproduce Altofthesecoolblues,greens, space. (even areneverrational of theseworks-yetit isn'tthecase.Ghosts analysis possibility of a rational

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A projected elements' Someof these"art ghosts"serveas mirrorsandechoesof otherarchitectural (zoo3)'Hinges asseenin untitledCorner andan enclosure bothan opening of lightbecomes trapezoid join of a mutedcolorfieldon a two ptanes of wallsin orderto supportand overcorners aremounted both,at leastin Perhaps or viceversa? theseghosts, Arewe watching thequestion, walt.Thisraises

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andanalysis' worldof interpretation ethereal thealmostequatly andas such, perhaps in the sensethattheyprovidea radicalformof forgetting, all ghostsarenostalgic withthe Hindu Thisviewis consistent incomplete. thatremains of memory system an emergent workmay Bawa's conceptof MayaShakti,or mayo,whichis the veilingof the worldby visibteillusions. art yethintsat previous onlyotherillusions thatreveals be seenasa sortof unveiting in thiscontext gallery final as a of the fromthe space with memoryreconstructed viathe ghostsof modernism, ghostlY Presence.

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Ro s n u nC R s r n t l o D tR z Drowingcontain"fragments"of imagesbasedon a specific My two workson view in Wall-to-Wall image,I attemptto both be a recognizable what wouldotherwise book.

In thus splintering object:a andto exploremy interestin the dualityof andcomprehension examine the limitsof visualperception andabstraction. concreteness objectsthatconveyintellectual theyareconcrete appealing to mebecause Booksareparticularly of the outsideof booksbut of the insideas My bookdrawings depictnot onlyfragments abstractions. lndeed, ratherthanas information. welt-the writtentext-which I presentfor theirvisualaesthetics precisely in simplyand likethe textof a book,the imageryin myworkis blackandwhite,executed graphite.

Centermaybe thoughtof as an inaccessible Thebookfragments on the wallat TheDrawing of instantly reduction, andthe absence of my useof fragmentation, library-onethat,because on a to enter.Beingrendered references, theviewermustusehisor herownassociations recognizable quiet, and and are light, small, The drawings of the books: the inaccessibitity wallfurtherenhances the obiectdirecttyon thewall manypeoplewilt missthem-they appearto be barelythere.Drawing quatity. and illusionistic its abstract to onlycontributes

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SHo s H R r .D r Rr n r z in theoften I'minterested of fences. implications andpoliticat the psychotogical Myworkexplores blank,so butwhenI drawthem,I leavetheir[ocation of actualfences, functions real-world unpleasant, (which is to say,in nowhere generat, and somewhere located both and both specific thattheybecome "space"-an a fencedefines boundary-maker, andgraphic As a physical everywhere). a sense, andvisibte.lt servesas a framefor an thatthe fencemakesconcrete abstractemptiness otherwise Mywork definesas "thatwhichis contained"). yet patpabte "content,"(whichthe dictionary invisibte Thevolumeof discussable. spaces-visibte, btankinvisibte makesthecontentof thesefences-their being contained. of isolation-a sense is filledwitha senseof loneliness, thesespaces I tookof a horsefarmin upstateNewYork.Theyaretherefore Thedrawings arebasedon photographs are"trueto life."They retationships andperspectival in whichlight,shadow, conditions set in reat-life of of thedirection the setting "facts": concrete beginwiththe layingdownof whatlcalltheimage's by arethendeveloped Thedrawings intersections ofthe fencestructures. lightandthe accurate forms within. the abstract translating isolating and whole and reatity-based forgetting the recognizable, horizontal bandsof the abstractquatityof the repeated Fromthe outset,I am awareof the minimalist I am finallyfence, I realize band of of each different tones subtty As I modulate the woodenfence. painting, and butwitha specificity of abstract tradition on in the romantic andunironicatty-continuing andspirituality intotheidealism it is thisrelease purpose beyondthe pursuitof pureform.I suppose reandloadsthedrawnfencewithmorethanjustits litera[, thatenhances of suchabstraction presented factuatity. pubticspaces,lincrease the in different andby placingthem Byvaryingthe scaleof thedrawings physicaltycompeltheviewerto deal intensityof theireffect.Theworksthat arelarger-than-life the through physicat and/oraweis thenprocessed discomfort Theviewers' theimage. titerally-with the drawings, on The smaller with the image. theyhave of the manyassociations mentalunraveling physical an instinctually eyes;theydo notdemand at the leveloftheviewers' otherhand,sit potitety not do so. to spaces-or in the depicted being theirbodies Theviewers arefreeto imagine reaction. themin themindalone' astheywish,navigating thespaces Theyinterpret

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SuruK. Kwnr herenergetic tapedirectlyon thewallsurface, SunK. Kwakdraws.Whenshedrawswith blackmasking it in motion.

Erratic torn gattery by seeming to set spectacle spaceintoa sculptural the linestransform the swirtingstreamsandspattersof oversized layeredpiecesdelineate edgesandrandomly brushstrokes. catligraphic processes of an artist.ForKwakthe reflection of the generative Drawing offersthe mostimmediate Recalling the balancebetweencontrolandunpredictability. maneuvering of tapeoffersa desirable her over acts of controI artist lets chance take psychic the automatism, of surrealist convolutions Whilethesemarkshavean inherent gesture, the linespickingup rhythmandmomentum. compressed graphicappeal,theyextendthree-dimensionalty beyondtheverticalconfineof the wallto the ceiling, of Abstract of Kwak'slinesevokethe pyrotechnics dynamics andthe floor.Theexplosive the columns, Expressionism. andspatialtensionscreatedby to the shiftingtemporaI evolves according improvisation Herincessant differentphysicalproperties-bythe light,the noise,andthe peopleflowingthroughthe architecture's qi(orchDspace, seeking of theexhibition system lt is as if shetunesintothegeomantic buildings. practice in the Chinese of fengshui. energyof placesaddressed the invisibte in oneplaceandoffera senseof pause,of movement a dazzling choreograph Thelinesof herdrawings of a contemplative emergeasthe pictorialequivalent Theseftuidformulations mutedcalm,in another. natureandculture, thephysicat between equilibrium negotiatingthe of theenvironment, experience allowingfor whatwasoncea revitalize theviewer'sperception, andthe spiritual.Kwak'sdrawings familiarsettingto be seenanew.

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-AncientKudzuWisdom depicta worldof incessant Influenced by bizarreandfancifulfactssuchasthisone,my drawings gadgetry anddiscarded mechanical In the drawings, betweennatureandtechnology. interaction Thenaturalworld happenings. and energetic form whimsical combine to collide and commonobjects growing, goo-is ever ever the plants,the mysterious depictedin the drawings-theanimals, might encounter. they common object or whatever technology fit adapt to and to consuming, andteakingpipesin an attemptto remind alsodepictexhaustvalves,wires,intestines, Thedrawings Theloose thatvibratebehindourwallsandin ourbodies. andplumbing us of the hiddenchannels ruptures that are the leaks and dilapidation, the objects, the breaking down between connections physically.

Theyalsoserveas to deteriorate depictedsuggesta naturalpotentialfor systems andweaknesses, exposeabsurdities Thedrawings for our socialnetworksandframeworks: metaphors That lawn mower btadejust andnaturalsystems. otd but alsothe fantasticpotentiatof our man-made throughthe air. mightproduceenoughwhirlto senda giganticearof cornhumming

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Usingarchitecture connection between the nota transgressive act.lt is a meansof makingliteralthemetaphorical aspectsof object,revealing by thewall-constructed andthatwhichis beingrepresented architecture is that it is constructed, that it is built meaboutarchitecture natures.

Whatinterests theirresoective primarily whether thisbe for"theinstitution," forthe humanbody,andthatit canbea potentstand-in or themuseum. thehome,thegaltery, space.By spaceandthefloora physical I oftenbeginwiththe premise thatthewallis a conceptual fallsintophysical "drawing" spaceliteralty on thewallwitha cuttingtoot,conceptual specific shapes thetheoretical andtheactua[, theconceptual andthe physical, creating a directlinkbetween space, theintellectual andthecorpora[. from a functioning benchwasconstructed ln a previousprojecttitledMuseumBench(zoot-zoo4), witha sawreleased themfrommerely theshapes wall.Theactof drawing shapes cutfroma museum patternof benchpartsin conceptual transforming themintotheactualparts. space, beinga potential holes,which in frontof theresulting intoa bench.

Thebenchsatsquarely Theywerethenassembled painting The viewer was invitedto sit mimic a on canvas. in a rectangle to werearranged systematicatly oftheart changed asthe on the benchandreflecton the holes.Theroleoftheviewerandthe position as a sculpture while withthe piece.

Whenthe benchwasnotsatupon,it functioned viewerinteracted Whentheviewersaton the bench, the bench asthesourceofthesculpture. thewallcutsfunctioned Thewallcutswerethenfreedfromtheirrole andbecame a pieceof furniture. ceasedto be a sculpture as a geometric abstraction. assourceandcouldbe scrutinized is constructed from3rr Center, a telescope ln MindandBody(zoo5),theworkon viewat TheDrawing of starsthat stretchacrossthe circlesof varioussizescut froma wall.Thehotescreatea constellation imagein thewallareinexorably tinkedby fromthewallandtheresulting wa[[.Theobjectassembled is to gazeat thestars-toconnect the mindof the of a tetescope function andorigin.Thefunction in MindandBodyis the stargazer to thatwhichis out of reachof the body.Theoriginof thetelescope Theirphysical fromthe building of thetelescope. conceptualspace of thewallwhitethestarsoriginate physical space and, by extension, relationship between conceptual and relationship underscores the mindandbodv.

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This is number 53 of the Drawing Papers, a series of pubtications documentingThe Drawing Center's exhibitions and public programs and providing a forum for the study of drawing.

The zoo4-zoo5 season ofthe Drowing Papersis made possible through contributions to the Edward Hallam Tuck Publication Program from FrancesBeatty Adler, Mary and Robert Carswelt, Robert Duke, Elizabeth Fondaras,Kathy Fuld, E l l e nG a l l a g h e r,M r . a n d M r s. Ja m e sR. Ho u g h to n ,Werner H . K ramarsky,JoanneLyman,Mi chael Lynne,John J. Madden, G e o r g eN e g r o p o n te ,T h e F e lixa n d Eliza b e thRo h a tynFoundati on,l nc., S hearman& S terl i ng LLB and Li tyTuck.

Woll-to-WallDrawing: Selections Summer zoo5 is made possible, in part, with the support of The Greenwall Foundation.

C A T H E R T NoEe Z e e xe n ExecutiveDirector G e o n e e N E G R o Po NT E President

Board of Directors F R A N c E SB E A TT YADL ER Choirmon

E nr cC. Ruor r ' r Vice-Chairman DrrAAMoRY en Jeln Mlcr.rlr'roBor-r-rre MEL VA BUcKS BAUM FRANcES DrrrM ER Co LrNETSLER Etrzlgrrx Flcron Bn uceW. FER G USoN Ba nn vM. Fox lV IAMEsR. HEDG ES, WE R NE R H . K R AM ARSKY*

AesY L ere H* WTLUAM S. Lre eenlaH M I C H A E LL Y N NE lRts MARDEN C e r x e n r r e O n e r tn e r cr E L r z l e e t x R o x n tYn * J A N ED R E S N E RS n o e r a A L L E NL E ES e s so tr ,ts M t c t l e l S t E r r { g tn e J E A N N EC . T H A YER* A N D R E AW o o o N ER *Emeriti

DrawingCenterPubtications ADAMLEHNER, Executive Editor Luc DERYCKE, Designer BERMAN, Coordinator JoANNA The DrawlngCcnter 35 WoosterStreet NewYork, NY1oo13 Teli 2t2-2t9-2t66 Fa}d2t2-966-2976 www.drawingcenter.org @ zoo5The DrawingCenter

variable. onwall,installed at theHaight Ashbury FoodProgram, SanFrancisco, CA,dimensions Cover:Mlnr LtcARt,LivingKitchen,2002.Inkandacrylic Photo Gregory Fleischer I nside cover: CHAR BEL AcKERMANN, A Line ThroughAny Poir of the FourPoints H (Hovona),B (Baghdod),T Oehran)ond P (Pyongyang) Inkandinkjetprintonpaper, 22x 15in.

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