gallery

1504 pieces, shuffled — reshuffle

Sketchbook 48 spread: art-history lecture notes from the Académie Royale on the Three Graces, Mantegna and Titian, facing a tender graphite study of a seated faun with a Santayana quote on Americans and junk Digital painted self-portrait, summer 2005: Auriea with long braids framed by feverfew branches, small white blooms and pale insects scattered through her hair 3d prop: an open wooden treasure chest with a faceted diamond on its red lining Sketchbook 32 dark side spread: pencil sketches of family on couches — a woman reclining with cats curled below, a young woman seated, studies of faces Colored-pencil drawing on gray paper: a dead tulip, petals collapsed like drapery over a ghost of yellow Sketchbook 42, page 88: ballpoint domestic still life — a stereo tower and tissue box on a table, a game controller resting on a bed, snacks and a glass on a striped cloth Sketchbook 49 spread on the Musée d'Orsay's 'Masculin/Masculin': notes on Guido Reni's Sebastian, the Barberini Faun, Ron Mueck and Mercié's David, with sketches of a lounging and seated male nudes Grid of fifteen video frames shot along a highway: billboards reading Available, poles and power lines under a hand-tinted pastel sky Till We Have Faces, pages 292 and 293: Orual chews the strange bread of the gods, declares herself Ungit, and despairs that no man will love an ill-favoured woman Duchamp's Air de Paris: a glass ampoule like a teardrop ornament, hooked at the top, hanging on a thread — fifty cc of Paris Sketchbook 32, Mediaterra day 2 'Gaming Environments': pages crowded with ballpoint portraits — Michael Mateas, Chris Crawford haloed mid-speech, notes on Deikto and immersion Sketchbook 49 spread: Louvre notes on Giulio Romano and Pannini's paired Views of Ancient and Modern Rome, a monk-robed figure, a wine-red crouching nude hiding her face, and a pietà study Sketchbook 39, digital painting: a bedside lamp with an orange shade glowing yellow underneath, on a brushy brown ground groworld research pair: a notebook drawing of an underground city with pheromone paths, and a photo of a pensive face, chin in hand — 'minimise borders and maximise edges' Five studio views of the Fauna head circling from front to back: the long-eared child's face, the horn bud, and the gold-filled fissures crossing the white skull Sketchbook 38 fold-out: a pencil still life of a Pelikan Fount India ink bottle lying on its side beneath the curve of a banana Magritte's The Treachery of Images: a smoothly painted pipe above the cursive caption Ceci n'est pas une pipe Small white clay maquette from behind: a kneeling Magdalene with long incised hair holding a skull up at arm's length, face to face Sketchbook 38, first spread: a graphite study of an old tree's crossing branches over water, drawn dense and silvery against a blank left page Year Zero at bitforms: the ziggurat of sculptures in the dark blue room, the projected mandala now burning orange and gold around a small blue rosette Tall foxglove stem with pink bell flowers rising against a peeling whitewashed wall Inverted-color render: a bob-haired girl in negative, face patched black and white like a skull, one red shoulder Blender viewport for La Vita Nova: scanned bust of a figure with thick locks holding a round object at its chest, white against a black grid Mirror self-portrait in the Louvre's terracotta rooms: phone raised between the panes of a black vitrine full of small antique figures, a visitor rubbing her eyes at left John Cage score page: circled constellations of pitch letters joined by lines, floating over conventional staves beside an ornate clef Split screen: a folder of vanitas skull paintings beside a YouTube documentary about painter Fuyuko Matsui, a woman in kimono seen from behind The studio worktable in 2017: a bronze head resting in a stone dish, a white David figurine, dark wax figures, a porcelain Venus on a box, and a teacup of tools Airmail envelope from the John Simon Guggenheim Memorial Foundation, 90 Park Avenue, addressed to Ms. Auriea L. Harvey Cover of sketchbook 7 (1990): white spiral book covered in pink lipstick kisses, inked 'Auriea Sketchbook VII — chaos is my life — Pseudo Quasi Real', 20 Aug–26 Sept The colossal marble Medusa from behind: heavy braids of snakes wind over the sleeping head, one serpent knotted around the mass On the studio's green cutting mat: a small white clay sculpture splitting open like a fruit, posed with two clementines on an envelope Network diagram of red nodes joined by curving grey lines, spiraling loosely like a galaxy on a white ground John Singer Sargent's Ellen Terry as Lady Macbeth: the actress in a green beetle-wing gown raising the gold crown over her own head with both arms Glitchy black-and-white webcam still: two ghostly figures side by side over a striped scanline pattern, timestamped 11.6.18.47.30 Back cover of sketchbook 33: a jeweled blue Renaissance sleeve and a hand leafing through a green book, collaged in leather corners with a floral tapestry band Kiki Smith's Getting the Bird Out: a black cast head lying cheek-down, a twine cord running from its mouth to a small black bird lying at its end Sketchbook 39: a woman in a slip drawn in charcoal and white chalk on kraft-brown paper, her head turned sharply in profile, hair swept up Sketchbook 49 spread of Louvre copies: a crouching satyr and standing nude pulling off her shift, facing a Daumier-like group of heads and a pensive figure resting chin on fist White vodou veve drawing on a dark grey ground — a starred, symmetrical crossroads emblem framed by two arcs Smooth grey profile of the same girl's head, lips parted slightly, ponytail falling behind the ear Black-and-white diptych: blurred lattice shadow and a glass on a table above; a kitchen-roll on the windowsill overlooking a bare Gent courtyard below Film strip of 3D character models in a dark viewport: costumed figures, a hooded walker with a cane, a wireframe deer, dancers caught mid-pose Flemish allegory of Fortune: blindfolded, she balances on a sphere in a stormy sky, shaking coins and goods from two hats over a scrambling crowd, a gallows at right Two Path scenes: the misty forest with the small white shrine among trunks, and the girl at a picket fence gate before the house glowing purple Sketchbook 48 spread: figures reduced to stacked boxes ('a lot of talk about magic'), facing a blocked-in standing nude with red construction lines and notes on EROS, thrust and 'the boxes are a placeholder for the space the body takes' Sketchbook 49 spread: a horse-headed nude man beside a red bowl with whisk, and an Anubis-like figure draped in red over a large sphere, dated 1st April — a dream-like Egyptian pairing Screenshot from Ico: the boy in his red tunic and horned helmet reaches down from a wooden plank toward the pale, glowing Yorda in the castle gloom Black-and-white snapshot printed upside down: a figure in a striped top stands on a lawn before shrubs, inverted like the tarot Hanged Man Distant game-engine test: the small Lumpy Girl figure standing alone on a flat dusty purple plain, seen from far away Sketchbook 48 spread: reclining foreshortened nude in graphite, and an ink-and-wash seated woman with one green-stockinged leg — questions in red on using energy lines for invention and composition

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