PATRICK IRELAND

Patrick Ireland, Rope drawing No 19, PS1, 1976.

Image from ROOMS P.S.1, catalogue of 1976 exhibition of works by 78 artists, curated by Alanna Heiss, founder of P.S.1. When Heiss founded it, P.S.1 was the ex-Public School #1, located in 46th Road, Long Island City, Queens.

PS1 is now part of the Museum of Modern Art.

Ireland's rope drawing is made from varied lengths of white rope hanging to just above floor level, and attached to the ceiling by lighter rope. It is located in an ex-classroom of PS1, and thus suggests the chalk lines that would have once been made on the blackboards, as well as the children who once occupied the classroom. Patrick Ireland was the artist name of the art writer Brian O'Doherty.

Alanna Heiss introduced the catalogue by explaining the exhibition as: 'Rooms (P.S.1) represents an attempt to deal with a problem. Most museums and galleries are designed to show masterpieces; objects made and planned elsewhere for exhibition in relatively neutral spaces. But many artists today do not make self-contained masterpieces; they do not want to and they do not try to. Nor are they for the most part interested in neutral spaces. Rather their work includes the space it's in; embraces it, uses it. Viewing space becomes not frame but material. And that makes it hard to exhibit.

This show, ROOMS (P.S.1) is an attempt to face that problem. . . .'

ANDREW GUTTERIDGE

23 Paces 2006, Span Galleries, Melbourne
19mm black adhesive tape and found gallery spacehttp://www.andrewgutteridge.com

EVA HESSE

Eva Hesse, Right After, 1969

Fiberglass, polyester resin, wire
548,6 x 121,9 cm 3 sections

Milwaukee Art Museum, Wisconsin, WI

Right After is not site-specific to any particular location, but being apparently formed by gravity, it does acknowledge physical space.

from The Estate of Eva Hesse

studio  

Addendum 1967

Ennead 1966

FRED SANDBACK

Fred Sandback, Untitled (Four-part Vertical Construction in Two Colours) 1987, acrylic yarn, ceiling height 630cm 

(Lawrence Markey Gallery)

Sandback's yarn, elastic cord, and wire sculptures define edges of virtual shapes that ask the viewer to perceive the rest of the form.

AGNSW work

BILJANA JANCIC

Biljana Jancic Sky Line 2011
Cockatoo Island Underbelly Arts Festival 2011
light

HELENA ALMEIDA

Helena Almeida Inhabited Drawing 1975 - one photograph & one horsehair

EDWARD KRASINSKI

Intervention 27, 1975

Edward Krasinski is famous for his use of the blue line (in masking tape) from 1968 onwards. He used it horizontally and always 130 cm above floor level.  He used it to to simultaneously recognise both the illusory space created by drawing, and the actual space in which drawings are located. In doing so, he contradicts the view held by Robert Morris, also in the late 1960s, that illusionism has become so much the default spatial mode in art that actual space can only be acknowledged through the refusal to give any room to illusionism.  (see Robert Morris 'Continuous Project Altered Daily: The Writings of Robert Morris' MIT 1993). 

Artists have also used Krasinski's blue tape practice as itself a site or context - eg Chris Fortescue's  resettings

GEORGES ROUSSE

1985

1998

2006

read more

RICHARD TUTTLE

Is Richard Tuttle Ten Types of Memory and Memory itself? 

See Tuttle's discussion with Bob Holman in 1992.

INGELA SKYTTE

lamp-colour installation in COLOUR ME IN, Esbjerg Kunstmuseum
read a little more here

KATLEEN VERMEIR

 Katleen Vermeir, Waterdrawing, 

DVD, no sound, 30mins, 1999 

Drawing with water

Watch parts of dvd on her website

'In Waterdrawing I draw the plan of a room from my memory, with a brush and pure water on an open square. I have never seen this room…it is described to me in a letter. The letter describes what stands where in the room, as well as their relationships with each other expressed in subjective measurements by footsteps. While tracing the room, my footsteps give a rhythm to the marking of the lines. The sunlight makes the lines white and mirror -like, though the heat makes the drawing disappear.'

Kelley Stapleton

Factory 49 wall work #26 in progress 2014

photo Marlene Sarroff

NELL FERGUSON

page 1 of notebook of sounds heard from Cockatoo Island, translated into visual line, 2011

MELLISSA THOMPSON

Mellissa Thompson Conditioned lines 2012 ( Pencil, cotton, pins, nails) 

Initially, the line installations came from my experiences with sounds and silence. Using line to translate the sound of a place into a physical form, along with the repetitive nature of its construction, reveals the interconnection between the audio environment and myself. Over time, my installations have become more directly influenced by the features of the place in which the drawing exists. Overall, my work is generated by an experimentation with line and my own relationship with my surroundings.

see more

The Mellissa Thompson Gallery on facebook

SUSIE WILLIAMS

Susie Williams At The Vanishing Point 

JENNIFER O'BRIEN

Articulate project space, Leichhardt, 2010

TONY CRAGG

Tony Cragg Landscape 1983

More Tony Cragg

other artists who draw on, mark or paint constructed objects: 

Anne Truitt

Yayoi Kusama

YAYOI KUSAMA

Tender Are the Stairs to Heaven, 

Roslyn Oxley9 Gallery, 2007

MARCEL DUCHAMP

In 1942, Andre Breton organised a retrospective exhibition of Surrealist art in New York: First Papers of Surrealism. For the vernissage Marcel Duchamp created this installation – a gigantic web – called the Mile of String. He and Breton furthermore arranged for a number of children to ball in the room thereby making it very difficult for the guests to see the paintings.
source
read about it

MICHELE ELLIOT

hemispheres: drawn to you, still, 2011

cotton thread, hand-made paper, 2,000 wooden pins
300 x 180 x 14 cm

more detail