gallery

1504 pieces, shuffled — reshuffle

Spacecraft photograph of Jupiter's moon Io half in shadow, a volcanic plume erupting in a bright arc off its upper limb Page 10 of Marguerite Duras' Hiroshima Mon Amour script in English: their talk mingles themselves with Hiroshima, she appears dressed as a Red Cross nurse, and Nevers is highlighted where her past begins A photograph of a printed page with cream-colored paper displaying four centered lines of black text in a simple serif typeface. The text reads: "For the blind man / in the dark room / looking for the black cat / that isn't there." Sketchbook 32: pencil studies of heads — a downcast woman at left, and a large anguished bearded face, eyes closed, drawn dark and dense Sketchbook 32 dark side spread, dated 08/06: a black ink flood spilling across a winter landscape of pencil hatching and gold-brown brush marks Night photo of Kit Halsted, cigarette in mouth, leaning on a loaded Triumph motorcycle at a Manhattan curb, lit billboards down the street Roma sketchbook: ink sketch of Bernini's Apollo and Daphne, her raised arms bursting into leaves as the laurel bark climbs her legs Desktop with 3d girl half-wireframed beside a photo of a blindfolded woman, and a hooded red-cloaked model in a second window; a filename rants across the top Quote card — Ingres said: 'Drawing is three-fourths and a half of what constitutes painting. If I had to put a sign over the door of my atelier, I would write: School of Drawing... and I'm certain that I would create painters.' Wally Wood's 22 Panels That Always Work — the classic cheat sheet of comic framings: big head, extreme close-up, silhouette, down shot, L-shape and the rest Design sheet of fifteen gravestone sketches on black with red annotations — 'taller + on angles', 'SHE CRIES', 'ERODE BREAK' — planning The Graveyard's tombs Second woodblock page of the ʼPhags-pa primer: tall columns of angular square-script letters, each glossed with small Chinese characters Jacques-Louis David's The Death of Socrates: the philosopher reaches for the hemlock cup while pointing skyward, his grieving students around the prison bed Sketchbook 42b: charcoal study from the cast or original of a standing classical nude — torso and legs of an Apollo, drapery falling behind the extended arm The Fountain of Life detail from the Ghent Altarpiece — angels kneeling on starry grass around the slender bronze fountain — framed with a plaque reading 'Auriea 2012', a gift from Hasan Niyazi Ancient Egyptian bronze mirror: a slender standing woman forms the handle, her upraised arms curving into a papyrus support for the broad golden disc Journal spread: a crosshatched ink head with hollow eyes among falling leaves — 'what a horrible way to go, to be crushed...' — opposite a page of pencil writing Path character sheet '6_Scarlet': polaroids of the eldest sister, red-bunned and severe, painted portrait style, with a forest reference photo Mike Libby's mechanical insect: a real cicada with orange-and-black wings spread, its body replaced by tiny watch gears and a red jewel Text titled Realtime processing: the computer's essence as artistic medium is generating events in real time — time is to digital art what space is to analog art New York Times clipping from 1883 recounting Ingres confronting Delacroix at dinner — 'Drawing, Sir, drawing is honesty! Drawing, Sir, drawing is honor!' — spilling his coffee in his fury Panorama of the Markt in Delft: herringbone brick square, gabled houses all around, the town hall at center, children and strollers at the statue's plinth Grayscale collage: paper models with pivoting circle cutouts labeled ontology and metaphysics, concentric paper rings, an eye drawing, black-painted nails Night desk: laptop and iMac both showing The Path (Ruby leaning in headlights, a striped-sock scene), the logo glowing on a Wacom below, Michael behind the far monitor Coverage falloff at five Softness settings on a 40mm brush Bleached scan of page 45 of Borges's The Garden of Forking Paths: everything happens to a man precisely now, and the narrator inventories his pockets Evening primrose (teunisbloem) seen from above at night, two pale yellow flowers on a rosette of narrow leaves, photographer's shoes visible below Andrew Loomis's 'Ideal Proportions at Various Ages': male figures from one year to adult divided in head units, noting the legs grow nearly twice as fast as the torso Cover of sketchbook 29: a painted collaged face on black — cropped bands of eyes, nose and grinning teeth assembled into a mask Sketchbook 49 spread at the Musée Jacquemart-André: notes on Vigée-Lebrun, Van Dyck and Lord Leighton's 'Antigone', facing a dense graphite copy of Aleijs Loir's sprawling satyr with pipes Sketchbook 47: watercolor of Vesuvius smoking above a band of blue sea, with Ovid's Fasti IV quoted below — the prayer of Romulus for Rome, written within sight of Vesuvio, 2 Aug 2013 Roma sketchbook: the baldachin's twisted columns brushed in heavy black ink beside writing — 'There is a certain perversity to St Peters... The angel stabs you in your own true heart' Blurred photo of a mammogram machine in a beige clinic room, footswitches on the floor A solid red square Two views of a glazed ceramic tile of a fawn: propped against an antique balance scale on a shelf, and held close-up in a hand Sketchbook 45 spread: sanguine and watercolor study after a baroque abduction scene — bare legs kicking free of red drapery at left, the rest of the group in faint red outline at right Close-up of a Path girl's face bottom half: sallow skin, wide dark hollow eyes, flat lips, red hair edges at the ears Sketchbook 38 spread in charcoal: the gothic buttresses and pointed windows of St Vitus close up, and a small sketch of Charles Bridge arches over the river The same portrait head resolved: black woman in a white headwrap on ochre ground, after Benoist's Portrait of a Negress Inside cover of sketchbook 20: collaged Muybridge-like figures carrying trays across the bottom, a golden crest reading 'PSYCHE STORY' held up at right, rusty reds above Close on the leafed neck struts: twisted stems with leaf blades reaching out and up between them. Raphael's self-portrait from the Uffizi: the young painter in black cap and robe glancing over his shoulder, in a gold frame inlaid with knotwork panels Notebook page 'The ultimate FINAL to do list' with nearly every line struck through in red, 'DONE!' scrawled at top Diary line in blue ballpoint over the printed word APRIL: 'I wrote this in Darmstadt with a free pen. Michael has gone to the restroom. I'm drinking champagne.' Green-tinted diptych: Auriea photographing herself in a mirror on a staircase, paired with a framed portrait of Freud hanging beside a curtain Collage manifesto: a Formlabs printer glowing orange at center, ringed by grayscale 3D scans — museum figurines, face casts, draped bodies, a Madonna in a niche Sketchbook 44 spread: graphite studies of a standing male nude in two overlapping stances at left, and at right the model reclining, legs extended toward the corner Sketchbook 42 spread: layered ballpoint and blue pencil sketches of sleepers — a face sunk into a pillow at left, a bald man asleep against his raised arm at right Cover of sketchbook 23B: a narrow old ledger bound in dark marbled paper, red cloth at the spine, edges worn to orange Sketchbook 38 spread: a great cedar in the botanic garden, dark boughs in ink and wash spreading over water, small figures picnicking beneath

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