The Drawing Center

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The Drawing Center

The Drawing Center explores the medium of drawing as primary, dynamic, and relevant to contemporary culture, the future of art and creative thought.
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The Drawing Center Gallery Hours: Wed-Sun, 12-6pm; Thurs, 12-8pm. Tickets are $5 adults, $3 student and seniors, children under 12 are free.

12/21/2019

Southern Cheyenne artist Bear’s Heart (Nokkoist) used ledger books acquired in trade or by gift from white traders and military officers to create detailed drawings of personal and cultural histories after he was captured by the US Army following the end of the Red River War (1874–75).

While incarcerated at Fort Marion in St. Augustine, Florida, Bear’s Heart drew images recounting the journey southeast to Florida, many including boats and trains as shown here. After his release Bear’s Heart went to Hampton Institute, a school in Virginia founded to provide education to former slaves, but he later left to return to what had become the Cheyenne-Arapaho Agency, a reservation established at the end of the Red River War in the territory that is now Oklahoma. Nokkoist died from tuberculosis at the age of thirty-one.

“The Pencil Is a Key: Drawings by Incarcerated Artists” is on view until January 5, 2020. Throughout the run of the exhibition, admission to The Drawing Center will be FREE (Wed - Sun, 12pm - 6pm | Thurs, 12pm - 8pm)⁣

Please note our holiday hours: Closed Dec 25 - Jan 1
Open Jan 2 - Jan 5, 12pm - 8pm

Image: Attributed to Bear's Heart (Nokkoist), “Untitled Ledger Drawing,” c.1875-1878. Watercolour, graphite, and color pencil on paper. Courtesy of Donald Ellis Gallery, New York, Vancouver.

12/20/2019

Building upon themes presented in our ongoing exhibition “The Pencil Is a Key: Drawings by Incarcerated Artists,” The Drawing Center will partner with the Chicago 400, a grassroots campaign of formerly incarcerated and convicted people experiencing homelessness in Chicago, and artist, policy advocate, and researcher Laurie Jo Reynolds for “Meet the Chicago 400: Lessons in the Carceral State,” the third iteration of Winter Term, an initiative that investigates drawing as a tool for addressing inequity and encouraging social change. ⠀⠀⠀⠀⠀⠀⠀⠀⠀
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“Meet the Chicago 400: Lessons in the Carceral State” will begin on January 21 with an exhibition of drawings produced by the Chicago 400, and will culminate with a public symposium on Saturday, January 25. Building upon the Chicago 400’s ongoing advocacy work, the initiative will explore the intersection of drawing and criminal justice reform, specifically as it relates to fear-based policies, the unintended consequences of public registration laws, and the expansion of the carceral state.⠀⠀⠀⠀⠀⠀⠀⠀⠀
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All programs will be free and open to the public. ⠀⠀⠀⠀⠀⠀⠀⠀⠀
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Click the link in our bio to learn more about the exhibition and associated programming. ⠀⠀⠀⠀⠀⠀⠀⠀⠀
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Image: Sid Hughes, Map depicting the enforcement of registration laws. Courtesy of the Chicago 400.

12/19/2019

Visit all of our current exhibitions tonight during late hours (we're open until 8pm!) including "Wasteland: Open Sessions 16," which features the work of seven emerging artists including Jonathan Ehrenberg, who combines analog and digital media to create animations that are pieced together from memories, fantasies, and dreams. ⠀⠀⠀⠀⠀⠀⠀⠀⠀
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Featured here is “Wormhole,” a video featuring stylized figures which are animated by mapping them onto 3D motion capture footage set in a landscape built from 3D scans of clay sculptures. Between the naturalness of body language and the artifice of representation, Ehrenberg examines tensions inherent in perception.⠀⠀⠀⠀⠀⠀⠀⠀⠀
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Image: Jonathan Ehrenberg, video still of “Wormhole,” 2019. Clay, plaster, wood, and video installation. Courtesy of the artist.

12/17/2019

In 1942 some 120,000 Japanese Americans were forced to abandon their homes, jobs, and the majority of their belongings and were transferred to ten concentration camps (alternately called internment camps, evacuation centers, and relocation centers by the US government). Among these Americans was watercolorist Henry Fukuhara, an artist featured in “The Pencil Is a Key,” who was born in Fruitland, California. Fukuhara was forced to move to Manzanar, a concentration camp in Inyo County, where he sketched the experiences of life in the camp. ⠀⠀⠀⠀⠀⠀⠀⠀⠀
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As an artist trained at Otis Art Institute in Los Angeles, Fukuhara skillfully produced a series of architectural drawings depicting aspirational buildings that for the most part would never be constructed at the camps. In 1943, Fukuhara and his family were able to move to Long Island, where they ran a floral business for the next forty years. He returned to painting and drawing in 1972.⠀⠀⠀⠀⠀⠀⠀⠀⠀
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“The Pencil Is a Key: Drawings by Incarcerated Artists” is on view until January 5, 2020. Throughout the run of the exhibition, admission to The Drawing Center will be FREE (Wed - Sun, 12pm - 6pm | Thurs, 12pm - 8pm)⠀⠀⠀⠀⠀⠀⠀⠀⠀
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Image: Henry Fukuhara, “Untitled (Architectural Drawing of Barracks),” 1943. Watercolor on paper. Courtesy of the Japanese American National Museum.⠀⠀⠀⠀⠀⠀⠀⠀⠀
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#ThePencilIsaKey #thedrawingcenter

12/16/2019

“The Pencil Is a Key: Drawings by Incarcerated Artists” is an exhibition of historical and contemporary drawings by incarcerated people from all over the globe. Examples include artists who were interned in the Soviet Gulags, Apartheid-era South Africa, in Central and South American countries under military dictatorships, and in the post-Arab Spring Middle East. The exhibition also includes drawings by members of contemporary American prison populations who are victims of the mass incarceration epidemic and broken judicial system. ⠀⠀⠀⠀⠀⠀⠀⠀⠀
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To expand on the issues presented in the exhibition, please refer to our ongoing list of resources that compiles organizations and initiatives that have developed outreach, service, advocacy, and public programming services in support of incarcerated individuals and other marginalized communities locally, nationally, and internationally. To learn more about the ways in which you can help communities of justice-involved individuals, please visit the resource list using the link in our bio.

12/15/2019

Howling Wolf (Ho-na-nist-to) is among the ledger drawing artists featured in “The Pencil Is a Key: Drawings by Incarcerated Artists." While incarcerated in the US military’s Fort Marion in St. Augstine, Florida, these artists used ledger books acquired in trade or by gift from white traders and military officers to create detailed drawings of personal and cultural histories, which by the late nineteenth century, were threatened under the strains of US government policies of land seizures.

Howling Wolf was a leader of the Bowstring Society, a Southern Cheyenne military organization, who fought against the United States in the Red River War (1874–75), a campaign waged by the US government to displace Southern Plains nations in the area that is now Oklahoma and Texas, then known as Kiowa Territory and Oklahoma Territory. Howling Wolf and other leaders who had refused to cede their land were captured by the US Army and incarcerated in Fort Sill (in present-day Oklahoma) before being transferred to Fort Marion for a three-year sentence while the rest of the Southern Cheyenne population was forced onto reservations in the area that is now Oklahoma.

“The Pencil Is a Key: Drawings by Incarcerated Artists” is on view until January 5, 2020. Throughout the run of the exhibition, admission to The Drawing Center will be FREE (Wed - Sun, 12pm - 6pm | Thurs, 12pm - 8pm)⁣

Image: Howling Wolf (Ho-na-nist-to), “Untitled ledger drawing,” c. 1875. Graphite and color pencil on lined paper. Courtesy of Donald Ellis Gallery, New York, Vancouver

12/14/2019

On February 19, 1942, President Franklin D. Roosevelt signed Executive Order 9066, allowing the US government to designate areas where Japanese Americans were not permitted to reside—the majority of the West Coast, excluding Hawaii—and areas from which, once moved by the US government, they would not be able to leave without the permission of the Secretary of War.⠀⠀⠀⠀⠀⠀⠀⠀⠀
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Among the 120,000 Japanese Americans who were forced to abandon their homes, jobs, and the majority of their belongings and transferred to ten concentration camps (alternately called internment camps, evacuation centers, and relocation centers by the US government) was Ruth Asawa who was incarcerated at the age of sixteen with her family at Santa Anita Racetrack and later at The Rohwer Relocation Center in Arkansas. Although later Asawa became known for her biomorphically abstract woven wire sculptures, while at the camp she studied with Walt Disney Studios animators who were interned alongside her, and developed her drawing and painting skills.⠀⠀⠀⠀⠀⠀⠀⠀⠀
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“The Pencil Is a Key: Drawings by Incarcerated Artists” is on view until January 5, 2020. Throughout the run of the exhibition, admission to The Drawing Center will be FREE (Wed - Sun, 12pm - 6pm | Thurs, 12pm - 8pm)⁣⠀⠀⠀⠀⠀⠀⠀⠀⠀
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Image: Ruth Asawa, “Sumo Wrestlers,” 1943. Watercolor on paper. Courtesy of David Zwirner Gallery. ⠀⠀⠀⠀⠀⠀⠀⠀⠀
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#ThePencilIsaKey #thedrawingcenter

12/09/2019

Join us tomorrow, Tuesday, December 10 at 6pm for a conversation with artist Timothy Curtis, Chief Curator Claire Gilman, and Community Leader Dawan Williams. ⠀⠀⠀⠀⠀⠀⠀⠀⠀
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Timothy Curtis, whose work is currently on view as part of the ongoing exhibition “The Pencil Is a Key: Drawings by Incarcerated Artists,” is a self-taught artist from Philadelphia who while incarcerated from 2008 to 2015 began to make art to establish a sense of freedom and self-assurance while experiencing a loss of freedom. Since his release, he has established a focused studio practice. Along with Chief Curator Claire Gilman and Dawan Williams, Program Coordinator for the City of Philadelphia Mural Arts Restorative Justice Guild, Curtis will discuss art making in the context of the modern US prison system. ⠀⠀⠀⠀⠀⠀⠀⠀⠀
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To purchase tickets ($5) visit the link in our bio! ⠀⠀⠀⠀⠀⠀⠀⠀⠀
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“The Pencil Is a Key: Drawings by Incarcerated Artists” is on view until January 5, 2020. Throughout the run of the exhibition, admission to The Drawing Center will be FREE (Wed - Sun, 12pm - 6pm | Thurs, 12pm - 8pm)⁣⠀⠀⠀⠀⠀⠀⠀⠀⠀
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Image: Timothy Curtis in his studio, date unknown. Photograph by Kyle Dorosz. ⠀⠀⠀⠀⠀⠀⠀⠀⠀
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#ThePencilIsaKey #thedrawingcenter

12/08/2019

Purvis Young, an artist featured in “The Pencil Is a Key: Drawings by Incarcerated Artists” began to draw while serving a two-year sentence at North Florida’s Raiford State Penitentiary from 1961–64. He started his practice by using art history textbooks from the prison library for guidance.

After his release, Young continued to draw and paint, using found materials and developing a characteristic, semi-abstract figurative style. When asked about his work, Young professed a desire to spread “peace in the world.”

“The Pencil Is a Key: Drawings by Incarcerated Artists” is on view until January 5, 2020. Throughout the run of the exhibition, admission to The Drawing Center will be FREE (Wed - Sun, 12pm - 6pm | Thurs, 12pm - 8pm)⁣

Image: Purvis Young, “Untitled,” 1964. Ballpoint pen and crayon on paper. Courtesy of The Larry T Clemons Collection. Photograph by Martin Parsekian.

12/07/2019

As part of a project by artist Mark Strandquist, thousands of individuals incarcerated in the US prison system received postcards inserted into issues of Prison Health News. The postcards were blank but for a single sentence on the front of each that reads: “If you could create a window in the prison walls, what would you want the world to see?” with a space on the back for participants to describe the “window” they had designed.

To view more postcards from the “Windows From Prison” visit “The Pencil Is a Key Drawings by Incarcerated Artists” on view until January 5, 2020. Throughout the run of the exhibition, admission to The Drawing Center will be FREE (Wed - Sun, 12pm - 6pm | Thurs, 12pm - 8pm)⁣.

Image: Nicholas Gross, "Untitled," 2014. Pen on postcard. Courtesy of the Postcards from Prison Project, organized by Mark Strandquist.

12/05/2019

Currently on view: “Wasteland: Open Sessions 16” features seven emerging artists who explore image production as an excessive physiological and psychological stimulus. ⠀⠀⠀⠀⠀⠀⠀⠀⠀
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Theodore Darst, one of the exhibiting artists, presents “Hard Time Movement” (left) and “Sheffield Afternoon” (right) which are diffusion dye aluminum prints that were extracted from Darst’s recent 3-D animations, iPhone screen recordings, drawings, and appropriated footage. The aluminum print is made by reordering and stacking vertical frames to create a stand alone image which captures the fluidity and process of his animations.⠀⠀⠀⠀⠀⠀⠀⠀⠀
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Image: Installation view of “Wasteland: Open Sessions 16,” 2019.

12/04/2019

For artists who are incarcerated, art making can be both an emotional and practical tool for surviving prison life. Timothy Curtis, an artist featured in “The Pencil Is a Key: Drawings by Incarcerated Artists” drew while imprisoned as an entrepreneurial endeavor as well as a personal pursuit, as he could sell or trade artwork for commodities like cigarettes and coffee. Working with other inmates, Curtis also supported the development of a new prison mural program, creating large-scale projects throughout the prison campus. On November 11, 2015 Curtis was paroled. ⠀⠀⠀⠀⠀⠀⠀⠀⠀
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To hear more about Curtis’ artistic practice, join us on Tuesday, December 10 at 6pm for a conversation with artist, Chief Curator Claire Gilman, and Community Leader Dawan Williams. To purchase tickets ($5), please visit our website. ⠀⠀⠀⠀⠀⠀⠀⠀⠀
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“The Pencil Is a Key: Drawings by Incarcerated Artists” is on view in our Main Gallery and Drawing Room until January 5, 2020. Throughout the run of the exhibition, admission to The Drawing Center will be FREE (Wed - Sun, 12pm - 6pm | Thurs, 12pm - 8pm)⁣⠀⠀⠀⠀⠀⠀⠀⠀⠀
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Image: Timothy Curtis, “Sharper Than A Lifer's State Brown Creases No. 4,” 2013. Ink on paper. Courtesy of Nassia Curtis. ⠀⠀⠀⠀⠀⠀⠀⠀⠀
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#ThePencilIsaKey #thedrawingcenter

12/03/2019

“What kind of house does a man who has lived in a 6x9-foot cell for over thirty years dream of?”⁣
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Artist jackie sumell asked Herman Wallace—one of Angola’s (formally known as the Louisiana State Penitentiary) most famous prisoners and a member of the Angola 3—this question in 2003. Wallace’s response formed the basis for a decade-long collaborative art project that received international attention. Over the course of their collaboration, Wallace remained 23 hours per day in solitary confinement, illustrating his cell and the home he imagined outside of prison. Titled “The House That Herman Built,” the project took many forms: as a travelling exhibition of renderings and models of Herman’s dream house; as a construction of a cell, built to scale by sumell based on Wallace’s illustration; a publication reproducing the correspondence between the two; and even a computer simulation of Wallace’s dream house with a swimming pool, glass bathroom, large open spaces, and African-themed art.⁣
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After Wallace was diagnosed with liver cancer, sumell and a team of allies and attorneys sought Wallace’s freedom. After serving forty-two years in solitary confinement, Wallace was released from prison on October 1, 2013, after a federal judge ruled that his indictment was unconstitutional. He died days later, surrounded by his sister, sumell, and other supporters. Wallace’s case and his work sparked a broader national discussion about politically and racially motivated incarceration.⁣
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“The Pencil Is a Key: Drawings by Incarcerated Artists” is on view in our Main Gallery and Drawing Room until January 5, 2020. Throughout the run of the exhibition, admission to The Drawing Center will be FREE (Wed - Sun, 12pm - 6pm | Thurs, 12pm - 8pm)⁣⁣
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Images: Herman Wallace, “House Drawing (II),” date unknown. Graphite on paper. Courtesy of jackie sumell.⁣
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Herman Wallace, “Cell with heart,” 2005. Pen and marker on paper. Courtesy of jackie sumell.⁣
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Herman Wallace, “House Drawing (I),” date unknown. Graphite on paper. Courtesy of jackie sumell.⁣
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Herman Wallace, “‘14’ Cell Drawing,” date unknown. Graphite on paper. Courtesy of jackie sumell. @ The Drawing Center

Address

35 Wooster St
New York, NY
10013

If you are traveling by subway, you can take the N, Q, R, W, J, M, Z, 6, A, C, E, 1 trains to the Canal Street station. If you are traveling on the N, Q, R, W, J, M, Z, 6, line, take the subway to Canal Street. Walk west to Wooster Street and turn right. Walk one and a half blocks to The Drawing Center. If you are traveling on the A, C, E, 1 line, take the subway to Canal Street. Walk east to Wooster Street and turn left. Walk one and a half blocks to The Drawing Center. Q to Canal F/V/B/D to Broadway Lafayette

Opening Hours

Wednesday	12:00 - 18:00
Thursday	12:00 - 20:00
Friday	12:00 - 18:00
Saturday	12:00 - 18:00
Sunday	12:00 - 18:00

Telephone

(212) 219-2166

Website

http://drawingcenter.org

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Videos

This Saturday, April 27 check out all the arts organizations in and around SoHo for this year’s Downtown Culture Walk presented by the SoHo Arts Network (SAN). We will be hosting open hours from 12-6pm and The Drawing Center will be offering FREE admission to see our current exhibitions: "Neo Rauch: Aus dem Boden / From the Floor" and "As If: Alternative Histories from Then to Now". You can grab a map to visit one of the other 18 nonprofit arts organizations offering free or reduced admission too. Click here for a digital map=>https://bit.ly/2GklnHl SAN is a consortium that celebrates the rich history of our unique creative community and collectively shares our distinct cultural contributions with neighborhood residents and visitors in downtown Manhattan. Media partner: Art in America Map by NYArtMaps Graphics and animation by Biel Studio

"Making Policy Public 10th Anniversary"

Watch this clip from The Center for Urban Pedagogy's short doc "Making Policy Public 10th Anniversary", 2019. Courtesy of The Center for Urban Pedagogy (CUP). You can see the full length version in our Main Gallery during Winter Term 2019 with CUP, which continues through March 24. Read more about Winter Term here=>https://bit.ly/2TPdJKd

Winter Term: Torkwase Dyson

On February 2018, The Drawing Center announced Winter Term, a new annual initiative in which the museum partners with an artist or organization whose mission it is to explore the transformative role that drawing can play in civic and global society. The yearly program, which consists of public events, classes, and performances, as well as an exhibition, engages with a community of people to investigate the efficacy of drawing as a tool for addressing inequity and encouraging social change. In this way, Winter Term provides a new model for exhibition making, as well as for the role that art institutions can play in the real world. From February 24 through March 11, 2018, The Drawing Center invited artist Torkwase Dyson to create an installation and organize a two-week series of classes, discussions, and formal experiments developed from her incipient project the Wynter-Wells Drawing School for Environmental Justice—named for Jamaican writer Sylvia Wynter and American Civil Rights leader Ida B. Wells. The School presented an experimental curriculum employing techniques culled from the visual arts as well as design theories of geography, infrastructure, engineering, and architecture to initiate dialogue about geography and spatiality in an era of global crisis due to human-induced climate change.

Ellen Berkenblit, Lines Roar

Watch the trailer for "Ellen Berkenblit, Lines Roar", 2018, and join us this Thursday, April 26 for the evening opening, 6-8pm and next Monday, April 30 for a screening and talk, 6:45pm. Ellen Berkenblit’s first film "Lines Roar" (2018) presents a look into her process. Concentrating on the explosive nature of Berkenblit’s line, the film features familiar motifs from her paintings and drawings: a long-nosed female, a tiger, a stiletto. "Lines Roar" intermingles autobiographical footage taken by Berkenblit in both her home and studio. Also interlaced throughout the film are photographs of Berkenblit’s family and images taken by her father, who was an amateur photographer and chemist. The result is a film that combines Berkenblit’s life with her work, an intimate look at what drives the artist’s practice. A film by Ellen Berkenblit in collaboration with directors Mónica Brand and Francisco Lopez. Original Score by Zeena Parkins; Zeena Parkins: Harps/Electronics/Tuning Forks; Ikue Mori: Electronics. "Ellen Berkenblit: Lines Roar" will be on view in The Drawing Center’s Lab during the Summer of 2018 from April 26 to June 10 and again from June 27 to August 12.

FUNHOUSE Clown, 2018

During the FUNHOUSE book fair last weekend, artist Lilli Carré had visitors each work on a frame of a clown animation. Here is the result which includes the collective work of 155 people, including the artist herself.

Panel discussion with Ekene Ijeoma, Ron Morrison, and Mabel O. Wilson. Moderated by Rujeko Hockley.

What is Dust?

Watch our latest online gallery pick, "What is Dust?" part of a series, entitled "The Misguided Guide to the Origin of Everything", created collaboratively by a group of artists including Thu Tran, who will be a resident at The Drawing Center’s upcoming FUNHOUSE book fair on March 24 + 25. [Tickets for FUNHOUSE are available here =>tinyurl.com/funhousebookfair] The animation series focuses on questions raised in the course of everyday life; as Thu Tran has said, “Unburdened by reality and facts, everyone has an absurd answer to life’s mysteries, leaving their black and white reality, and entering a full-color world of imagination.” Other questions explored in the series include What is time?, Why do we smile when we are happy?, and Why do owls say who?. Thu Tran is a multimedia artist and producer known for her cooking show on IFC, “Food Party” and MTV web series, “Late Night Munchies.” Her comic book "Dust Pam" is a playful romp about a cat with a dust pan for a mouth who wants her house to be clean, but just can’t get rid of the bugs. The comic is illustrated in a neon palette in Tran’s signature kooky style. Tran has a BFA in Glass from the Cleveland Institute of Art, has supplied props and visuals to the mashup artist Girl Talk, and has been named one of “New York’s Most Beautiful People” by Paper Magazine. She is a mentor at the visual narrative program at SVA in NYC.

Winter Term Talk with Torkwase Dyson and Christina Sharpe

Yesterday artist Inka Essenhigh worked from high above on her wall drawing, “Manhattanhenge” in our stairwell.

Rabbithole

Watch our latest online gallery pick! Chitra Ganesh's "Rabbithole", 2010. Animation with music by Karsh Kale, 3 minutes. Chitra Ganesh is a Brooklyn-based artist whose drawings combine the aesthetics of early modern fairytales, traditional Buddhist and Hindu mythology, and contemporary visual culture. Her drawings, which weave together diverse archetypes—animal hybrids, female warriors, and heavenly landscapes—construct complex narratives that disarm the insulating function of national and religious traditions. An exhibition of a new series of animations by Ganesh, entitled "The Scorpion Gesture", will be on view at the Rubin Museum of Art in New York until January 2019 alongside the exhibition "Face of the Future", which Ganesh organized and which will be on view until November 2, 2018. "Face of the Future" will include collage-based pieces by Ganesh and seven emerging artists: Maia Cruz Palileo, Nontsikelelo Mutiti, Tammy Nguyen, Jagdeep Raina, Sahana Ramakrishnan, Anuj Shrestha, and Tuesday Smillie. Ganesh is a former a fellow of The Drawing Center’s Open Sessions program. Her work has been exhibited at the Queens Museum, New York; Museum of San Diego, La Jolla, California; Berkeley Art Museum; Bronx Museum, New York; Pennsylvania Academy of Fine Arts, Philadelphia, and the Baltimore Museum of Art.

Dwell

Watch our next online gallery pick: Matthew Otten's video "Dwell", 2014. Music: Moonlight Reprise by Kai Engel. Matthew Otten is a collaborative, multi-disciplinary artist and designer based in Neath, South Wales. His practice has been influenced by the mythologies of Nordic and Southeast Asian cultures, particularly those with a connection to the forest. His style is an experimental combination of traditional drawing and digital compositing that values clarity, balance, and simplicity. Dwell and Difference are collections of animations and moving illustrations that examine the natural environment. Matthew Otten is featured on The Drawing Center’s online gallery as part of an exchange with Mission Gallery in Swansea, UK organized by Amanda Roderick (Director of Mission Gallery, Swansea) and Amber Harper (Assistant Curator of The Drawing Center, New York). The collaboration celebrates Mission Gallery’s New York Season, which celebrates the gallery’s connection with cultural organizations via Residency Unlimited.

Difference

Watch our next online gallery pick: Matthew Otten's video "Difference", 2015. Music: Cylinder Five by Chris Zabriskie. Matthew Otten is a collaborative, multi-disciplinary artist and designer based in Neath, South Wales. His practice has been influenced by the mythologies of Nordic and Southeast Asian cultures, particularly those with a connection to the forest. His style is an experimental combination of traditional drawing and digital compositing that values clarity, balance, and simplicity. Dwell and Difference are collections of animations and moving illustrations that examine the natural environment. Matthew Otten is featured on The Drawing Center’s online gallery as part of an exchange with Mission Gallery in Swansea, UK organized by Amanda Roderick (Director of Mission Gallery, Swansea) and Amber Harper (Assistant Curator of The Drawing Center, New York). The collaboration celebrates Mission Gallery’s New York Season, which celebrates the gallery’s connection with cultural organizations via Residency Unlimited.

T J

Watch our online gallery selection, "TJ", an animation created by Tim Stokes. Tim Stokes is based in South Wales and works as an artist, technician and arts educator. His videos are handmade animations translated from original home video footage. Using video fragments broken down into individual frames, Stokes reinterpreted them through drawing on paper. These drawings were collated, scanned and resurrected into a new form: evidencing loss in their reinterpretation and offering a sense of ambiguity. Tim Stokes is featured on The Drawing Center's online gallery as part of an exchange with Mission Gallery in Swansea, UK organized by Amanda Roderick (Director of Mission Gallery, Swansea) and Amber Harper (Assistant Curator of The Drawing Center, New York). Tim Stokes, T J, 2008. Animation created with black metal paint on paper.

#GivingTuesday Raffle Prize

The Drawing Center needs your support. Please consider making a fully tax-deductible donation to The Drawing Center today for #GivingTuesday. Donate --> https://goo.gl/WVz4Hx Anyone who gives $10 or more will be entered into a raffle for exciting prizes, including a limited edition print by R. H. Quaytman; signed catalogs from our current exhibitions and a copy of Matias Duville's "Alaska"; and a set of exquisite Faber-Castell pencils and the world-famous Drawing Center tote bag (pictured here)!

Pelegrina

Watch our online gallery selection: "Pelegrina", 2006. Written, directed and animated by Virginia Head. "Pelegrina" is an enchanting piece of music is being composed for an unusual stringed instrument. While its components begin to assemble we are taken on a mysterious journey, traversing the convoluted patterns and depths created by both the music and the wood that shapes the instrument. Virginia Head is an artist and filmmaker with a degree in illustration from Brighton Polytechnic, England. She has worked for several award winning animation companies throughout Wales and England, illustrated for televised history documentaries, dramas and magazines, and produced four of her own independent animated films. Head is featured on The Drawing Center’s online gallery as part of an exchange with Mission Gallery in Swansea, UK. Video: Virginia Head, "Pelegrina", 2006. Written, directed and animated by Virginia Head. (A Virginia Head film) Music by Dave Stapleton at Red Eye Music; Editor – Jem Roberts; Viola – Philip Heyman; Piano – Zoe Smith; String Consultant – Victoria Wright; Recorded by James Clarke; Assistant Animation by Ceiren Bell, Jem Roberts, Ross Woodfield. (A Virginia Head film)

#GivingTuesday Raffle Prize

The Drawing Center needs your support. Through charitable contributions from individuals like you, we consistently mount important exhibitions and organize dynamic educational opportunities for people of all ages. Please consider making a fully tax-deductible donation to The Drawing Center between now and #GivingTuesday (November 28) to support our work. Donate --> https://goo.gl/WVz4Hx Give $10 or more to be entered into a prize raffle. Prizes include a limited edition print by R. H. Quaytman; signed copies of the catalogs for current exhibitions "Judith Bernstein: Cabinet of Horrors" and "Eddie Martinez: Studio Wall" as well as a copy of "Matias Duville: Alaska" (pictured above); and a set of exquisite Faber-Castell pencils and the world-famous Drawing Center tote bag!

Downtown Culture Talk with artist Judith Bernstein and curator Alison M. Gingeras

Musicians

Join us for series of performances this Thursday, September 7–Sept 9 | "David Scher: Does It Fold?" starts nightly at 6:30pm | Tickets $10 + program via eventbrite >> goo.gl/t8Ecxv In The Lab, multi-disciplinary artist David Scher will appear alongside special guests for three evenings of performances. Nightly poetry readings, film screenings, and musical performances will take place in dialogue with a pop-up exhibition of Scher’s sketchbooks and musical scores. Thursday, September 7 Musical performances by Sean Eden and O.N.E.M. with film screenings by Mike Ballou, Stefan Bohnenberger, and David Scher Friday, September 8 Artist talk by David Scher with musical performances by Sean Eden and a performance by O.N.E.M., which will reference Scher’s hand-drawn scores Saturday, September 9 Poetry readings by Jeff Dolven and Aaron Kunin with a poetry reading and film screening by Brian Dewan and musical performances by Sean Eden and O.N.E.M. Discussions will focus on the dreamlike landscapes, figures, and follies that fill the more than 1200 sketchbooks Scher has created over nearly six decades of drawing. While giving life to the symbols and storylines that crisscross Scher’s sketches, "Does It Fold?" will celebrate the impulse to draw and Scher’s own stream-of-consciousness practice that beclouds boundaries between the real world and the imaginary. Video by Carter Gun.

Loopdeloop

Watch our latest online gallery pick! Alex Grigg is an Australian animator and designer. His animation, “Loopdeloop", gives viewers voyeuristic glimpses of unexpected activities unfolding within comic strip-like windows. Grigg, who often uses abstraction to add levity in his work, suggests only parts of possible disconnected narratives, allowing viewers to construct their own absurdist storyline to unite the animated characters. Alex Grigg, "Loopdeloop", 2014. Animation, looped, 44 seconds. Sound by Jude Cohn. Courtesy of the artist.

Carter Gun

Join us for series of performances September 7–9 | "David Scher: Does It Fold?" starts nightly at 6:30pm | Tickets $10 + program via eventbright >> goo.gl/t8Ecxv In The Lab, multi-disciplinary artist David Scher will appear alongside special guests for three evenings of performances. Nightly poetry readings, film screenings, and musical performances will take place in dialogue with a pop-up exhibition of Scher’s sketchbooks and musical scores. Thursday, September 7 Musical performances by Sean Eden and O.N.E.M. with film screenings by Mike Ballou, Stefan Bohnenberger, and David Scher Friday, September 8 Artist talk by David Scher with musical performances by Sean Eden and a performance by O.N.E.M., which will reference Scher’s hand-drawn scores Saturday, September 9 Poetry readings by Jeff Dolven and Aaron Kunin with a poetry reading and film screening by Brian Dewan and musical performances by Sean Eden and O.N.E.M. Discussions will focus on the dreamlike landscapes, figures, and follies that fill the more than 1200 sketchbooks Scher has created over nearly six decades of drawing. While giving life to the symbols and storylines that crisscross Scher’s sketches, "Does It Fold?" will celebrate the impulse to draw and Scher’s own stream-of-consciousness practice that beclouds boundaries between the real world and the imaginary. Video: Carter Gun, Animation of drawings by David Scher. Flipbook. 3 minutes, looped.

John Booley, Five Years of the Weather Page, 2005.

A Page from the #DrawingPapers Archive This page from Drawing Papers 60 features an excerpt of John Dooley’s “Five Years of the Weather Page” that was created in 2005. The 2006 exhibition Analog Animation presented the work of 18 Viewing Program artists who animated their drawings largely with “old-fashioned,” hand-drawn animation techniques rather than digital media. Analog Animation highlighted a wide array of inventive animated works presented in a continuous projected loop and four site-specific installations. The artists used such disparate media as collage, imprints, silhouettes, light gels, and sliding window shades to create series of moving and transforming images that foreground the artist’s hand and the act of drawing, rather than employing digital manipulation. Drawing Papers 60 includes a DVD with excerpts of the animated works by all of the artists. The Drawing Papers are a series of publications documenting The Drawing Center’s exhibitions and public programs and providing a forum for the study of drawing. -Kate Robinson, Bookstore Manager

Open Sessions artist Irini Miga and art handler Ian Umlauf installing her work.

Open Sessions artist Arnold Kemp installing his work in our Main Gallery.

Watch our latest video pick for our online gallery Caleb Wood is an emerging experimental animator based in Minnesota, whose practice, which is rooted in wide-ranging influences and collaboration, reflects his dedication to a global vibrant community of contemporary animators. Wood created ANON MATION, 2016, by inviting users in an online drawing chatroom to create time-lapse screen recordings, which he later compiled. The animation was made for the 2016 Late Night Work Club anthology, Strangers. Additional collaborative projects include Swap Meet, 2015, for which fourteen animators created backgrounds that were then added to by other participants. Video: Caleb Wood, ANON MATION, 2016. 7 minutes.

The Bigger Picture

The Drawing Center's latest video pick is Daisy Jacobs' The Bigger Picture (2016). Jacobs is a London-based, British animation director. This short is an award-winning film that tells the story of two brothers who care for their aging mother. Jacobs created the film’s characters and scenes by combining hand-drawn and stop-motion animation at a life-sized scale. By animating at this large size, she was able to construct highly-detailed, uncannily realistic environments that disrupt conventional boundaries between fiction and real life. To learn more about The Bigger Picture, visit www.thebiggerpicturefilm.com. To submit a video proposal to our online gallery, please email Amber Harper, Curatorial Assistant, at [email protected], including a brief description and a video link.

Lucy Raven videos

Lucy Raven’s hand-drawn animations, entitled "A Crisis Passed in Sleep" and "When the Ceiling Has Become Visible", were both inspired in part by Walker Evans and James Agee’s book "Let Us Now Praise Famous Men". As in Evans and Agee’s project, which documents everyday life in the American South during the Great Depression, Raven’s animations depict the barren fields and quiet struggle of agricultural workers. As in other works by Raven, the artist uses film to explore social issues and the relationship between still images, moving images, and real life. The labor-intensive process used by Raven for these two animations, as well as the sensitive and delicate nature of each hand-drawn frame, reflects the empathy for rural life that was famously evoked by Evans and Agee’s book. Watch: Lucy Raven's "A Crisis Passed in Sleep" , 2005. Hand-drawn animation, 4 minutes, 1 second + "When the Ceiling Has Become Visible", 2005. Hand-drawn animation, 2 minutes, 58 seconds.

Tour of Exploratory Works with exhibition curators

Tour of Exploratory Works with Exhibition curators

Open Sessions 10 Artist Talk

Alexis Rockman Artist Eye on Exploratory Works The Drawing Center

Courtney Lain's live musical score for "Exploratory Works" exhibition

"The Resonance"

“In Mateusz Sadowski’s stop motion film "The Resonance", movement is mediated through layers of animation and physical space. Previously recorded films of everyday actions are separated frame by frame into a stack of images, shrinking and growing in waves as the original recordings are physically reactivated. By placing the emphasis on each animation frame as an object, printed on paper or cardboard and precariously stacked, Sadowski makes each moment tangible yet distant, engaging with layers of reality.” —Isabella Kapur, Curatorial and Communications Intern

Clarinda Mac Low walk through of Jackson Mac Low: Lines–Letters–Words

After Metamorphoses

Join us tonight from 6-8pm for the evening opening of our three new exhibitions by Mateo López, Jackson Mac Low, and Amy Sillman. On view January 20-March 19. Clip: a detail from Amy Sillman's "After Metamorphoses".

Shilpa Gupta's Untitled

Our Online Gallery pick: In Shilpa Gupta’s "Untitled" (2012), practiced hands extract a gleaming white thread from loose, rocky soil. The finely wound thread tangles as it drops to the ground, indirectly drawing twists and curves with the unbroken white line. Like much of Gupta’s work, "Untitled" is tied to the artist’s interest in identity and nationality, recalling the artist’s use of thread to represent the Indian Pakistani border in her sculpture 1:14.9 (1188.5 miles of fenced border – West, North-West). Shilpa Gupta, Untitled, 2012. Single channel video projection, 3 min 42 sec, looped. To submit a video proposal to our online gallery, please email Amber Moyles, Curatorial Assistant, at [email protected], including a brief description and video link.

The Negotiation

Watch our latest online video selection! Lilli Carré's The Negotiation, 2013. Two high-definition video loops, 6 minutes and 8 seconds. Edition of 3, 1 AP. Courtesy of the artist and Western Exhibitions, Chicago. “In a variety of media, Lilli Carré articulates complex relationships through brief, stylish mark making. "The Negotiation" features two characters each of which rises, transforms, and morphs from one anthropomorphic shape to the next. In competition or conversation, the charming yet subtly grotesque characters bleed, breathe, shed, and evolve, acknowledging one another but never overlapping. Drawn entirely by hand, texture and line pulse through Carré’s colorful figures, giving life to the narrative structure of the short.”—Isabella Kapur, Curatorial Intern

Par les ondes

Watch our current Online Gallery video pick >Mathieu Dufois is a French artist whose work explores how memories of places and events are affected by cinema. His 2014 short film "Par les ondes" navigates through a city, which is visibly in ruin. Spectral forms appear in the rubble, each of which resembles the archetypal characters of film noir. Envisioning drawing as a way to decode cinematic images, Dufois uses drawing to add trompe l’oeil detail to his paper figures and sets. About drawing, Dufois has said: “[It] is equal to an almost archaeological action which brings to the surface, like a magnetic force, the memories or emotional substance of a period forged by a number of cinematic works, buried now by lack of interest or indifference but which formed the collective conscience of several generations.” To submit a video proposal to our online gallery, please email Amber Moyles, Curatorial Assistant, at [email protected], including a brief description and video link.

Drawing Sound III

The House on Weirdfield Street

From our Online Gallery > Semi-autobiographical in essence, Matt Bollinger’s 2015 animation "The House on Weirdfield Street" conveys the artist’s banal but pointed personal experiences from his former home on Weirfield Street, Brooklyn. For Bollinger, the urban landscape is synonymous with the subconscious, and in this video stop-motion animation stands in for stream-of-consciousness, showing Bollinger in the act of constructing, reconsidering, and reforming his memories through drawing. To submit a video proposal to our online gallery, please email Amber Moyles, Curatorial Assistant, at [email protected], including a brief description and video link. Matt Bollinger, The House on Weirdfield Street, 2015. Hand-drawn, stop motion animation, 11 min., 12 sec. Courtesy the artist and Zürcher Gallery, NY/Paris.

1pmS015

In the animated works of Venezuelan artist Magdalena Fernández, squares, lines, and planes vibrate and tense as they reimagine the geometric abstraction of modernism through digital means. Videos by Fernández, who was included in The Drawing Center’s 2006 exhibition "Analog Animations: Selections", are currently on view in The Drawing Center’s web gallery, now. See one example here: Video: Magdalena Fernández, "1pmS015", 2015. Pinturas móviles: Video, 9 minutes, 58 seconds (looped). Animation by Marcelo D’Orazio and Gerardo Gouverneur.