On Drawings 2024
The Drawing Foundation invites you to On Drawings. Join us in New York City on October 28th and 29th for two days of events and conversations among curators, collectors, conservators, and artists focused on historical, modern, and contemporary drawings. The full schedule of partners and events is listed below. Scroll to the bottom of this page for full text descriptions for each of the events.
Registration for all events is free with membership to The Drawing Foundation and includes a general admission ticket to The Art Show by ADAA (October 29-November 2).
*Free and discounted memberships are available for students.
Monday, October 28
10:30am
Discovering Drawings in What It Becomes at the Whitney Museum of American Art
Led by Scout Hutchinson, exhibition curator & Associate Curator, Parrish Art Museum.
11am
Drawing Trouble: Fakes, Forgeries, and Close Looking at Old Master Drawings**
Led by John Marciari, Director of Curatorial Affairs & Head of Department, Drawings and Prints, Morgan Library and Museum
**Space is limited. Priority for this workshop will be given to curators responsible for drawing collections and emerging scholars. Instructions for applying for consideration for the workshop will be provided in the registration form.
2:30pm
Talking Drawings: Beyond Paper
Presented in partnership with The Society for the History of Collecting
Michael Findlay, Director of Acquavella Galleries, and Jacob El Hanani, artist, in a conversation moderated by Elizabeth Pergam, Co-Chair of The Society for the History of Collecting and founder of its Americas Chapter.
This event is sponsored by Master Drawings New York.
5:30pm
The Salon du Dessin‘s Contributions: A History of the Market for Drawings in France
Presented in partnership with the Salon du Dessin
Lecture by Hervé Aaron, president Didier Aaron, and Louis de Bayser, president of the Salon du Dessin and FAB
This event is sponsored by the Salon du Dessin.
6:45pm
Welcome Reception sponsored by the Salon du Dessin
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Tuesday, October 29
10am
Thinking About Process & Drawings: Site Visits
Participants will select one site visit upon registration. Space is limited; register early to reserve a space in your first choice site visit. Among others, options include:
- The Drawings of Sèvres Extraordinaire with the Bard Graduate Center
with Charlotte Vignon, independent curator & former director of the department of patrimony and collections at Sèvres et Limoges, Manufacture et Musées nationaux (2020-2023) - Drawings by Indigenous Artists at MoMA, Past and Present
with Esther Adler, Curator, Drawings and Prints, The Museum of Modern Art - Paris through the Eyes of Saint-Aubin
with Perrin Stein, Curator, Drawings and Prints, The Metropolitan Museum of Art - Drawing to Print: Looking at Grosvenor School Artists
with Jennifer Farrell, Curator, Drawings and Prints, and Rachel Mustalish, Sherman Fairchild Conservator in Charge, Sherman Fairchild Center for Conservation of Work of Art on Paper, The Metropolitan Museum of Art
3pm
Beyond Boundaries: Approaches to Contemporary Drawings
Presented in partnership with the Conservation Center of the Institute of Fine Arts, New York University
Rachel Federman, art historian, writer, and curator, Lindsey Tyne, Conservation Librarian at New York University Libraries, Barbara Goldsmith Preservation and Conservation Department, and Annabel Daou, artist and adjunct association in the art history department, Barnard College with a discussion moderated by Lisa Conte, Assistant Professor of Paper Conservation and Co-Chair of the Conservation Center of the Institute of Fine Arts
5pm
Closing Reception sponsored by Master Drawings New York
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Event Partners:
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Event Sponsors:
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FULL ON DRAWINGS 2024 PROGRAM
Event locations will be provided to registered participants
Monday, October 28
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10:30am
Discovering Drawings in What It Becomes at the Whitney Museum of American Art
Led by Scout Hutchinson, exhibition curator & Associate Curator, Parrish Art Museum.
This tour with exhibition curator Scout Hutchinson will offer insight into the drawings from the Whitney’s collection that shed light on the creative process. From the exhibition description: “As an act of direct mark making, drawing offers an immediate and spontaneous way for ideas to unfold and images to come into being.” The exhibition focuses on “the medium’s potential to illustrate change,” and the tour will shed light on the relationship between these drawings and the notion of drawing in other media.”
Scout Hutchinson is an Associate Curator at the Parrish Art Museum (Water Mill, NY). Previously she was a Curatorial Fellow at the Whitney Museum of American Art (New York, NY), where she oversaw the Sondra Gilman Study Center for works on paper.
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11am
Drawing Trouble: Fakes, Forgeries, and Close Looking at Old Master Drawings
Led by John Marciari, Director of Curatorial Affairs & Head of Department, Drawings and Prints, Morgan Library and Museum
For as long as there have been collectors of old master drawings, there have been forgeries introduced to the market. This workshop will examine the phenomenon, looking at examples ranging from the seventeenth century to today, discussing some of the ways in which forgeries have been detected, and making a plea for the lasting value of connoisseurship.
John Marciari is the Director of Curatorial Affairs at the Morgan Library and Museum and the Head of the Department of Drawings and Prints. His recent projects include studies of the drawings of Piranesi, Tiepolo, and Guercino as well as the Morgan’s exhibitions celebrating major promised gifts from the Eveillard and Moore collections.
** Space is limited. Priority for this workshop will be given to curators responsible for drawing collections and emerging scholars. Instructions for applying for consideration for the workshop will be provided in the registration form.
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2:30pm
Talking Drawings: Beyond Paper
Presented in partnership with the Society for the History of Collecting
Michael Findlay, Director of Acquavella Galleries, and Jacob El Hanani, artist, in a conversation moderated by Elizabeth Pergam, Co-Chair of The Society for the History of Collecting and founder of its Americas Chapter.
“Drawings” and “works on paper” are often used interchangeably; Jacob El Hanani’s practice, most recently seen in his fifth solo show Drawing on Canvas at Acquavella, challenges that restrictive definition. Likewise, his work defies the reductive binaries of representation/abstraction, text/image, and microscopic/macroscopic. How does challenging the norms of artistic production impact an artist’s relationship with collectors? What is the role of the artist’s gallery in guiding collector’s appreciation of his work? Join us for a conversation with Jacob El Hanani and Michael Findlay, moderated by Elizabeth Pergam as part of The Drawing Foundation’s On Drawings, 2024, presented by the Society for the History of Collecting.
Jacob El Hanani (b. 1947), was born in Morocco and received his artistic training at the Avni School of Fine Arts, Tel Aviv, and the École des Beaux Arts, Paris, before settling in New York in the early 1970s. He has been showing with Acquavella since 2015 and his work is in many New York collections, including The Museum of Modern Art, The Jewish Museum, and The Whitney Museum of American Art.
Michael Findlay, Director of Acquavella Galleries, has been a key figure in the New York art world since his arrival in 1964 and his first gallery job with Richard Feigen. A poet and author, his most recent book, Portrait of the Art Dealer as a Young Man: New York in the Sixties (Prestel, 2024), is a lively account of the gallerists, artists, and collectors who made the City the center of contemporary art.
Elizabeth Pergam is Co-Chair of The Society for the History of Collecting and founder of its Americas Chapter. Her edited volume, Drawing in the Twenty-First Century: The Politics and Poetics of Contemporary Practice (Ashgate, 2014) explores the expanded field of contemporary drawing.
This event is sponsored by Master Drawings New York.
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5:30pm
The Salon du Dessin’s Contributions: A History of the Market for Drawings in France
Presented in partnership with the Salon du Dessin
Lecture by Hervé Aaron, president Didier Aaron, and Louis de Bayser, president of the Salon du Dessin and FAB
Since its first iteration in 1991, the Salon du Dessin made an important intervention into the French art world and contributed to an increasingly energetic interest in drawings in particular. The international fair now brings collectors, specialists, curators, scholars and connoisseurs from all over the world. This lecture will offer an overview of the history art market in France for old master and modern drawings and insights into the contributions of the Salon du Dessin among other trends.
Born in Paris in 1972, Louis de Bayser hails from a dynasty of world-renowned art dealers. Shortly after completing his business studies, he set off to become an Old Master Drawing expert following the footsteps of his ancestors. In 1998, together with three of his brothers (he is one of eleven children), he took over the prestigious Galerie de Bayser which had been run by his parents, Bruno & Thérèse de Bayser since the 1960s. The Parisian gallery was originally created in 1936 by Louis’ grandparents, Patrick and Rose-Anne de Bayser.
Appointed President of the Salon du Dessin in 2014, Louis de Bayser was instrumental in the creation of Fine Arts Paris in 2017 and became the fair’s president the same year. Over the past years, he has played a major role in ensuring the rapid growth of these two Paris fairs and expanding their international reputation. Following the fusion of Fine Arts Paris with La Biennale in February 2022, he was chosen as President of the new fair, Fine Arts Paris & La Biennale, renamed FAB Paris in 2023.
Hervé Aaron is the New York-based president of the Didier Aaron gallery, founded in 1923 and specializing in the sale of paintings, drawings and sculptures from the 17th to the 19th centuries, with offices in Paris and New York. He represents the third generation of this family of art dealers. Involved in promoting France abroad with the Comité Colbert and the French art market, he was one of the founding members of the Salon du Dessin in 1991, which he chaired for 17 years, and was president of the Syndicat National des Antiquaires from 2008 to 2010, in charge of organizing the Biennale des Antiquaires’.
This event is sponsored by the Salon du Dessin
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6:45pm
Welcome Reception sponsored by the Salon du Dessin
__________
Tuesday, October 29
___
10am
Thinking About Process & Drawings: Site Visits
Participants will select one site visit upon registration. Space is limited; register early to reserve a space in your first choice site visit.
- The Drawings of Sèvres Extraordinaire at the Bard Graduate Center
with Charlotte Vignon, independent curator & former director of the department of patrimony and collections at Sèvres et Limoges, Manufacture et Musées nationaux (2020-2023) - Drawings by Indigenous Artists at MoMA, Past and Present
with Esther Adler, Curator, Drawings and Prints, The Museum of Modern Art - Paris through the Eyes of Saint-Aubin
with Perrin Stein, Curator, Drawings and Prints, The Metropolitan Museum of Art - Drawing to Print: Looking at Grosvenor School Artists
with Jennifer Farrell, Curator, Drawings and Prints, and Rachel Mustalish, Sherman Fairchild Conservator in Charge, Sherman Fairchild Center for Conservation of Work of Art on Paper, The Metropolitan Museum of Art___
3pm
Beyond Boundaries: Approaches to Contemporary Drawings
Presented in partnership with the Conservation Center of the Institute of Fine Arts, New York University
Rachel Federman, art historian, writer, and curator; Lindsey Tyne, Conservation Librarian at New York University Libraries, Barbara Goldsmith Preservation and Conservation Department; and Annabel Daou, artist and adjunct association in the art history department, Barnard College. With a discussion moderated by Lisa Conte, Assistant Professor of Paper Conservation and Co-Chair of the Conservation Center of the Institute of Fine Arts.
Beyond Boundaries will offer three perspectives on the question “what IS a drawing?”. Curator Rachel Federman, conservator Lindsey Tyne, and artist and professor Annabel Daou will offer perspectives on the myriad types of objects and practices that fall under the category of “drawings.” Moving beyond traditional approaches like ink on paper, this discussion will focus on drawing as experimentation in the broadest sense; we will consider works that incorporate unconventional mediums such as natural elements (e.g., ash or tar), bodily fluids, and familiar materials used in novel ways. We will examine the attendant conservation challenges posed by these materials, while reframing drawing not just as a preparatory process, but also as both a performance and an autonomous object of value.
Rachel Federman is an art historian, writer, and curator. She has curated solo exhibitions of Bruce Conner, Maurice Sendak, Bridget Riley, and the previously unknown Beat-era draftsman Rick Barton. Her current curatorial project is “Helène Aylon: Undercurrent,” at Princeton University. It is the first solo museum exhibition of the American ecofeminist artist in almost fifty years. Federman has published essays on Bruce Conner, Jean Conner, Jay DeFeo, Richard Diebenkorn, Paul McCarthy, Allen Ruppersberg, and Betye Saar, among others. She is currently writing a biography of the pioneering American artist and art dealer Betty Parsons. Federman holds a PhD from the Institute of Fine Arts at New York University.
Lindsey Tyne is the Conservation Librarian at New York University Libraries where she leads the Special Collections Conservation Unit in the Barbara Goldsmith Preservation and Conservation Department. Lindsey holds an M.A. in Art History and an Advanced Certificate in Conservation from the Conservation Center, Institute of Fine Arts, New York University, where she is currently an adjunct faculty member. She holds a B.F.A. from Pratt Institute. Prior to her current position, Lindsey was the Associate Paper Conservator in the Thaw Conservation Center at The Morgan Library & Museum (2010-2022) and held roles in conservation departments at The Metropolitan Museum of Art and The Whitney Museum of American Art. Her research focuses on the materials and techniques of modern and contemporary artists and the close examination of works on paper. She has published on Roy Lichtenstein, Jim Dine, Lucas Samaras, Jean Dubuffet, and Al Taylor, as well as developed lectures and seminars on techniques used to examine works on paper. Lindsey is a Professional Associate of the American Institute for Conservation.
Annabel Daou’s work takes form in paper-based constructions, sound, performance, and video. Daou suspends, carves out or records the language of daily life: from the ordinary or mundane to the intimately personal and urgently political. In her performance work she explores questions of trust, intimacy, cross-cultural exchange, and the operations of power. Her work frequently evokes moments of rupture and chaos but with the tenuous possibility for repair. Daou was born and raised in Beirut and lives in New York. Her work has been shown nationally and internationally including at The National Museum of Beirut; The Park Avenue Armory, New York; KW, Berlin; The Drawing Room, London; and The Irish Museum of Modern Art, Dublin. Public collections include The Morgan Library; The Baltimore Museum of Art; The Brooklyn Museum of Art; The Vehbi Koç Foundation, Istanbul; the Ulrich Museum of Art, Wichita; and The Yale University Art Gallery, New Haven. Recent solo exhibitions include what is left of us at signs and symbols, New York, War Games at Galerie Tanja Wagner, DECLARATION at Ulrich Museum of Art, Global Spotlight: Annabel Daou at Museum of Contemporary Art Arlington. Recent residencies include the Pollock-Krasner award at ISCP in New York and Haus Des Papiers in Berlin. A monograph of her work will be published by Distanz Publishing Berlin in 2024. Daou was co-founder of collaborative groups dBfoundation, S2A, and The Lobby, temporary public exhibitions in Brooklyn building lobbies. FORTUNE, her ongoing silent fortune-telling project, has taken place in numerous institutional and non-institutional contexts including PS1 MoMA, White Box, and the Global Art Forum, Dubai.
Lisa Conte is Assistant Professor of Paper Conservation and Co-Chair of the Conservation Center of the Institute of Fine Arts at New York University.
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5pm
Closing Reception sponsored by Master Drawings New York
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Image captions:
Banner images:
Left side: Gabriel de Saint-Aubin (1724–1780), Allegory of the Marriages Performed by the City of Paris in Honor of the Birth of the Duc de Bourgogne in 1751 (detail), 1751, Black chalk, pen and brown ink, brush and gray wash, with white gouache and touches of blue and red chalk. 13 3/4 × 9 13/16 in. (35 × 25 cm). The Metropolitan Museum of Art. Promised Gift of Stephen A. Geiger, in memory of his parents, Howard W. Geiger and Mildred K. Geiger, and in honor of his brother, Julian R. Geiger
Right side: Helène Aylon (1931-2020), Holding In 1 (detail), 1976, Mixed media on paper, 13-1/2 x 13-3/4 inches (sheet). Courtesy of the Estate of Helène Aylon and Leslie Tonkonow Artworks + Projects.
Event images:
Rick Bartow, Autobiographical Hawk, 1991. Pastel and graphite on paper, 46 5/8 × 59 7/8 in. (118.4 × 152.1 cm). Whitney Museum of American Art, New York; gift of the Richard E. Bartow Trust 2022.69. © Richard E. Bartow Trust
“Pier Leone Ghezzi,” Goldoni and the Characters of the Commedia dell’Arte, ca. 1700, or ca. 1940. Morgan Library & Museum, New York.
Jacob El Hanani, Quadric Urban Landscape, 2023, ink on gessoed canvas, 48 x 48 inches (121.9 x 121.9 cm). © Jacob El Hanani, Courtesy Acquavella Galleries
Salon du Dessin 2024, Exterior view of the Palais Brongniart, Place de la Bourse, Paris. Photo © Tanguy de Montesson
Agathon Léonard, Le Jeu de l’écharpe (The Scarf Dance) centerpiece, 1900. Pâte-nouvelle porcelain biscuit and stands with gilding. Manufacture et Musée nationaux, Sèvres. Photo © RMN-Grand Palais (Sèvres – Manufacture et musée nationaux) / Martine Beck-Coppola.
Helène Aylon (1931-2020), Melting Bricks 9, 2014, Mixed media on paper, 18-15/16 x 26-1/16 inches (sheet). Courtesy of the Estate of Helène Aylon and Leslie Tonkonow Artworks + Projects.
