Posts Tagged ‘pencil

01
Feb
12

Jessica Houston : ‘The Times’ Series (Paintings)

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“My work is an investigation of ephemera and transformation of the everyday. I often use found materials that either reveal or subvert underlying formative principles. Whether I’m painting over newspapers, making installations from objects collected in the Arctic, intervening in public spaces, or inviting scientists to interact, I am driven by subtle shifts in perception and a rearrangement of form. I’m drawn to the fleeting experience that allows for impermanence, chance, unpredictability and tenuous stability. I’m looking for the possibility of revelation through simple means, a place and a moment where now. dissolves into always, and always into now.” – Jessica Houston : Artist Statement

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‘The Times’
Oil and Pencil on Newspaper
12″ x 16″ Wood Panel
2007
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‘The Times’
Oil and Pencil on Newspaper
12″ x 16″ Wood Panel
2008
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‘The Times’
Oil and Pencil on Newspaper
12″ x 16″ Wood Panel
2008
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‘The Times’
Oil and Pencil on Newspaper
12″ x 16″ Wood Panel
2008
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‘The Times’
Oil and Pencil on Newspaper
12″ x 16″ Wood Panel
2008
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‘The Times’
Oil and Pencil on Newspaper
12″ x 16″ Wood Panel
2008
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Since 2006 I have been painting over newspapers adhered to wood panels – obliterating, whiting out, and rearranging the page. Working within the existing grid system to reveal and ultimately, undermine it, the act of painting echoes the ways in which the media selects, eliminates, and frames information. The paintings subvert and transform language, and create a new form made of line, mark, measure, and composition. In their multi-layered process of making these paintings become palimpsests, a place where chance and time collide. Alongside the trauma, beauty, and calamity of the everyday world, there is the possibility of silent observation. I also paint portraits of people from the newspaper. THis is largely a response to Susan Sontag’s ‘Regarding the Pain of Others’. I paint as a process of re-presenting the form, the information. In an era of information overload, painting offers a very different kind of response to the news, a human response, of the hand and the heart. – [Extract : J.H. Website]

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Jessica Houston : Website

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01
Nov
11

Karl Haendel : Works on Paper

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Abstract Chicago #1
charcoal on paper
60 x 49 in
2010

Abstract Chicago #3
charcoal on paper
60 x 49 in
2010

Abstract Chicago #2
charcoal on paper
60 x 50 in
2010

WK #4
Pencil and spray paint
30 x 22 in
2009

Somewhat Cubist #10
pencil and enamel
30 x 22 in
2009

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Los Angeles-based artist Karl Haendel works with large-scale graphite drawings. The themes of his works, largely appropriated, include political commentary, personal narrative, and Modernist forms.

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Karl Haendel : Tony Wight Gallery

Karl Haendel : Noma Gallery

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20
Mar
11

Nasreen Mohamedi : “The Grid, Unplugged” (Drawings)

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‘The Grid, Unplugged’ (Important Drawings from the 1970’s) was an exhibition of a group of drawings by one of the essential twentieth century artists from India, Nasreen Mohamedi (1937-1990). The works at the Talwar Gallery represented a significant body of the artists’ oeuvre from the 1970s

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Untitled
18 3/4″ x 18 3/4″
Graphite and Ink on Paper
ca. 1970s

Untitled
7 1/2″ x 7 1/2″
Graphite and Ink on Paper
ca. 1970s

Untitled
7 1/2″ x 7 1/2″
Graphite and Ink on Paper
ca. 1970s

Untitled
7 1/2″ x 7 1/2″
Graphite and Ink on Paper
ca. 1970s

Untitled
18 3/4″ x 18 3/4″
Graphite and Ink on Paper
ca. 1970s

Untitled
18 3/4″ x 18 3/4″
Graphite and Ink on Paper
ca. 1970s

Mohamedi, employing pen and pencil, transformed the nineteen and seven inch squares of paper into a tour de force. Remarkably executed over three decades ago in an environment where narrative and figurative art was the rule, Mohamedi’s clarity of pursuit and resolve is matched only by the taut tensile energy resonating through the lines. Dismantling the rigidity of the grid, she infuses them with a dynamic rhythm that at times soars, dives, expands, and collapses. Like the footsteps of sunlight through a courtyard or wind sweeping over water, they are abstract in form but not in experience. Her drawings suggest the magnanimous yet simple phenomenon so truly that they infuse an awe-inspiring chill as to the immensity of our experience and the poverty of means used to elicit it.

On returning to India in the early sixties after studying in London and Paris, Nasreen broke away from the milieu of representational art pervasive in post independence India and carved out a unique space for herself at the crest of Indian modernism. Distilling her perceptions to their essence, her means to the essential, un-tethered she floated, above and away from any categorization. Extracting the structure within nature and unleashing the poetry residing within structure, Mohamedi strove to create a unity through form between the outside and the inside. The waves in the sea, the sand under the waves, the sun over the sea, in Mohamedi’s drawings they are all on a single plane, interconnected, and susceptible to the gentle variance of the viewer’s perception. [Nasreen Mohamedi : Talwar Gallery]

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Nasreen Mohamedi : The Drawing Center

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