James Castle: House Drawings

The Drawing Center's

DRA\TING PAPE,RS 6 J,q.vrnsClsrr-n: HouseDrausings

JannnsCastr,n: House Drawings

Curated by Jer Tosr,e n I nlr odu c ti o n C e rs e n rn e o r: Z rc n nn

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James Oastle: House Drawings

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Jey Tonr,nn

llbrks in the Erhibition

'Ihe Drawing Center's DRA W IN G

R OOM 4 0 W o o s teS r t reet

M ar c h 4 -Ma y

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Untitled (doorhnobs) Sooton found pape&I 7/Ex 6 5/8 in. (95 x 16.Ecm) Private collection

Untitled (general store interior) Sooton found paper,10 l/4 x 7 l/8 in. (96 x 18cm) kivate collection

Inlroduction This publication accompanies the exhibition James Castle:House Drawinp;s,a project conceived of and developed by guest curator Jay Tobler. It is a great honor for The Drawing Center to present the work of an artist who demonstrated such a remarkable and unique devotion to drawing. From an early age, Castle made drawing his primary mode of expression, and his commitment to the medium is matched by an unwavering fascination with documentinpl domestic life. For subject matter he turned to the immediate surroundings of his native Idaho-the various homes he lived in, neighboring domestic structures and farms, and everyday objects-all rendered with relentless honesty. Conversely, other works are whimsical, as with the drawings of herringbone-patterned exteriors, polka-dotted interiors, and candy-colored "dream houses."Castle'sbrilliant deployment of found paper paralleled tlre practice of other more well-known twentieth-century artists, and yet it is highly unlikely that he was aware of these contemporaneous investigations. Rather, Castle, with a rare economy of means, brought simple materials to simple subjects, creating an art that was noneth e l e s sc o mp l e x a n d mu l ti v a lent.

This exhibition is in keeping with The Drawing Center's mission to bring to the public's attention understudied bodies of work. It is Jay Tobler who introduced the Center to Castle's dr awi n g s a n d th i s p ro j e c t w o u l d n ot have been possi bl e w i thout hi s excepti onal curatori al vision. Jay is tr longtime champion of Castle'sart and a great believer in its art-historical validity and significance. I am indebted to Jay for so wholeheartedly sharing his knowledge of Cas tl e w i th th e C e n te r. I w i s h to acknow l edge as w el l the assi stanceand connsel provi ded by J a y ' s w i fe J u l i a J o e rn . F o r h er expert contri buti on to the i nstal l ati on desi gn, I thank Lis a Ma h a r.

The Center is especially indebted to the private collectors whose great !lenerosityhas allowed therr to temporarily part with their cherished views of Castle'sworld. In tl-ris respect, I thank Eric Barnes, Helen and Jack Bershad, Christopher Binion, Jill and Sheldon B onov i tz , A n n e B o ra , N a n c y a n d R obert C l aster,Jacquel i neand C harl es C ri st, D eborah and Rober t C u m m i n s , El i s a b e th C u n n i ck and P eter Freeman, N oel l e and C harl es Fahl en, R ober t Greenberg, Flora and Adam Hanft, Anne Stroud Hannum, Thomas Isenberg, Barbara and Leslie Kaplan, Mark Kieckbusch, Patricia Martin and Stefan Fredrick, Ann and John Ollman, Jay Potter, Selig Sacks, Harvey Tblcensky, Mary Ellen Vehlow and Stephen Hessler, Judie and Bennett Weinstock, Robert Weinstock, Nancy and Michael Yecies,Alice Yelen and Kurt Gitter, and S tu a rt Z w e i b e l . l n a d d i ti o n , w e w i sh to acknow l edge the many contri buti ons of Jacqueline Crist and Kristine Dunnigan at the j. Crist Gallery in Boise, and John Ollman and Car r ie C o l e ma n a t th e F l e i s h e r/O l l man Gal l ery i n P hi l adel phi a.

This exhibition was achieved throueh the committed teamwork of each member of The Drawing Center's stafl. In particular, I thank Elizabeth Finch, curator, for llringing this project to rny attention and frrr shepherding it through the organizational process, and Allison Plastridge,registrar and curatorial assistant,who intelligently orchestrated many of the details.

Finally, I want to express rny appreciation of the anonymous donors whose financial assistance allowed trs to realize this project. Their enthusiasm for Castle'svision has been an ins pir a ti o n .

Cer uu n rn n u u Z u c u rn Dircclor

I:ntitled (atlfu inlcrittr) S o o to n l i ) u n d p a p e r ,6 x 1 0 l/2 iIt. ( 1 5 .2r 2 ( i.7ctn ) l ) r ' i I a t ec o l l ( ' clir ) n

Iintitlad (ftrnt scuta) S o o to l r l o u n d p a p t' r ,7 l/2 r I I ir t. ( 1 9 r 2 7 .9cm ) P r i v a t t ' t ' o l l e ctio n

James Castle: House Drawinss T o he a ra n Ori o l es i n g May be a common thingO r on l y a d i v i n e .

- llv r r,vl )rr;rrN s o l r James Castle rendered interior and exterior views of every house he lived in. His drawings range from sweeping landscapes that encompass whole groups of farm buildings to details of such diminutive household objects as doorknobs and electrical outlets. Castle's house drawings manifest an unusual rigor: he explored the subject throughout his life, devoting much of his time to documenting domestic structures from countless perspectives.The cumttlative result is a portrait of a real place: James Castle'shouse, or rather, his houses.

Castle does not get in the way of his subject. His drawings are visual statements that seem to point out, sirnply, "This is my yard," or', "This is my bed3'The depicted scenes are firmly fixed in specific environments, but they also give the viewer space to establish his or her own metaphors and fantasies.

Castle'satt was shaped in part by the remarkable circumstances of his life. Much has been r nade o f h i s d e a fi re s s ,l l u t h i s ttn u sual chi l dhood may al so hel p to expl ai n hi s w ork and his t t niqtte c h o i c e o f a rti s ti c me d i a . Castl ew as born i n 1900 i n nrral Garden V al l ey,Idaho, to a family that was already full-he had five sisters and one brother. tlis father ran the local dry goods store and post oflice, located in the sarne building as the family home, while his mother rode a horse to her duties as a midwife. Castle was born deaf, and his parents were always sympathetic to his special needs. From childhood, he was surronnded with paper scraps, notes, food cartons, and matchboxes-his "building blocks," as art historian Judith Stein says.

Even as a boy, Castle showed a fireat interest in drawing.

At the age of twelve, James and his sister Nellie, who was also deaf due to a childhood illness, were sent to the Gooding School for the Deaf and Blind. The school was the state instittrtion devoted to teaching deaf and blind students standard communication skills such as sign language and writing as well as vocational skills like woodworking. Nellie followed the currictrlum and learned how to sign. James, thou5Jh,was miserable and refused to participate in the program. The school simply did not recognize his talent or his need to draw. He was sent home within a year and remained mute throughout his life, eventually resorting to "home speak," a rudimentary system of utterances and gestures to communicate basic needs atrd desires. In the 1920s,after two decades in Garden Valley, the Castle family moved to Star, a larming community outside Boise. When Castle'sfather died in 1927,Ibey moved again, this time to Boise, where James lived with his sister's family until his death in 1977.

Cas t l e ' sttn c o n v e n ti o n a l c h i l d h o o d i s paral l el ed by hi s uni que choi ce of materi al s. A l though supporters presented him lvith conventional art supplies throughout his career, Castle consistently rejected their offers, devising instead his own distinctive methods and staying with them, despite their seeming impracticality. Sharpened sticks took the place of brushes. Ink was a composite of spit mixed with soot taken from wood-burning and later oil-burning stoves.For the occasional use of color, a pulp was made from water and ground colored paper and then mashed into the artwork.

Virtttally every one of Castle'sdrawings is fashioned on found paper. Accessto the family store and post office proved fertile hunting grounds for such material. FIe wotrld trse almost any surface, from ice cream containers to packing receipts to a favorite, matchboxes. The natural color of tnany of these pieces of cardboard or cheap paper set the palette for the drawings-

rich honey colors that allowed the artist to establish an overall warm totre from the otttset. A smaller body of work consists of origami-like constructions made from folded and stitched paper. Doors, windows, dishes, and other household items appear in these pieces, as well as figqres and an occasional bird. Some are qtrite elaborate, with several layers placed within one anot her lik e n e s ti n g R u s s i a n d o l l s .

Despite the difficulties inherent to his choice of media and techniqtte, Castle produced a perfect record of a place and time-the world of early-twentieth-century homesteading in the Northwest. Castle's drawings describe first and foremost his own house, his own surrottndings; we get a powerful sense of where and how he lived. Btrt his drawings also ctlmprise a portrait of a place infrequently depicted in American art, the architecture and furnishings of a Western home. The cast-iron bed, picket fence, potbellied stove, and endless roads all convey an indelible sense of place. Yet in these homey, mundane subjects Castle was able to find interest and inspiration his entire life. Like the ltalian still-life painter Giorgio Morandi (1890-1964), he took a basic theme to epic heights, consistently finding new perspectives, discovering fresh viewpoints, and taking liberties with structure.

However, the great sense of specificity in Castle'sdrawings can be something of an illusion.

Though the drawings all depict real places, Castle would alter scenes to create livelier compositions. He also rarely drew from life, preferring to draw from memory, no doubt making a few changes along the way.

In addition to the detailed, soot-colored drawings of his own homes, Castle made a nttmber of fantastical renderings. One series, entitled "Dream Hottses," depicts very similar basic honse forms, each with a path leading to the front door. Unlike the majority of his other works, though, these drawings are all in color and they have a rough texttlre, the resttlt of the artist's homegrown technique of using applied paper pulp in variotts hues. Other images display a similar sense of whimsy. Castle patterned several of his house drawings w i th her r ingbone a n d c ro s s h a tc h i n g m o ti fs -d esi gns no doubt i nspi red by mai l order catalogues sent to the family-run post office. Other drawinpls feature partially buried strttctrtres, w hile s t ill ot her s d e p i c t ti n y h o tts e s o n g ro s s l y exaggeratedl andscapes.

Perhaps Castle's greatest leaps of imagination came when he poptrlated interiors with the figures that have come to be known as "friendsl' Castle often drew individual httmantlid "portraits" and displayed them in his room. Such images are lined up for display on shelves in several drawings of interiors. Cnstle made very little effort to achieve likeness in his prlrtraiture. Though many "friends" have distinctive traits, appearing in the sarne clothes or exhibiting the same facial features, they also have boxy heads and minimal, sqttared-olTfacial featqres. They usually are shown standing in groups and give an overall totenl-like effect.

So m e c r it ic s hav e a s s u m e d a re l a ti o n s h i p b e t w een C astl e' sun- or ttnder-devel opedsoci al ski lls and his c m d e l v d ra w n h u m a n fi g u re s . It i s tempti ng to agree w i th such posthttmotts a naly s is , br . r ta m o re c o rn p e l l i n g a n s w e r m i g ht be that hi s eyes and memorY w orked archi te c t lr ally . lle c ou l d re me mb e r i n te ri o rs h e ' d gl i mpsed decadesago. Thi s parti ctl l ar vi ew p oint als o led him to l e n d e r h i s o th e r m o ti fs - bi rds, furni ture, coats, and above al l , peopl ei n a geom et r ic f as h i o n .

Th e c olpling of C a s tl e ' ss k i l l a t d ra w i n g a n d hi s seemi ngl y endl ess abi l i ty to devi se tl ntl stl al c om pos it ions c l e a te s th e s e n s e o f a s l o w l y reveal ed expl orati on or experi ence.One i mmediat e s ens a ti o n i s a d i s q u i e ti n g m i x o f domesti ci ty and chi l l i ng si l ence-the feel i ng of b eing hor ne alone . On e m i g h t b e re m i n d e d o f ti me spent r.tnderthe spel l of i nsomni i t ot' i tr a n eighbor ' s c om lb rta b l e b ttt trrtfa mi l i a r h c l me.

In time, rnetaphors become apparent. One architectural detail depicts a ct'oss-sectiotrtlf a dtlorkn ob. T his r em ark a b l e p e rs p e c ti v ei s n o t o n l y j arri ng i n i ts freshness,i t al so stl ggestsal l ki rl ds

of dualities, from inside and outside, to heaven and hell. Other drawings have similar effects: Coats suggest the warmth of domestic life; seen through an open door, blowing laundry connotes loneliness and absence. Even the carefully drawn sketches of farms create a sense of unease in an otherwise well-ordered environment.

In this respect" Castle's art bears a similarity to the poetry of Emily Dickinson. Like Castle, Dickinson lived much of her life in isolation. And both artists produced a large volume of diminutive works-drawings and poems small in scale. More importantly, both were able to use the commonplace to express the infinite. Castle, creating one hundred years after Dickinson, was able to see the grace and artistic potential of the domestic world. Dickinson, on the other hand, took her inspiration from the natural world: The rainbow never tells me That gust and storm are by, Yet is she more convincinq Than Philosophy.

My flowers turn from ForumsYet eloquent declare What Cato couldn't prove me Except the birds were here!

Dickinson's genius is evidenced in the brevity of her poems; Castle's house drawings are effective because they are simple. Their straightforwardness allows room for fantasy-that of the viewer and the artist both. The reality of Castle's world unfolds in metaphor, the drawings becoming collaborations between his talent and the viewer's imagination.

Jev Toslnn

untitled (blue coats in attic) Sootand coloredpulp on foundpaper,7 5/4x lO in. (19.7x 25.4cm) Courtesyofi. CristGallery,Boise

Untitled (dishes on shelfl Sooton foundpaper,4x 5 in. (10.1x 12,7cm) Courtesyofi. CristGallery,Boise

Lrffil

Untitled (interiors utith friends) Sooton foundpaper,5l/4 x7 1/ain. (15.5x l8.l cm) Collection of Jay Potter

Ilntitled (two blue coats) Coloredpulp and sooton foundpaper,5 1/2x 2 5/8 in. (8.9x 6 cm) Courtesy ofj. CristGallery,Boise

Untitled (clothing in atlic) Soot and unknown color on found paper, 5 x 7 7/8 in. (12.7 x 20 cm) Collection of Stuart Zweibel

Ilntitled (three chairs) S o o to n f o u n d p a p e r ,4 x 9 in . ( 1 0 .1x 2 2 .9cm ) Collection of Kurt Gitter and Alice Yelen

$li..1

IIntilled (doontoy und baseboarcl deconstruction) Soot <rnfrrrrndpaper, S x 9 7/8 in. (2O.3x25 <'n) ( h l l e c t i on o f' Ch a r le sa n d .la cu r r e lin (elr ist

Iinlilled (inlerior utith hed and dresser) S o o to n <' a r d b o a r d5, x 8 l/4 h . ( 1 2 ,7x 2 l cn r ) C o l l e c t i o no f Na n < ' ra' r td lVlich a eYe l cie s

Works in the Brhibition Drawings are listed alphabetically by collection.

Dimensions are in inches, followed by centimeters; height precedes width.

Collection of Eric Barnes Untitkd (interior with table and window) with string,4 l/2 x9 7/8 (11.4x25.1) Sooton cardboard, Collection of Helen and Jack Bershad Untitled (framed interior scene) Sooton foundpaper,123/8 x l9 3/4 (51.4x 5O.2) Untitled (green screendoor) with string,10 l/8 x 5 l/4 (25.7x 15.3) Coloredpaperand pulp on cardboard, Collection of Christopher Binion untitled (stiu life) Coloredpulp on foundpaper,5 7/2x 4 (8.9x lO.2) Collection of Jill and Sheldon Bonovitz Untitle d (constructio n) Sooton foundpaper,with string,3 7/4x 7 5/4 (8.5x 19.7) Collection of Anne Bora Untitled. (attic u-tithaiew through window) Sooton foundpaper,65/16x 6 5/16(16x 16) Collection of Nancy and Robert Claster untitled (twin beds) Sooton flattenedmatch box, 5 1/4x 7 l/4 (15.5x 18.4) Collection of Jacqueline and Charles Crist Untitled (baseboard construction) Sooton foundpaper,with string,105/8 x 4 (26.4x lO.2) Untitled (domestic interior) Sooton foundpaper,5 5/4x 8 5/8 (14.6x 21.9) Untitled. (doorway and baseboard deconstruction) Sooton foundpaper,8 x9 7/8 (2O.3x 25.1) Untitled (dresser in room.)

Sooton foundpaper,4 l/8 x 6 l/4 (10.5x 15.9) Untitled (friends in room) Sootand unknowncoloron foundpaper,6 5/8 x I 5i8 (16.8x 24.5) Untit Ied (kitch en interi or) Sooton foundpaper,5 l/4 x 7 l/8 (15.5x 18.1) Untitled (picture detail) Sootand coloredpulp on foundpaper,5 l/8 x 4 l/2 (7.9x ll.4) Untitled (red door construction) 123/8 x 8 (51.4x 20.5) Unknowncoloron foundcardboard., Untitled (trailer house) Coloredpulp and unknowncoloron foundpaper,6 5/8 x 8 l/4 (16.8x 2l) j. Crist Gallery, Boise Untitled (abstract structure) Coloredpulp on foundpaper,3 7/2x 7 (8.9x 17.8) Untitled (barn interior) Sooton foundpaper,7 1/8x 105/8 (18.1x 26.4) Untitled (bed in barn interior) Sooton foundpaper,5 x 8 l/2 (72.7x 21.6)

Untitled (blue coats in attic) Sootand coloredpulp on foundpaper,7 5/4 x 7O(19.7x 25.4) Untit led ( boutI constructio n) Unknowncoloron foundpaper,with string,4 l/4 x 6 (10.8x 15.2) Untitled (dishes on shelf) Sooton found paper,4 x 5 (1O.2x 72.7) Untit led (fann ext eri or) Sooton foundpaper,5 x 8 5/8 (12.7x 27.9) Untitled (farm house) Sooton foundpaper,5 3/4x 6 l/4 (9.5x 15.9) Untitled (fann house) Sooton foundpaper,5 1/4x 7 l/4 (15.5x 18.4) Untitled (farm scene with big tree) Sooton foundpaper,6 5/4x 7O(17.2x 25.4) Untitled (house inside giant tree) Sooton foundpaper,5 l/4 x 7 1/4(15.5x 18.4) Untitled (screen do or Jragrnent) Sooton foundpaper,2 5/8 x 4 5/8 (6.7x 11.8) Untitled (social world) Sooton foundpaper,8 l/8 x lO 518(20.6x 26.4) Untitled (stoue in room) Sooton found paper,4 7/8 x 8 5/4 (12.4x 22.2') Untitled (three barrek in general store) Sooton foundpaper,4 l/2 x I (11.4x 22.9) Untitled (three totems) Sooton foundpaper,5 5/8 x I 1/4(8.6x 21) Untitled (wallpaper construction uith picture) Soot,unknowncolor,and flour pasteon foundpaper,8 3/4x 3 l/2 (22.2x 8.9) Collection of Deborah and Robert Cummins Untitled (landscape) Sootand coloredpulp on foundpaper,4 7/8x 6 5/8 (12.4x 16.8) Collection of Elisabeth Cunnick and Peter Freeman Untitled (store interior) Sooton foundpaper,5 7/4x 7 l/4 (15.5x 18.4) Collection of Noelle and Charles Fahlen Untitled (barn landscape) Sooton cardboard.,3 l/4 x 5 5/4 (8.3x 14.6') Collection of Robert Greenberg Untitled (drearn houses) Coloredpulp on foundpaper,5 l/2 x 6 3/4 (8.9x 17.2) Untitled (still life) Unknowncoloron foundpaper,5 l/2 x6 1/8 (8.9x 15.6) Collection of Flora and Adam Hanft Untitled (bedroom interior) Sootand foundpaper,6 x 7 l/4 (15.2x 78.4) Collection of Anne Stroud Hannum Untitled (bedroom uith stoue) Coloredpulp on foundpaper,7 3/4x I 15/16(79.7x 25.2) Collection of Barbara and Leslie Kaplan Untitled (aieu through doorway) Sooton foundpaper,5 l/2 x 7 l/2 (14x 19.1)

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Collection of Mark Kieckbusch Untitled (landscape) Sootand unknowncoloron foundpaper,lO x 155/4 (25.4x 40) Untitled (houses) Sooton foundpaper,6 x 6 (15.2x 15.2) Collection of Patricia Martin and Stefan Fredrick Untit led (kitc h en interio r) Sooton found paper,6 3/4 x 6 3/4 (17.2x 17.2) Collection of Ann and John Ollman Untitled S l/2 x 7 l/4 (14x 18.4) Sooton cardboard., Collection of Jay Potter Untit led (constructio n) Sooton found paper,with string, 5 l/2 x 4 (8.9x 10.2) Untitled (interior u.tithpeople) Sooton foundpaper,5 7/4x 7 l/8 (15.5x 18.1) Private collection Untitled (architectural d.etail) Sooton foundpaper,I 7/8x 6 5/8 (25.1x 16.8) Untitled (attic interior) Sooton foundpaper,6 x lO l/2 (15.2x 26.7) Untitled (attic interior) Sooton found paper,with string,dimensionsvary on each Untitled (barn interior) Sooton foundpaper,5 l/2 x 7 l/4 (14x 18.4) Untit led (b arn int eri or) Sooton foundpape\ 7 l/2 x ll (19.1x 27.9) Untitled (barn scenethrough patio) Sooton foundpaper,8 l/8 x ll (2O.6x 27.9) Untitled (b edro om interior) Sooton foundpaper,I x 13 l/2 (22.9x 54.5) Untit led (constructio n) Sootand unknowncoloron foundpaper,with string,4 7/2x 5 l/8 (11,4x 15)each Untitl ed (do mestic int erio r) Sooton foundpaper,7x 8 1/8(17.8x 20.6) Untit led (d omestic interio r) Sootand coloredpulp on foundpaper,12 l/2 x 14 1/9(51.8x 56.8) Untitled (farm exterior) Sooton foundpaper,7 l/2 x ll (19.1x 27.9) Untit led (farm ert eri or) Sooton found paper,T l/4 x lO 1/4 (18.4x 26) Untitled (farm erterior) groupoftwelvedrawings A sequential Sooton foundpaper,8 x ll (2O.5x 27.9)each Untitled Qandscape) Sooton foundpaper,6 ll2 x 70 ll4 (16.5x 26) Untitled (landscape) Sootand unknowncoloron foundpaper,10 1/8x 13(25,7x n3) Untitled (store interior) Soonon foundpaper,5 l/4 x7 (15.5x 17.8) Private collection; courtesy j. Crist Gallery, Boise Untit led ( do mestic interio r) Sooton foundpaper,11 l/4 x 11(28.6x 27.9)

Untitled (fiAuresin purple interior) Soot and unknown color on found paper, 4 718x 8 5/4 (19.4 x 22.9) Untitled. (so cial world,) Soot on found paper, ,1514x 5 7/8 (19.1 x 14.9) construction with pi.cture) Untitled (wallpaper Soot on found paper, with string, 7 ll2 x 5 514 (19.1 x 9.5)

kivate collection; courtesy Fleisher/Ollman Gallery, Philadelphia Untitled.(bam interior) Soot on found cardboard, 5 x 8 ll4 (19.7 x 9l) with socluts) Untitled (wall constraction Soot on found paper with string, 12 ll9 x 4 l/4 (51.9 x 10.8)

Collection of Selig Sacks Untit Ied (baskct construction) Soot on found paper, with ribbon, 4 ll8 x I 518(10.5 x 94.5) Untit led, (c o nstruction) Soot on found paper, with string, 11 x 6 5/8 (27.9 x 16.8)

Collection of Harvey Thlcensky Untitled.(d.omestitinterior) Soot on found cardboard, l0 x 15 ll9 (25.4 x54.3)

Collection of Mary Ellen Vehlow and Stephen Hessler Untitled.(three chails) Soot on found paper, 7 5/4 x ll (19.7 xn.9)

Collection of Judie and Bennett Weinstock Untitled (patterned.Landscape) Unknown color on found paper, 7 ll4 x I l/4 (18.4 x 9l)

Collection of Robert Weinstock Untitled (bedroom inurior) Soot on found paper, 6 ll2 x9 (16.5 x22.9)

Collection of Nancy and Michael Yecies Untitled.(bam with night sW) Soot on found paper, 7 0/16 x 8 11116(19.2 x 92.1) with bed. and. d,resser) Untitled. (interior Soot on cardboard, 5 x 8 l/4 (19.7 x?l)

Collection of Alice Yelen and Kurt Gitter Untitlcd (still life) Soot on found paper, ,l x I (1O.2 x 92.9)

Collection of Stuart Zweibel Untitled.(d,omasticinterior) Soot and unknown color on found paper, 5 x7 7/8 (19.7 x20)

The Drawing Center is the only not-for-profit institution in the country to focus solely on the exhibition of drawings, both contemporarT and historic. It was established in 1976to provide opportunities for emerging and under-recognized artists; to demonstrate the significance of drawings throughout history; and to stimulate public dialogue on issues of art and culture.

This is number 6 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.

Boeno or Drnnctons Dita Amory George Negroponte Co-Chairmen FYancesBeatty Adler James M. Clark, Jr. Flances Dittmer Colin Eisler Bruce W. Ferguson Michael Iovenko Werner H. Kramarsky Abby Leigh William S. Lieberman Glenn Ligon Michael Lynne Sally Engelhard Pingree Elizabeth Rohatyn' Eric C. Rudin Allen Lee Sessoms Jeanne C. Thayer* Edward H. Thck Elizabeth Weir Andrea Woodner Catherine de Zegher Erecutiue Director Ernerita This exhibition has been made possible by anonymous donors.

Major support for the development and presentation of the Drawing Papers has been generously contributed by Frances Dittmer.

The Drawing Papers publication series is printed on Monadnock paper.

The Drawing Center 55 WoosterStreet New York,NY 10015 Tel:.919-919-2166 Fax:212-966-2976 @2000The Drawing Center Designer:Luc Derycke Coordinator:Katie Dyer coven lJntitled (stain and doorway). Soot on found paper, 5 5/4 x 8 5/E in. (14.6 x 91.9 cm). Courtesy of j. Crist Gallery' Boise.