Published on the occasion of The Drawing Center's exhibition, Rirkrit Tiravanija: Demonstration Drawings presents a selection of nearly 100 works on paper from the artist's ongoing series of commissioned drawings derived from photographs of demonstrations published in the International Herald Tribune. While public protests and mass demonstrations are often associated with the politics of the 1960s, Tiravanija's ongoing project reconsiders their relevance in today's political climate. The Demonstration Drawings provide a perspectival view of collective actions, political protests, and popular sovereignty movements worldwide turning ephemeral images of strife and social conflict into documents of political aspiration. The book, number 79 in the Drawing Papers series, features a newly commissioned essay, Making the News New Again, by author and journalist David Rieff, as well as a text by the exhibition curator, Joao Ribas.

Rirkrit Tiravanija: Demonstration Drawings

Joao Ribas

David Rieff

Arts & Photography

The Drawing Center

Though the technology for transmitting information long-distance dates from the nineteenth century, it was the fax machine, made commercially available in the 1970s, that turned facsimiles into a primary form of communication. Artists readily exploited the fax machine for its graphic and interactive possibilities, positing the medium as a precursor to the then-nascent field of new media art and within the legacy of mail art. Fax presents works by a multigenerational group of nearly 100 artists, architects, designers, scientists and filmmakers--Mel Bochner, Liam Gillick, Wade Guyton, Glenn Ligon, Jan De Cock, Cerith Wyn Evans, Morgan Fisher and Aurélien Froment, among others--that use the fax machine as a tool for thinking and drawing. Published to accompany an exhibition at New York's Drawing Center, FAX includes the drawings, texts, examples of early telecommunications art (with inevitable transmission errors), junk faxes and fax lore that were all transmitted via the gallery's fax line.

Collections, Catalogs & Exhibitions

The Drawing Center/ Independent Curators International

Published on the occasion of The Drawing Center's 2009 exhibition, Unica Zurn: Dark Spring presents nearly 50 ink and watercolor works on paper by the late German artist and writer Unica Zurn, spanning from the early 1950s until her tragic suicide in 1970. A noted poet and novelist, Zurn produced numerous expressionistic short stories that were published in German newspapers throughout the 1950s before moving to Paris with German Surrealist artist, Hans Bellmer, who would be her partner and collaborator until her death. Zurn began producing paintings and drawings related to her Surrealist-influenced literary work while living in Paris, becoming acquainted with many artists in the Surrealist circle, including Andre Breton, Max Ernst, Man Ray, and Marcel Duchamp. Part whimsical cartoons, part intricate portraits, Zurn's chimerical fantasies make for drawings that are deeply revelatory yet playfully imaginative. This volume, number 86 in the Drawing Papers series, includes essays by curator Joao Ribas and author and scholar Mary Ann Caws.

Unica Zurn: Dark Spring

Mary Ann Caws

Published on the occasion of The Drawing Center's exhibition, Sun Xun: Shock of Time includes nearly 50 images by Hangzhou-based artist Sun Xun (b. 1980, China), all stills from his hand-drawn animations Shock of Time (2006) and Lie of the Magician (2005). The former depicts various tropes and metaphors of duration and transience made from hundreds of single illustrations drawn onto old Communist newspaper and magazine pages. The latter makes use of the artist's own body as a landscape for images of nature (rain clouds evaporating, seedlings taking root) that evoke myths of creation. This volume, number 85 in the Drawing Papers series, includes essays by curator Joao Ribas and author and critic Richard Vine.

Sun Xun: Shock of Time

Richard Vine

Published on the occasion of The Drawing Center's exhibition, Ree Morton: At The Still Point of the Turning World highlights Morton s influential body of work, remarkably all produced in a single decade between her decision to turn to art full-time in the late 1960s and her tragic death in an automobile accident in 1977, shortly before her 41st birthday. While reflecting many of the currents of Postminimal art of the 1970s, Morton's work also looked to a pioneering use of personal narrative, intimacy, humor, and poetic imagination. Yet the scope of her artistic production remains largely unrecognized, as does her vital contribution to feminist art practice and the importance of drawing to her development as an artist. This publication, number 87 in the Drawing Papers series, features 58 color plates, a conversation between Cornelia H. Butler, Joao Ribas, and Allan Schwartzman, as well as Lucy Lippard's new introduction to her 1973 essay At the Still Point of the Turning World.

Ree Morton: At the Still Point of the Turning World

Allan Schwartzman

Cornelia H. Butler

Lucy Lippard

American independent filmmaker Stan VanDerBeek (1927-1984) was one of the first to extend film projection into multimedia spectacle and to embrace video and computer technology: a supreme instance of what critic Gene Youngblood dubbed "Expanded Cinema."

Stan VanDerBeek: The Culture Intercom

Jane Farver

Gloria Sutton

Bill Arning

Jacob Proctor

Michael Zyrd

Individual Artists

Contemporary Arts Museum Houston/MIT List Visual Arts Center

This volume accompanies the first major solo museum exhibition in the United States of the work of Argentinean-born, London-based artist Amalia Pica (born 1978). Pica explores metaphor, communication and civic participation through drawings, sculptures, large-scale photographic prints, slide projections, live performances and installations. Using simple materials such as photocopies, lightbulbs, drinking glasses, beer bottles, bunting and cardboard, Pica creates work that is both formally beautiful and conceptually rigorous. Pica is particularly interested in the limits and failures of language and human communication, and the ways in which thought translates to action, idea to object. Her work is optimistic in its reflection of moments of shared experience, often incorporating signifiers of celebration and communal gatherings such as fiesta lights, flags and banners, and confetti. Amalia Pica is the fourth volume in MCA Chicago’s MCA Monographs series and features essays by writer Ana Teixeira Pinto and writer and curator Tirdad Zolghadr as well as an interview with the artist and exhibition co-organizers MITList Curator João Ribas and MCA Pamela Alper Curator Julie Rodrigues Widholm.

Amalia Pica

Julie Rodrigues Widholm

Museum of Contemporary Art, Chicago and MIT List Visual Arts Center

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Books by Joao Ribas