Adam McEwen
Soy Sauce, 2012
Graphite, 5 1/4 x 2 1/2 x 2 1/2 inches
19 of 20 with 3 APs
Courtesy of the artist and The Sculpture Center, New York.
Spencer Finch
Vultures Over Canyon del Rio Lobos, Spain 3/30/13 1591F, 2013
Pencil on paper, 30 1/4 x 44 inches
Courtesy of James Cohan Gallery
Joyce Kozloff
Boys' Art #16: Aztec Military Map, 2001-02
Mixed media on paper, 16 3/4 x 11 3/8 inches
Joyce Kozloff
Boys' Art #9: Iwo Jima, 2001-02
Mixed media on paper, 16 3/4 x 11 3/8 inches
Joyce Kozloff
Boys' Art #21: Ottoman Campaigns, 2001-02
Mixed media on paper, 11 3/8 x 16 3/4 inches
Nathan Oliveira
Untitled Nude, 1972
Graphite on paper, 26 x 20 inches
Nancy Rubins
Drawing, 1994
Graphite pencil on paper, 43 x 37 x 12 inches
© Nancy Rubins. Courtesy of the artist and Gagosian Gallery
Barbara Takenaga
Untitled, 2014
Graphite and acrylic wash on paper, 11 1/2 x 10 1/4 inches
James Siena
Sawtoothed Angry Form, 2011
Graphite on paper, 11 x 8 1/2 inches
Photograph by Kerry Ryan McFate, courtesy Pace Gallery

Press Release

Opening Reception:
Thursday, September 11, 6-8 PM

Including works by:
Pearl Blauvelt, Charles Burchfield, Tom Fairs, Spencer Finch, Valerie Jaudon, Joyce Kozloff, Whifiled Lovell, Adam McEwen, Nathan Oliveira, Nancy Rubins, James Siena, Barbara Takenaga, George Tooker, Kon Trubkovich 

Joyce KozloffJames Siena, and Barbara Takenaga’s drawings are labyrinths: maps of memory and place, which pose as physical manifestations of the compulsion towards visual perfection. Valerie Jaudon and George Tooker’s meticulous studies serve as precise roadmaps for navigating future work. Nathan Oliveira’s nude lies immobilized beneath the pressure of his unrelenting pencil. An isolated and self-taught artist, Pearl Blauvelt’s drawings are wish lists of coveted items from Sears and Roebuck catalogs—from linens to lingerie—she would never have. Kon Trubkovich’s heavily worked graphite drawings of TV static, the result of his labored reduction of surface, search for memories that hover in the blankness of the past. Spencer Finch’s continuous-line drawings of vulture flight patterns, like Trubkovich’s work, reflect on the limits of visual perception and the fallibility of recollection, while Adam McEwen’s machined graphite facsimiles of ordinary objects underscore the schism between memory and reality. Tom Fairs renders intimate landscapes with soft pencil and impetuous line. He attempts repeatedly to transform the commonplace into the extraordinary not unlike Charles Burchfield, whose focus on his immediate and humble surroundings is transformed into mystical visions of nature.









The No. 2 pencil evokes memories of the dwindling days of summer, students preparing to go back to school, and the anxiety associated with standardized test taking. Sharpened pencils, doodling, compulsive mark making, and obsessive interest in subject matter, all figure into the works included in this exhibition in DC Moore Gallery’s project space.


No. 2 provides the opportunity to experience through these artists’ eyes the curious feelings that motivate our fears, fascinations, and nostalgic fixations on time and place.

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