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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RACHEL HOWARD | FOLIE À DEUX
Fear of Madness, 2011
Oil, household gloss and acrylic on canvas
198.1 x 198.1 cm
(78 x 78 in)
untitled (line studies - #1 - two target construction)
2011_01
graphite on paper
18” x 23 3/8” (45.7 x 59.4)cm
Matt Niebuhr(a geometry construction using a compass and straightedge - two circles, constructed from three points each located at random on the page - then divided equally to form additional circles, rendered in poche to represent disks. A circle is a line forming a closed loop, every point on which is a fixed distance from a center point. A disk is a round portion of a plane which has a circular outline)
See this and other original works
availablefor purchase here - Thanks!Two Targets is now part of a private collection…!
(via cosascool)
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 … “
On Drawing: Ideas in Transmission: LeWitt’s Wall Drawings and the Question of Medium, by Anna Lovatt
Found via: drawing paper / www.drawingdialogues.blogspot.com
Very much worth reading - if you might have an interest in drawing as a primary practice…
Like Martin’s gridded canvases, LeWitt’s wall drawings drain the graphic mark of autographic flourishes and demonstrations of technique, approaching something akin to Roland Barthes’s ‘writing degree zero’: a ‘style of absence which is almost an ideal absence of style’. - On Drawing: Ideas in Transmission: LeWitt’s Wall Drawings and the Question of Medium, by Anna Lovatt
The near absence of style - as the near absence of the “hand of the artist” I interpret as just another form of style - to me there is an important difference between the “life” of a line (before it becomes a representational element). The perception changes completely when a line is drawn by free hand, or ruled, or with the aid of a machine (plotted drawing) or computer generated (mediated)…
Sol LeWitt
Horizontal Lines, 2005
gouache on paper
60 x 89 3/4 in. (152.4 x 228 cm)
untitled, #1 graphite line
2011_04_18
china marker and graphite over graphite wash on paper
48” x 48” (121.92 x 121.92) cm
Matt Niebuhr
(more drawings / studies on my log over here….)
Make drawings at different sizes (keeping the process of making them the same). The scale effects the outcome of a drawing - no matter how much planning goes into it - the size and circumstances (difficulty) of making seep into the process and make it something different and for this version in my study, something better… Perceptions change as well working at different scales…
The drawing to me, is a record of sorts, a record of ability and inability to control an outcome of a planned process… The hand is what executes the plan…. everything else is what happens…
Max Cole
Clearlight, 2010
Acrylic on linen
16 x 19 inches
HG10846
Some interesting works that appear to be made through an accumulation of lines (marks) transforming small singular marks (action) into a larger mark, overall picture is both detailed and with a singular concentration… a sort of aggregate image, a slow and steady hum - yet not quite static..
untitled ( lines “y” 128 diagonals)
2011_02_05
graphite on polyester drafting film
42” x 42” (106.68 x 106.68)cm
Matt Niebuhr
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…
untitled (line studies - #1 - two target construction)
2011_01
graphite on paper
18” x 23 3/8” (45.7 x 59.4)cm
Matt Niebuhr
(a geometry construction using a compass and straightedge - two circles, constructed from three points each located at random on the page - then divided equally to form additional circles, rendered in poche to represent disks. A circle is a line forming a closed loop, every point on which is a fixed distance from a center point. A disk is a round portion of a plane which has a circular outline)
slips and shifts
2008
Art Meet Architecture, Architecture Meet Art
Private commission: custom glazing, dual layer ceramic frit. 52 total custom panels, 4’ by 10’ each, approximately 200’ drawing in glass.
Owner: Botwin & Company
Architect: el dorado architects
75th and Washington Streets
Kansas City, Missouri
listen… (via NPR)
Stichometry - a term applied to the measurement of ancient texts ”rows” or verses of a fixed standard length. In poetical works the number of metrical verses was computed; in prose works a standard line had to be taken, for no two scribes would naturally write lines of the same length.
The object of such stichometrical calculations was a commercial one, viz. to assess the pay of the scribe and the market value of the manuscript.
source
also…
Jay Kennedy, University of Manchester
