A book completely covered with graphite, designed to remain in a public library in the “how to draw” section
Lunar Landscape with a Cloudy Sky - Adalbert Stifter
Me in front of ‘Man and Animals’ (1949) by Karel Appel
The Arrival of Light
Alfredo Da Silva (b. 1935)
Earlier this year, London’s Tate Modern acquired “Sabra and Shatila Massacre” (1982-83), an epic mural-sized drawing by pioneering Iraqi artist Dia al-Azzawi. Sprawling as it is towering and engulfing, the artist began the massive work after news surfaced that between two and three thousand Palestinian and Lebanese civilians were strategically murdered in and around the refugee camps of southern Beirut in 1982. While creating “Sabra and Shatila Massacre,” al-Azzawi was also moved by Jean Genet’s “Four Hours in Shatila,” a written dispatch of the hell on earth that was the site of this civil-war era carnage, the violent details of which are impossible to take in without periodically searching for respite by turning away from the page.
- Dia al-Azzawi’s “Sabra and Shatila Massacre”
The mural as a crucial form of political expression (see Rivera), relate to the wall which is attacked by graffiti, the wall whose social relations are made to sing out, to scream out, and announce themselves from concrete.
Winter Evening - Ruskin Spear
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a shadow too heavy to drag behind me
a drawing made by erasing, in which the debris left behind constitutes the finished work
42 hour durational drawing performance
completed in 7, 6 hour shifts over the course of 1 week—
documentation images above were taken at the end of each shift and are presented in reverse chronological order.
- powdered graphite is buffed and burnished on a 7’ x 8’ section of wall over the course of 6 hours
- each subsequent 6 hour session is spent methodically removing the burnished graphite from the wall surface using white plastic erasers
- at the end of each 6 hour session a documentation image is taken
- all eraser shavings are preserved, as they are the drawing
- the shavings are a physical quantification of time—
each shard is embedded with the graphite that was once on the wall
and the physical exertion required to remove it
Ian Francis (British, b.1979), Red Forest, 2009. Charcoal, acrylic, oil, ink, pen, and photo transfer on canvas, 127 x 92 cm.
Robert Rauschenberg, White Stone in Black
The Lone Tenement (1909)
George Wesley Bellows
Finger Nailin Hay In, 2007-2008
acrylic, acrylic ink, charcoal, conte, sparkle sticker, watercolor, watercolor pen on paper
78 x 108 in.
Max Ernst. “Nature at Dawn (Evensong),” 1938. Oil on canvas, 81 x 100 cm. Private collection. © 2013, ProLitteris, Zurich