1. COLOR 2. HOLE AND 3. JOKE
Vienna
1. COLOR 2. HOLE AND 3. JOKESelected Works on Paper
Rachel Harrison
Ulrike Müller
Yoshitomo Nara
Raymond Pettibon
Florian Pumhösl
Amelie von Wulffen
Franz West
and Heimo Zobernig
Artworks
Yoshitomo Nara
untitled, 2003
Colored pencil on paper (envelope)
26 x 12 cm
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Yoshitomo Nara
untitled, 2005
Colored pencil on paper (envelope)
39 x 24 cm
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Yoshitomo Nara
untitled, 2005
Colored pencil on paper (envelope)
23,5 x 33,5 cm
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Yoshitomo Nara
untitled, 2004
Colored pencil on paper (envelope)
27 x 38 cm
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Yoshitomo Nara
untitled, 2004
Colored pencil on cardboard
21,2 x 15,5 x 5,5 cm
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Florian Pumhösl
Falklands II, 2005/2019
Reverse glass painting, epoxy resin on handcrafted glass
72 x 47 cm
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Florian Pumhösl
Falklands I, 2005/2019
Reverse glass painting, epoxy resin on handcrafted glass
51 x 68 cm
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Florian Pumhösl
Java Sea, 2005/2019
Reverse glass painting, epoxy resin on handcrafted glass
72 x 54 cm
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Franz West
untitled, c. 1985
Papier mâché (painted by Herbert Brandl)
63 x 78 cm
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Franz West
Passstück, c. 1983
Papier mâché (painted by Eugenia Rochas)
40 x 74 x 11 cm
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Heimo Zobernig
untitled, 1984
Series of 19 gouaches on paper
c. 30 x 21 cm each
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Rachel Harrison
Unfinished Masterpiece Fourteen, 2019
Colored pencil, graphite, watercolor, liquid acrylic, and wax crayon on pigmented inkjet print
36 x 43 cm
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Rachel Harrison
Unfinished Masterpiece Eleven, 2019
Colored pencil, graphite, watercolor, liquid acrylic, and wax crayon on pigmented inkjet print
36 x 43 cm
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Rachel Harrison
Unfinished Masterpiece Thirteen, 2019
Colored pencil, graphite, watercolor, liquid acrylic, and wax crayon on pigmented inkjet print
36 x 43 cm
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Rachel Harrison
Unfinished Masterpiece Fifteen, 2019
Colored pencil, graphite, watercolor, liquid acrylic, and wax crayon on pigmented inkjet print
36 x 43 cm
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Rachel Harrison
Unfinished Masterpiece Twelve, 2019
Colored pencil, graphite, watercolor, liquid acrylic, and wax crayon on pigmented inkjet print
36 x 43 cm
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Rachel Harrison
Unfinished Masterpiece Sixteen, 2019
Colored pencil, graphite, watercolor, liquid acrylic, and wax crayon on pigmented inkjet print
36 x 43 cm
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Ulrike Müller
Grammatik, 2018
Monotype with chine-collé, printed with 10 Grand Press in Brooklyn, NY
73,7 x 55,9 cm
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Ulrike Müller
Celadon, 2018
Monotype with pochoir, printed with 10 Grand Press in Brooklyn, NY
73,7 x 56,6 cm
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Ulrike Müller
Rote Blume, 2018
Monotype, printed with 10 Grand Press in Brooklyn, NY
73,7 x 55,9 cm
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Ulrike Müller
Knife Act, 2018
Monotype with pochoir, printed with 10 Grand Press in Brooklyn, NY
73,7 x 55,9 cm
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Amelie von Wulffen
untitled, 2007
Acrylic, watercolor, baryt print on paper
169 x 111 cm
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Amelie von Wulffen
untitled, 2007
Charcoal, acrylic, retouching paint, photo on paper
113 x 420 cm
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Amelie von Wulffen
untitled, 2007
Acrylic, watercolor, baryt print on paper
198 x 173 cm
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Amelie von Wulffen
untitled, 2010
Watercolor, ink on paper
29,7 x 21 cm
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Amelie von Wulffen
untitled, 2010
Watercolor, ink on paper
29 x 20 cm
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Amelie von Wulffen
untitled, 2019
Watercolor, ink on paper
29 x 21 cm
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Amelie von Wulffen
untitled, 2010
Watercolor, ink on paper
29,7 x 21 cm
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Amelie von Wulffen
untitled, 2019
Watercolor, ink on paper
30,6 x 22,7 cm
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Amelie von Wulffen
untitled, 2019
Watercolor, ink on paper
21 x 29,6 cm
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Drawing became fashionable in the 18th century, when it left the confines of the artist’s studio to enter a broader field of discourse, culture, politics, and social life. This transformation was most evident in France, where drawing was significantly and influentially repositioned and reconceptualized. This exhibition traces the emergence of the modern understanding of works on paper in multiple senses—as an autonomous form of expression, an index of the artist’s style, an object of aesthetic contemplation, and an epistemological tool. By exploring the artists’ interactions with paper rather than simply their use of the material as a basis, the exhibition considers works on paper as a means of conceptualization as well as a visual mode of thinking in and of itself. Focusing on the power of contemporary works on paper, this selection of work looks at how artists use drawing to examine themes including identity, place, and memory, thereby pushing the boundaries of the medium. The constitutive influence of Pop Art on their work is shared by all the artists represented in the show. Building on the achievements of Dadaism, the Pop artists began to parody the society on which their reactions were based. The Pop Art movement then sought to solidify the idea that art can draw from any source, that there is no cultural hierarchy to disrupt this. Presented in a fine art setting, the line between “high culture” and the quotidian becomes blurred. To assess the permanent conceptual impact on contemporary drawing, we must bear in mind some of the characteristics of contemporary art after Pop Art: Appropriation of cultural icons; use of vibrant, bright colors, irony, and satire; as well as innovative techniques like print, mixed media, and collage that reference its graphic nature.
Courtesy of the artists and Galerie Meyer Kainer, Vienna. Photo: Marcel Koehler
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