About
I also share content of my own making that I think is worth sharing with a larger audience. If there is any work by others who object to having their work posted here, I will remove the content if so requested.
Matt Niebuhr - Works ...examining the threshold at which ordinary visibility ends and perception begins... is a site featuring my work exclusively.
Intersecting Images : a "blog" with musings about art, photography and culture - begun in 2005
Matt Niebuhr - Drawings a visual journal ...
If you are interested in work for purchase please see this or simply email me: niebuhr.matt [at] gmail.com - Thanks!
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Matt Niebuhr, Untitled (first construction, three targets, nine points at random) (2011)
(via whitehotel)
Here’s a short film made by Diane Guyot who was kind enough to come along and document our marathon open Drawing Sessions event at The Royal Standard last November. We’ll do another event this year so watch this space.
Special thanks go to Dave and Fran Evans, Ailie Rutherford, Madeline Hall, Andrew Foulds and Hannah Bitowski for their input and assistance with the project. Thanks also to all the performers and speakers and everyone who came along and made it a great event.
(via drawing-paper)
Richard Long
Untitled, 2004
River Avon mud on Douglas Fir plywood
96 x 24 inches
243,8 x 61 cm
SW 04379
Long time interest in Long… I like the inclusion of labels in his work that describe the materials put to work in the piece “Untitled” , for instance, I wonder, why River Avon mud? The hint of a larger story?
A line, nature with nature - what guides the line?
Linda Hutchins
Right Hand Switch
2011
India ink on watercolor paper
11”h x 17”w
MAY 31 - JULY 2, 2011
Back to Basics (Solo exhibition)
Pulliam Gallery, Portland, Oregon
Just saw this drawing and the others of the series up on the wall and it was really great to see them all together - highly recommend visiting / viewing if in Portland! Otherwise be sure to check out the artist’s website… Nice to see native Portland work! The line work - amazing in itself, smooth, flowing, very fine, not at all tentative. The lines are very deliberate in that sense, but what is striking too is the overall fields of pattern that develop - very interesting as a series…
untitled ( lines “y” 10,000 horizontal)
2011_06_13
graphite on polyester drafting film
39” x 60” (99.06 x 152.4)cm
Matt Niebuhr
” … the ten thousand things … “
Drawing, Detail from Wade Guyton.
Zeichnungen für ein kleines Zimmer,
Secession 2011,
Photo: Wade Guyton Studio
“… – let’s say it’s formalized chance.” Wade Guyton
something more about process… eye candy or is medium the message ?
![Agnes MartinUntitled11 7/8 x 12 1/8” (30.2 x 30.6 cm)Ink on paper1960.(Agnes Martin. 1912-2004)
…”While minimalist in form, … these paintings [drawings] were [are] quite different in spirit from those of … other minimalist counterparts, retaining small flaws and unmistakable traces of the artist’s hand…” source
This is the one of the characteristics (the artist’s (makers) hand) that is important to consider.
There is I believe an important distinction - it’s that “imperfection” , that something which creeps in when making things by hand that adds fidelity to the experience that is lacking in machine / mechanical / computer production…
Something to consider in “how” things get made - is it the fact that human hands touched this thing - made it - that we respond differently?](http://24.media.tumblr.com/tumblr_lgpzwogt7c1qal15co1_500.jpg)
Agnes Martin
Untitled
11 7/8 x 12 1/8” (30.2 x 30.6 cm)
Ink on paper
1960.
(Agnes Martin. 1912-2004)
…”While minimalist in form, … these paintings [drawings] were [are] quite different in spirit from those of … other minimalist counterparts, retaining small flaws and unmistakable traces of the artist’s hand…” source
This is the one of the characteristics (the artist’s (makers) hand) that is important to consider.
There is I believe an important distinction - it’s that “imperfection” , that something which creeps in when making things by hand that adds fidelity to the experience that is lacking in machine / mechanical / computer production…
Something to consider in “how” things get made - is it the fact that human hands touched this thing - made it - that we respond differently?
detail: untitled (line studies - #1 - three target construction)
2011_02_13
graphite on paper
18” x 23 3/8” (45.7 x 59.4)cm
Matt Niebuhr
The magic moment when constructing a circle from three points comes after laying out perpendicular lines to find their intersection and therefor the center then to put the compass at that center and to connect the points in one complete motion - that is the moment closest to magic for me. A circle is but a line forming a closed loop, every point on which is a fixed distance from a center.
Maybe too, it’s a metaphor for life, on the magic of finding a center…
attribution note:
untitled (line studies - 1 diagonal)
2011_01
graphite on paper
18” x 23 3/8” (45.7 x 59.4)cm
Matt Niebuhr
” I encourage sharing works, I actually think that sharing is really important, it might help make us smarter, but I also think it is important to recognize “authorship” of work - in any and all contexts - commercial, social, or otherwise, in some way (text, title, links, source…. etc). The exchange value for me is not necessarily about money or potential commercial application… its value is the potential to exchange ideas.
My thought is simple, attribution allows anyone who might be interested to have the opportunity to learn more about what it is they’re looking at, or listening to, if desired.
To me, orphaning a work leads to ignorance and represents a lost opportunity.
You can choose to decide for yourself if knowing more about something of interest - or looking deeper - interests you, but I think it’s obvious you can have a richer experience, if you actually know what it is your looking at and where it comes from. And too, there’s still plenty of room to make up your own story!
UPDATE: after some additional though and comment from fellow tumblr’s I feel compelled to add and to recognize and acknowledge fully that there is an aspect of self-promotional value in proper attribution - especially as such in this case of ”re-posting” my own work in this context. To some this may seem to be a conflict of interest, to me it just means that I care about my work, and the work of others, my interest in sharing is motivated still by the notes above the update…
(via ppssyy)
Susan Schwalb
“Toccata #3”
9” x 9”
2010
brass/copperpoint, bronze, pencil on clay coated paper
see also: technique / a material possibility to explore the idea of “shimmer” - a historical reference to material / process of drawing - rather than a subjective image reference…
detail: untitled, (where is love / where love is ?)
2011_01_14
red polymer lead and graphite lead on polyester drafting film
18” x 24” (45.7 x 60.9)cm
Matt Niebuhr
Currently showing: Portland Love Show 2011
detail: untitled, (where is love / where love is ?)
2011_01_14
red polymer lead and graphite lead on polyester drafting film
18” x 24” (45.7 x 60.9)cm
Matt Niebuhr
Currently showing: Portland Love Show 2011
untitled, basalt shard #2 - 4 segments
2011_01_09
graphite on polyester drafting film
18” x 24” (45.7 x 60.9)cm
Matt Niebuhr
sometimes, one thing leads to another, sometimes…
Drawing by Francisco Faria, 2000, graphite on lead sheet, 130x100cm.
The lead sheet’s stains and folds suggested the drawing to be done. Graphite shines on lead surface, it’s difficult to visualize it.
