Paul Sietsema, Untitled Mule, 2010
Ink and enamel on paper in artist’s frame, 16 x 12 1/2 inches

Stan VanDerBeek, Breathdeath, 1963
Animation Frame, Ink on paper, 12 3/4 x 9 1/4 in

Giosetta Fioroni, Laguna, 1960
Oil and enamel on canvas, 39 3/8 x 31 1/2 in.

On exhibit now at The Drawing Center, as part of Fioroni’s first solo show in North America.

Score for Ichnologia by Anestis Logothetis.

An excerpt/screengrab from Kate Shepherd’s web drawing If I were to Write a Longer Letter.

Jakob Boeskov, Untitled (Don’t Fuck With The Internet), 2012
Pastel on acid free paper, 22.25” x 28”

From Jacob Boeskov’s Weekend Futurolgy at MULHERIN + POLLARD.

Rick Gooding, Subterranea S-39
Graphite on paper, 36”x48”

Greg Otto, Late June 1975, 1975
Graphite on card, 23” x 29”

Greg Otto, 5 May 1971, 1971
Graphite on paper, 18” x 24”

From Mat Brinkman’s Heads.

Roni Horn, If 2, 2011
Pigment and varnish on paper, 98 3/4” x 101 1/2”

Neil Spiller, Baronesses Filaments.

To create responsive, non-prescriptive designs for architectural intervention was the starting point that led to an interest in the logic of algorithms and open-ended systems. These problem-solving diagrams used by computer programmers are very useful as a way of describing fluctuating conditions in responsive environments. This led to an interest in other computing paradigms such as cellular automata, complexity and emergence. These and other ideas I attempted to bring into the arena of architectural design to help architects cope with the rapid growth of computational technology that was starting to revolutionise the way buildings were designed, drawn and built.

Karl Haendel, Partially Erased Achille Lauro, 2006
Pencil on paper, 76 x 102 cm

My work is intimately and inextricably bound up with photography, in the sense that I deal with found images. And when I say “found” images, I don’t mean in it in the strict appropriationist sense, I mean it more in the way a photographer might come across an image he would like to capture while walking down the street, or for a different photographer, he might set something up to capture. All artists create images, but they do so in different ways. A painter or drawer usually creates them with the medium he is known for, and in that way a painting is often a temporal record, a history of the creation of an image. […] Photographers and video makers often do their image creation before the lens, before it hits the film or sensors. It’s choreography or editing that takes place first, and I think my work shares that quality with photography. But with my work there is often a double temporal relationship between the image and the referent. First I select an image and put it in front of the camera (this happens if I take the image myself or re-photograph another’s image) and then I rebuild the image with pencil, much like a painter. I’m trying to complicate the way we think of indexical relationships, but perhaps I’m trying to have my cake and eat it too.

Jens Funder, Cave
Permanent marker on paper, 42 x 60 cm

Peter Matthews, 4 Hours in the Pacific Ocean (close-up 2), 2008
ink, water from Pacific Ocean and rust on paper, 13” x 40.5”

I am not interested in representing an object. I am interested in taking a quantum leap towards becoming more intimately bound with what it is that the drawing embodies. The drawings from this new body of work have been produced after spending extended, uninterrupted hours while physically in, not next to or beside, the Pacific Ocean in southern Mexico.

I am interested in recording on the paper surface not only what is present but also what is absent. A fluctuating, vibrating zip of a line may run through the many hemispheres on the paper’s surface, this being a deliberate mark while tracing the flight path of an osprey as it flies over the ocean.

Peter Matthews, 5 Hours in the Pacific Ocean , 2007
ink, water from Pacific Ocean and rust on paper, 13” x 40.5”

Antonio Gaudi, Elevation of a Pinnacle of the Church of the Sagrada Familia, Barcelona

A new small run publication of patent application drawings from Public Collectors is now available:

Patent application drawings present a clinical view of each object, devoid of its sensual material qualities, freed from surface colors and textures, and often exploded into its constituent parts in a way that makes feelings of nostalgia or other kinds of desire harder to access. These are the lowly origin stories of products. Some have gone on to lives of mass availability, such as the spoon and fork combination known as the “Spork.” Others never went into production.

Among the seventy applications here, I’ve included drawings from:

Anatomical Doll for Child Abuse Investigations; Miniature Coffin Cigarette Case; Shark Protector Suit; Magnetic Pendulum Device for Feline Amusement and Exercise; Surrogate Sexual Partner; Bird Scaring Device; Inflatable Humanoid Forms; Flatulence Deodorizer; Method of Making a Readily Portable Burrito; Facial Liquid Excreting Doll; Arm Restraint Device for Children Afflicted with a Compulsive Biting Disorder; Gender Neutral Doll Body with Replaceable Photographic Face; Multiple Bladed Retractable Claw Weapon; Apparatus for Exercising the Penis; War on Terrorism Flag.