Introduction Welcome to a special edition of Drawing Paper. We’ve curated this issue in collaboration with Gavin Delahunty, Head of Exhibitions & Displays, Tate Liverpool. As a result, we are able to bring you an enlarged and enriched paper with a fascinating mix of work from a wide spectrum of artists. Support from Tate Liverpool has also enabled us to select contributions more freely and to distribute more widely. It’s been an easy, enlightening and fruitful collaboration and we hope you find the selection and the mix stimulating. Feel free to draw your own conclusions about the work. We’ve noted that there’s a significantly greater amount of figurative images in this issue – although there’s been no attempt to work to a specific theme. Ultimately the excitement and fascination we feel for drawing in the widest sense is extremely well expressed here. We never cease to be amazed and enthralled by the richness and diversity of the content and execution of the work that catches our attention.
Issue 6 is published to co-incide with the launch of Liverpool Biennial 2012 and Tracing The Century: Drawing as a Catalyst for Change, Tate Liverpool, 16 November 2012 — 20 January 2013.
We are looking for distribution outlets around the UK. If you run a gallery, studio group, book store, nice cafe or bar and would like some copies please get in touch: drawingpaperemail @gmail.com
... ... ... ... ...
If you would like to contribute to, sponsor, support and co-curate future issues of Drawing Paper please get in touch.
Drawing Paper is a freely distributed, not-for-profit publication funded and made possible solely by its contributors. Our featured artists pay an equal amount for their page which in total covers the production costs. With this model it is possible to be liberated from the tedious rigours of funding applications and criteria guidelines, enabling us to do things on our own terms — Drawing Paper is a logo and advert free zone. ... ... ... ... ... Special thanks to Gavin Delahunty and Stephanie Straine at Tate Liverpool for their support in bringing together this special edition of Drawing Paper. Thanks to all our contributors for their support, encouragement and enthusiasm. Thanks to Nick Kennedy, Kate Smith, Mike and Paddy at Rochelle School, Jerwood, the directors at The Royal Standard and everyone who helps to distribute Drawing Paper in the UK. If you would like to help with distribution please get in touch.
... ... ... ... ... All artworks copyright © The Artists or their representatives. Published September 2012. Opposite page — coal drawing by Jon Barraclough and Mike Carney, a collaborative drawing produced at Metal, Edge Hill Station, Liverpool Art Prize 2012. Back cover photo: Jon Barraclough Published and designed in Liverpool, UK by Mike Carney and Jon Barraclough. www.mikesstudio.co.uk www.jonbarraclough.co.uk Printed in a limited edition of 6000 by Sharman and Company, Peterborough. www.sharmanandco.co.uk ... ... ... ... ... drawing-paper.tumblr.com Find ‘Drawing Paper’ on Facebook.
So here it is. Drawing Paper 6 with the usual light touch and with a minimum of text. And only one logo. It is what it is. Enjoy. Mike and Jon
Join us for Drawing Sessions #2! The Royal Standard in collaboration with Drawing Paper, will co-host ‘Drawing Sessions #2’, a one day event exploring the relationship between sound, performance and mark making. Visitors will be invited to use drawing to respond to a series of performances and interventions that will occur throughout the day. Expert speakers, performers and artists are contributing to the event, including including Gavin Delahunty, Head of Exhibitions & Displays, Tate Liverpool, the Volkov Commanders, a Manchester based performance collective and Margarita Gluzberg, artist and lecturer from the Royal College of Art together with a specially selected and invited programme of musicians and sound artists. Saturday 17 November 2012 12noon—12 midnight The Blade Factory, Camp and Furnace, 67 Greenland Street, Liverpool L1 0BY.
For more information go to: www.the-royal-standard.com www.biennial.com
Nastassja Simensky â€˜Study for a Water Tower #2â€™ (2012) Admiralty chart, emulsion and graphite. 500 x 300 mm.
Bonnie Camplin â€˜Fear is the Mindkillerâ€™ (2008) Charcoal on paper. 665 x 485 mm. Courtesy The Artist, Cabinet Gallery and Galerie Cinzia Friedlaender.
Chiz Turnross ‘Ferryboat Man’ (2012) Paint on flotsam in nature.
Conrad Atkinson ‘Hugh McDiarmid’s Shopping Trolley’ (2011) ‘Walt Whitman’s Shopping Trolley’ (2011) Durabrite print, coloured pencil, watercolour, acrylic, glitter on archival paper. 203 x 254 mm. © Conrad Atkinson. Courtesy of Ronald Feldman Fine Art New York.
Dave Evans ‘All Our Yesterdays’ (2012) Paper, graphite. 450 x 705 x 280 mm.
Sue Tompkins ‘Your Defunct Byte’ (2012) Typewritten text on newsprint. 420 x 292 mm. Courtesy The Artist, The Modern Institute/Toby Webster Ltd.
Katarina Burin ‘Lithuanian Club’ (2010) Ink on paper. 1140 x 610 mm. ‘Lehigh Country Club’ (2010) Ink on paper. 1140 x 610 mm.
Emma Kewley ‘Ribbons’ (2011) Pencil and gouache on paper. 1600 x 1000 mm.
Lesley Guy ‘Conductors (Aberdeen and Downes)’ (2009—12) Ink on paper. Dimensions variable.
Kate Gilman Brundrett ‘Weeblecars’ (2009) Pen on paper. 180 x 290 mm.
Penny Davenport ‘Wildebeest’ (2010) Ink on paper. 275 x 190 mm.
Madeline Hall â€˜Untitledâ€™ (2011) Enamel, acrylic and collage on paper. 180 x 246 mm.
Marc Bauer ‘Sea’ (2012) Pencil on aluminium. 700 x 1000 mm. Courtesy of Collection Nationale Suisse, Basle. © Freymond-Guth Fine Arts, Zurich.
Gregor Wright ‘Shortcut To Yr Skull’ (2012) Pastel and pencil on paper. 418 x 592 mm. Courtesy The Artist, The Modern Institute/Toby Webster Ltd.
Paulina Olowska â€˜Hatter, Actress from a Puppet Theaterâ€™ (2011) HB pencil on paper. 1600 x1110 mm. Courtesy The Artist, Galerie Daniel Buchholz, Berlin/Cologne.
Rob Churm â€˜Recorded Materialâ€™ (2012) Pen on paper. 297 x 210 mm.
Jim Nutt ‘Untitled’ (2011) Graphite on paper. 381 x 356 mm. Courtesy David Nolan Gallery, New York.
Carroll Dunham ‘Untitled (3/25/10)’ (2010) Graphite on paper. 279 x 216 mm. Courtesy David Nolan Gallery, New York.
Carla Scott Fullerton ‘Untitled’ (2012) Etching. 500 x 700 mm.
Chila Burman ‘Global Fiddle’ (2010—12) Mixed media. 559 x 711 mm.
Aisha Khalid â€˜The Container and The Containedâ€™ (2011) Gouache on wasli paper. 1168 mm in diameter. Courtesy Corvi-Mora, London.
Uri Aran ‘Untitled (A)’ (2010) Computer drawing inkjet on paper. 210 x 292 mm. Courtesy The Artist and Gavin Brown’s enterprise.
David Godbold â€˜As if lit from withinâ€™ (2012) Ink and pencil on tracing paper laid over found paper. 297 x 210 mm. Courtesy Kerlin Gallery, Dublin.
Richard Shields ‘Indebted Adeptness,’ (Priced and sold at the outstanding credit card debt) (2010—12) Bic Biro on credit card statement. 300 x 150 mm (x2).
Sally Taylor â€˜Mouth Full of Triangles 2â€™ (2011) Graphite and paper collage on paper. 250 x 190 mm.
Rob Churm is an artist and musician from Glasgow who makes drawings. He will be showing new work in the show ‘Flicking Glass Snails’ at the Good Press Gallery in Glasgow, 2 October and a publication of the same name for Nieves, autumn 2012. You can hear the latest album for his band ‘Gummy Stumps’ at www.newhousewhites.co.uk.
Born in 1977, Uri Aran lives and works in New York. Working in different mediums such as sculpture, video, performance, drawing and sound, Aran is currently working on an upcoming solo exhibition at Kunsthalle Zürich.
“Because of his clarity, his wit, his love of community and his gift for locating the hidden stitch that unravels the seam, Conrad Atkinson has gradually revealed himself to be one of the most thoroughly humanist artists of our time.” Dan Cameron, Director New Museum of Contemporary Art New York. www.conradatkinson.com
Marc Bauer, born in 1975 in Geneva, lives and works in Berlin. He will have his next solo exhibition in Centre Culturel Suisse in February 2013 and he is working on an animation movie called The Architect. www.marcbauer.net
Recently I have been described as an “artist, firebrand and social activist, known for creating brightly hued, genre-defying prints, paintings, collages and installations that examine representation, gender and cultural identity”. I have recently exhibited alongside Damien Hirst and at Maison Particuliere in Belgium with Ai Wei Wei, Louise Bourgeois, Marlene Dumas, Bill Viola and others. I draw on fine art and popular-cultural images to generate powerful pictures of current Asian femininities. In the tradition of graphic political satire I am articulating a critical position within contemporary postcolonial, consumption-saturated Britain. ‘Global Fiddle’ stems from my first use of bhindis and unconventional ‘non- artistic’ materials such as glitter, stickers and ice-cream cones. I am referencing personal family histories and my dad’s ice-cream van on Freshfield beach Much of my work is autobiographical, my own narrative a meta-narrative of South Asian identity; my own story a symbol for a larger collective history. I am continuously examining the legend of the Burman ice cream van, the centre of my dad’s career and my childhood experience. I am taking the themes of ice cream and nostalgia, sensuality and exploration and combining them with contemporary subtexts. It’s a joy to be in a Liverpudlian drawing newspaper from where I’m from! www.chila-kumari-burman.co.uk
treborchurm @ gmail.com goodpressgallery.co.uk
I’ve been making drawings of characters and scenes from stories I create for the past five years. These stories are sometimes realised, and are created as a result of consideration of the interplay between words and pictures. Many of these drawings, however, are created independently of any formal narrative. The drawings I’ve been making more recently exist as they are being created; they remain suspended, perhaps trapped or forever free from the constraints and limitations of a direct fully realised narrative. They do what they want. I try to explore subconscious gatherings without being too bogged down with whys and hows, which, I think, can put to death imaginative thoughts and actions. I enjoy this way of working, with a lack of justification or tailored approach. I think in some ways the characters have adopted a similar air of detachment from both myself and from the viewer. Full to the brim with secrets, sorrow, judgement and delight. www.pennydavenport.org
Katarina Burin’s drawings, collages and larger installations are influenced by the documentation and circulation of historical architecture and design imagery. In the matchbook series, specific historical matchbooks, generally designed by anonymous illustrators, are blown up and redrawn by using a toothbrush to spray ink through layers of hand cut stencils – a pre-airbrush technique often used in the past for architectural drawings. Katarina is currently a visiting Lecturer at Harvard’s Visual and Environmental Studies program teaching drawing and is co-curating and participating in a show for the 50th anniversary of the Le Corbusier’s Carpenter Center in Cambridge Massachusetts in February 2013. email@example.com
Born 1970, London. Bonnie Camplin’s practice she broadly describes as the ‘Invented Life’ and has included eight years as a para-theatrical producer, director and performer of experimental club nights in Soho London as well as work across the disciplines of drawing, film-making, music and writing. She has shown in London and internationally and her work has included collaborations with artists Enrico David, Mark Leckey, Lucy MacKenzie and Paulina Olowska. She has lectured at Goldsmiths London, The Ruskin School Oxford, University of Manchester, The Architectural Biennale Venice and has participated in Jury work at the AA London. She was Professor of the Film-Class at Städelschule Frankfurt from 2008 to 2010. Recent projects include ‘Soundworks’ in May this year at ICA London, also devising and leading a workshop on the metaphysics of surveillance at Hayward Gallery London as part of the ‘Wide Open School’ project happening in June/July this year. She is currently a visiting lecturer at Goldsmiths College.
Carroll Dunham was born in 1949 in New Haven, Connecticut. Carrol Dunham has exhibited extensively in the United States and Europe. Recent solo exhibitions of his work have been held in institutions such as the Museum Ludwig in Cologne in 2009, the Allen Memorial Art Museum in Oberlin College, New York in 2008, and the Drammens Museum in Oslo in 2006. He has also participated in exhibitions in major institutions such as the Museum of Modern Art in New York, the Musée d´Art Moderne de la Ville de Paris in Paris, and the Museo Nacional Centro de Reina Sofia in Madrid. His work has been explored in multiple essays and publications. Carroll Dunham lives and works in New York City. www.carrolldunham.net
This work is inspired by the stage sets from the original series of Star Trek, where alien worlds often appeared to be created out of nothing more than crumpled and painted paper. ‘All Our Yesterdays’ was made by drawing on, and crumpling over and over, lots of sheets of paper then layering them up to give the whole work mass. It is part of a larger exploration of the nature of subjective time, how we are all situated within our own perceptions of the passage of time, with the past, present and future internal constructions that can be triggered with ease by the most minimal of means. By exposing the fragility of these constructions in my work, both physical and temporal, I’m looking to encourage an appreciation and understanding of the reality of now, of the true contemporary. www.evansdave.com
Madeline Hall is an artist and director at The Royal Standard, Liverpool. Her work explores notions of placelessness, transience and the phenomenology of space through the creation of drawings and ‘drawn objects’. These objects often contain appropriated imagery, discarded materials and mythological symbolism to create works that are both evocative and fragile. www.madelinehall.co.uk
Kate Gilman Brundrett
Kate is an artist and producer who’s intrinsic interests remain embedded in our world and how we structure it. Her investigations highlight our accustomed rules and systems and transpire in multilayered and often humorous end points, from ‘small wonderments’ and ideas of intrigue, to spontaneous drawings that capture the idiosyncrasies of modern day life. The ‘Weeblecar’ series is a light examination of representation through personal property, part of an ongoing query of how the self sits within its social and physical environment and how we deal with the tensions this creates. Graduating from Camberwell College in 1998 Kate now lives and works as a freelance artist / producer, adviser and Jobs & Opps Editor for a-n Magazine. www.kateb.co.uk
David Godbold born in 1961 in England. Having moved to Ireland at the beginning of the 90’s, the legacy of European colonialism was a particularly pressing concern for this much-traveled Englishman who has lived for long stretches in Australia and the US. His work, originating during his residency at PS1/MoMA, New York in 2000 incorporated a range of found materials — discarded printed matter, old tickets and leaflets into large-scale, scatter-hung agglomerations of caustic cartoons. And in his recent paintings Godbold takes a wry look at the conventions of eighteenth century landscape representation, adapting, and reinventing with elements of movie cartoon and religious art.
Drawing has become an important part of my working process to articulate my thoughts, inform and complement my practice. I approach my practice in an enquiring, investigative, experimental and researchminded manner. Artefacts, situations, and stories I encounter define my decisions and methods; as a result there is often truth in the midst of fiction. My work is not a culmination of this research, but rather a series of outcomes, which although complete artworks in themselves are not concluding.
Emma Kewley is based in Liverpool. Her practice is currently concerned with ideas about pornography and exchange. www.emkewley.tumblr.com em.kewley @ gmail.com
Fliers and newspapers are a surface of existing forms, which serve as starting points for semi-abstract ramblings. I am often drawn to an image for some visual or compositional aspect; for example, those wearing spectacles might be chosen, or if the hand bears an interesting relation to the face. I then work to enhance these characteristics using lines to build up forms and veils. The defacement and transformation of the image into a formal game of composition is the subject rather than the biography of the person, however, by choosing images from the Obituary pages, the act of transformation takes on an extra meaning, one that could be considered magical. Lesley Guy is based in Sheffield. Recent exhibitions include ‘Portmanteau’, with G39 in Leipzig and ‘Jeune Creation’ at 104 in Paris. She will be taking part in ‘Possession’ at the Bangkok Art and Culture Center, in March 2013.
Jim Nutt born in 1938 in Pittsfield MA. James T “Jim” Nutt is an american artist who was a founding member of the Chicago surrealist art movement known as the Chicago Imagists, or the Hairy Who.
Born in Gdansk, 1976, lives and works in Raba Nizna, Poland.
Carla Scott Fullerton
Born in 1980. Lives and works in Glasgow.
Aisha Khalid was born in 1972 in Faisalabad, Pakistan and currently lives and works in Lahore. She completed her degree in miniature painting at the National College of Arts, Lahore where she then went onto teach the subject and in 2000 undertook a two-year residency at the world famous Rijksakademie, Amsterdam. Khalid has exhibited widely in Europe, USA, Australia and Asia including international biennials and art fairs and has artwork in collections worldwide.
Carla Scott Fullerton is deeply engaged with sculpture, investigating materials process involved in construction and deconstruction, those being old and new. She questions how forms and formless structures sit together, juxtaposing material forms through processes and playing with shapes that relate to architecture. She works with heavy industrial materials such as cement and steel, allowing them to take on their own form. Devoid of their usual restrictions and through the irregular and unpredictable processes of pouring, the work is deliberately imperfect and free of the expected forms governed by the traditional notions of architecture. www.carlascottfullerton.com
Richard Shields practice is primarily concerned with drawing and painting but takes inspiration from objects, environments and situations. Allowing the alternative spaces he exhibits in to form the basis for a conceptual brief is a decision that has spilt over into his daily studio practice. Shields personal life has become an ideas based conversation about usury, (www. wikipedia.orgwiki/D%C3%A9tournement) Détournement and Re-appropriation between himself the bank and the debt collection company. Since 2010 a drawing of empty leather gloves drawing themselves onto a credit card statement (declaring itself to be blank) had been for sale priced at his fluctuating balance. In 2012 an Art collector purchased the piece by calling the credit card company and settling the debt with his own credit card. Shields is now clearing out his student overdraft through re-drawing the self drawing Glove onto the remainder of his blank cheques which he will sell until the balance is cleared. The debt collection company are aware of the artistic process and are temporarily holding any action until such sales can be made to acquire the funds. The objects themselves have no real value other than as a conduit for information but can denote a specific monetary figure that can find its equivalent in the art market depending on the fluctuating trends, tastes and available funds of those who would collect art and debt. Richard Shields was born in Co. Down Northern Ireland and graduated from Manchester Metropolitan university in 2006 with a BA Hons in Sculpture. Shields is currently based in Manchester where he runs a small non profit studio called ‘The Other Side of The Door Is Red’ in the Hotspur Press. He is co-founder and Director of ‘Contents May Vary’, formed in 2004, and has exhibited nationally and internationally both as part of the collective and on solo projects. He is currently being represented by Paper Gallery in Manchester and will be co-ordinating and curating the Manchester wing of Arts Transpennine 13. www.richardshields.blogspot.co.uk www.adeptness-indebted.blogspot.co.uk firstname.lastname@example.org
In an attempt to explore the notion of humanness in its absurdity, banality, tragedy, resilience and humour, using the re-presentation of past moments through recognised situations or imagery displaced from their original context, familiar and unfamiliar are fused to create affectionate parodies of the human condition.
Born 1971, Leighton Buzzard; Lives in Glasgow.
Born 1977, Bury, Lancashire. Studied at Lancaster University (1995—1999). Selected solo exhibitions include ‘All Say The Same’, Ryedale Folk Museum, North Yorkshire (2011), ‘Marks and Mouths’, PS2, MIMA — Middlesbrough Institute of Modern Art (2010 —11), ‘Mouths with Triangles’, Duckett and Jeffreys, Malton, (2010), ‘Raising Voices’, South Bank Arts Centre, BCA Gallery, Bedford (2009), ‘aaa’, The Bowery, Leeds (2009), ‘Duologue’, Michael West Gallery, Quay Arts, Newport, Isle of Wight, Hampshire (2007). Recent group exhibitions include ‘Jerwood Drawing Prize 2011’, Jerwood Space London and UK tour (2011/12), ‘Afternoon Tea’, WW Gallery at the 54th Venice Biennale, Venice, Italy (2011), ‘Art Trier Kunst York’, Kunstverien Trier, Germany (2012), ‘Jerwood Drawing Prize 2009’, Jerwood Space, London and UK tour (2009/10), ‘Personally Political: Contemporary Drawing’, Tacheles, Berlin (2009), ‘DIY’, Temporary Art Space, Halifax, West Yorkshire (2009), ‘800feet’, Space, Portsmouth University, Hampshire (2009). Also included in the ‘Jerwood Drawing Prize 2004’, Jerwood Space, London and UK tour (2004/5). Work is held in private collections in the UK and internationally. www.sallytaylor.net
The past year I’ve been painting off and on, writing a musical adaptation of Alfred Jarry’s ‘Ubu Roi’, collaborating with friends and strangers, loosing confidence — hopefully finding it again, forming a Disco band, reading more Rabelais and Shakespeare, working my way through the Moomins boxset, plotting. Simplicity is the goal. I’ve been trying to sneak up on myself, trusting my most dumb-ass decisions. www.chizturnross.tumblr.com
Born 1975, Glasgow; Lives in Glasgow www.gregorwright.com
Drawing Paper is an independently published, freely distributed newspaper based 'gallery' concerned with contemporary drawing practice. Publ...
Published on Sep 11, 2012
Drawing Paper is an independently published, freely distributed newspaper based 'gallery' concerned with contemporary drawing practice. Publ...