BEA MADDOCK

In January - February 1987 Bea Maddock visited Antarctica with two other artists, Jan Senbergs and John Caldwell, invited as part of the Australian Antarctic Division's 'Artists in Antarctica' programme. While alighting at Heard Island she seriously injured her knee and leg (she was permanently disabled by the accident) and was unable to continue to the mainland. However, she spent some time on the island itself drawing the coastline, and from the ship and her cabin window the Antarctic landmass. Upon her return to Launceston Bea Maddock developed these into this suite of etchings, completed in April 1988.

see Bea Maddock Forty Pages from Antarctica 1988

LEE JANG SUB

Lee Jang Sub, Villes de lumière. / Towns of light: Paris

more maps: Territoire des Sens

GEORGE BRECHT

from the Land Mass Translocation series by Brecht and MacDiarmid, 1969

source: George Brecht Events; A Heterospective, (catalogue) Robinson, Walter König

"One of us (GB) proposed in 1966 that the Arctic ice pack be interchanged with the Antarctic, and in the winter of 1967-8, in London, the idea of moving England closer to the equator presented itself. This intuition was reinforced by recent scientific studies which have shown that England is being tilted... at a rate such that areas of London 15 meters above sea level or less will be submerged in 1500 years time. Considering that London has been an inhabited place for at least 2000 years, this is not as remote an event as it seems. In this light, Brecht and MacDiarmid are undertaking research into the feasibility of moving land masses over the surface of the earth..... Movement of the Isle of Wight would be a pilot project for the larger translocation of England." George Brecht

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MANUEL AALBERS

Manuel sent us [the Hand Drawn Map Association] some of his imaginary city maps. He has been drawing them since he was a child and continues to draw them as an adult. He writes, "They often have centers that look like city cores of European cities founded in the Middle Ages or Renaissance, but they are not necessarily European cities. read more

INGRID CALAME

INGRID CALAME#258 Drawing (Tracings from the Indianapolis Motor Speedway and the L.A. River ), 2007
color pencil on trace mylar  87 1/2 X 135 1/2 inches

see source of image

see video of work process

RACHEL WHITEREAD

Rachel Whiteread House Study (Grove Road) 1992,

 parts 3 & 4, both 29.5 x 42 cm

read about House

NICHOLAS HUTCHESON

Nicholas Hutcheson Tabular Berg 2008 pencil and gesso on paper 

read more about: NICHOLAS HUTCHESON - Australian Antarctic Arts Fellow 2008

JOHN VIRTUE

John Virtue Study from the Roof of Somerset House, Looking East, 2003-04. 

source

LLOYD REES

• Lloyd Rees O’Connell Road, Bathurst 1934, 1934
• Pencil 13.5 x 21.5 cm

read more about Lloyd Rees

see Rees' sketchbooks

HENRI MATISSE

from catalogue: 

Matisse in Morocco, The Paintings and Drawings 1912-13

 NGA Washington, 1990 p138

Henri Matisse Tanger, l'eglise-anglaise 1912 source

PAUL GAUGUIN

Paul Gauguin - Sketch Ia Orana Maria, 
from letter to Georges de Monfreid dated 11 March 1892,
 ink on paper, 212 × 143 mm
see more of Gauguin's drawings of Tahiti

BRANDON - HUMANS OF NEW YORK

http://www.humansofnewyork.com/

Humans of New York is a photographic project that could be modified into a 'slower' project using drawing, and relocated to a place in which you live or work. Brandon says:

My name is Brandon and I began Humans of New York in the summer of 2010. I thought it would be really cool to create an exhaustive catalogue of New York City’s inhabitants, so I set out to photograph 10,000 New Yorkers and plot their photos on a map. I worked for several months with this goal in mind, but somewhere along the way, HONY began to take on a much different character. I started collecting quotes and short stories from the people I met, and began including these snippets alongside the photographs. Taken together, these portraits and captions became the subject of a vibrant blog. With over seven million followers on social media, HONY now provides a worldwide audience with daily glimpses into the lives of strangers in New York City. It has also become a #1 NYT bestselling book.. It’s been quite a ride so far. Feel free to follow along.

SUBATOMIC PLACES

A place within all places where subatomic particles collide in and out of existence, invisible to the the unaided eye.

FRANCIS BACON

Francis Bacon's studio - a place gradually recording the history memory and trace of Bacon's visual enquiries. The room has become transformed over time. 

PAUL HIGGS

 Paul: The Studio. Perhaps the only place where I can be  the most  at ease with my self. The working process  creates  a fall out, a  chaos  field  in an interior place and the work becomes a urgent need to organise  and re-assemblage fragments of memory.

CURIOSITY ROVER

Rover tracks on Mars

more Curiosity images

DAVID TREMLETT

DAVID TREMLETT Scotland (Lock Ness) 1975

read more and more

CHARLES COOPER

Charles Cooper Lower George 2011 (ink and conte crayon on paper 103 x 76 cm)

Lower George is part of a study of road markings. Charles says:  On one level, the images are about 1) the generic communal space of the roadway, 2) the variety of distinctive patterns that denote , for instance, places at which pedestrians and drivers are obliged to negotiate with each other and 3) particular locations at which such markings, and interactions, occur e.g. Lower George Street outside the MCA (now altered, which touches on another dimension in the work).

 See more.

WORSAAE

Worsaae, under the commission of Christian VIII of Denmark, spent nine months travelling around Britain and Ireland during 1846 and 1847. One of the most famous Scandinavian antiquarians of the nineteenth century, he had spent time visiting Sweden, Austria, Germany and Switzerland during the preceding years. The terms of his royal commission, as they related to his tour of Britain and Ireland, primarily focused on an investigation of the Viking-age antiquities and monuments of Scandinavian character.

The Worsaae Drawings

SUZANNE TREISTER

Suzanne Treister watercolour on paper 21 cm x 29.7 cm from a series:

PSYCHOGEOGRAPHY: A Personal Philatelic History of Defence Spares Trade Routes in the 60s and 70s

Treister homepage

CHRISTO and JEANNE-CLAUDE

Christo
Two Lower Manhattan Packed Buildings (Project for New York City - 20 Exchange Place)
Collage 1966
28 x 22" (71 x 56 cm)
Pencil, fabric, twine, charcoal and wax crayon

see other unrealised projects by Christo and Jeanne-Claude 

DOUGLAS HUEBLER

Douglas Huebler, Site Sculpture Project, Windham College Pentagon, Putney, Vermont 1968

read more

CHRISTIAN BOLTANSKI

Christian Boltanski Altar to the Chases High School (Autel Chases) 1987

read more about Autel Chases

read more about Boltanski  

JOHN WOLSELEY

John Wolseley The territories of birds remembering Gondwana and Laurasia, 2001

(detail) watercolour on paper 76 × 263cm (Detail) source

John Wolseley Forty-eight days in Tnorula Gosses Bluff NT 1980-1.

 mixed media on paper,  259x305 cm

VINCENT VAN GOGH

Vincent van Gogh, 'The Courtyard of the Hospital at Arles', 1889, ink on paper.

AVIGDOR ARIKHA

Avigdor Arikha, 'Interior with Press', 2005, charcoal on paper, 56.5 x 76cm

KEVIN CONNOR

Kevin Connor, 'Pyrmont and the City', 1992, brush and black ink, gouache, 104 x 132.8cm

DANIE MELLOR

The Elysian City 2010 

Pencil, pastel, glitter, Swarovski crystal and wash

on paper 142 x 183 cm

see more

GABRIEL OROZCO

GABRIEL OROZCO, ISLA EN LA ISLA (ISLAND WITHIN AN ISLAND) 1993

cibachrome print Walker Art Center

PIERO MANZONI

Piero Manzoni Socle du Monde (Base of the World) 1961. A large metal plinth, inscribed in French: 'The Base Of The World, Homage To Galileo' placed upside down in the grounds of an art museum in Herning, Denmark, claiming the planet as an artwork on a plinth, and displacing viewers into outer space. 

read more

MARGARET ROBERTS

Margaret Roberts Redcheck 2004 - drawing installation to mark the end of the Tin Sheds gallery's occupation of the building at 154 City Road and celebrate the Tin Sheds history.  Read more.

MARCEL BROODTHEARS

Museum of Modern Art, Department of Eagles 

In 1968, the Belgian artist Marcel Broodthaers created an installation in his house that he entitled the Musée de l'Art Moderne, Départment des Aigles, or Museum of Modern Art, Department of Eagles. This was a fictive entity in that the museum had neither a permanent building nor a collection; nonetheless, it was elaborated by Broodthaers in about a dozen further installations. Evidence of the museum's existence (apart from its title) ultimately encompassed specially created objects, films, and art reproductions as well as ephemera such as wall labels and signage.

Subsequently, Broodthaer added other 'wings' to his museum department, including a Financial Section (through which he attempted to sell the museum itself, stating that this was necessary "on account of bankruptcy") [1]. The Financial Section was also the sponsor of a series of gold ingots stamped with the museum's symbol, an eagle; these ingots were sold at twice the market price of the gold they contained.

source
Museum as place

more about Broodthears
more about fictive sites

SOL LEWITT

Sol LeWitt Buried Cube Containing an Object of Importance 

but Little Value 1968

The burial of the cube reportedly took place in a local garden, but these photographs, referring again to the notion of the series or process, are the only proof that LeWitt's actions actually took place. Without seeing the event taking place, or knowing what is held within the cube, Buried Cube relies on the idea, as opposed to a finished object. A conceptual piece, this work was produced shortly following the publication of LeWitt's 1968 manifesto describing the new Conceptual art movement. In the manifesto, he declares, "The execution is a perfunctory affair. The idea becomes a machine that makes the art." Likewise, by emptying this "burial"-like an actual interment, an extremely important, emotional, and personal affair-of content, value, gesture and expression, LeWitt disengages himself from the work and takes a strong "death of the author" stance. In his own words: "Once it is out of his hand the artist has no control over the way a viewer will perceive the work. Different people will understand the same thing in a different way."

source

REGINA WALTER

Regina Walter, Camoufleur. The work derives from the historical material of camouflage defence by artists working at Bankstown airport during WW11. Artists such as Max Dupain and Frank Hinder were among the Sydney Camouflage Group, led by Zoologist William Dakin. Their experiments proved to be ingenious methods of disguise, decoy and deception. Adapting Roy Lichtenstein's illusion house series, this work recreates a disguised airplane hangar. The work echoes the Camouflage Group's optical trickery, using similar elements of deception, and is reminiscent of a 1940's style home in black and white

source