For the first time, the British Museum has co-curated an exhibition with partner museums from around the UK to display and then tour contemporary artworks from its Prints and Drawings collection.

Pushing paper: contemporary drawing from 1970 to now will illustrate how artists experiment with the power of paper to express their ideas, pushing the medium in new directions. It will highlight the breadth and quality of the Museum’s collection of modern art, as well as its global scope. The exhibition of 56 works will showcase the astonishing diversity of contemporary drawing over the last fifty years, with graphic work by artists such as David Hockney, Rachel Whiteread, Sol LeWitt, Anish Kapoor, Tracey Emin and Grayson Perry, as well as exciting works by emerging artists like Hamid Sulaiman and Rachel Duckhouse. Many of these pieces will be on public display for the first time, including work by Gwen Hardie, Jonathan Callan and Jan Vanriet.

The exhibition will begin at the British Museum and then travel on to partner museums as part of the Museum’s National Programmes, allowing more people around the UK the opportunity to see British Museum objects outside of London. We are proud that our venue is one of only three galleries in the UK that will host the exhibition and the only one in Yorkshire where you can see the magnificent works.

In a new way of working, curatorial staff from partner museums collaborated with the British Museum to decide on themes within the exhibition and to research and select the works on display, as well as contribute chapters to the accompanying catalogue. Devising Pushing paper in this collective way allows the knowledge and expertise of staff at both the partner museums and the British Museum to be built upon, reaping the rewards of skill sharing, and building up a network of expertise in works on paper.

Pushing paper is one of the British Museum’s first exhibitions to focus exclusively on drawing from the 1970s to the modern day. Amongst the oldest forms of human creativity, drawing is experiencing a resurgence in popularity as artists increasingly choose the medium as a means to examine the modern world, with topics ranging from explorations of gender and political activism to questions of belonging and human sexuality. Grouped into thematic areas examining Identity, Place and Space, Time and Memory, Power and Protest, and Systems and Process, the display seeks to highlight artists’ affinities through the medium of drawing, despite their differing locations, styles and periods, and to examine why drawing continues to thrive and evolve as a means of artistic expression.

Highlights include a scathing satire of U.S. President Richard Nixon by Philip Guston (1913 – 1980), drawn months before Nixon went on to win a landslide election. Created two years before the Watergate scandal and three before his resignation, this acerbic criticism of a divisive President remains as biting and relevant as the day that it was penned. Judy Chicago’s (b. 1939) piece Driving the World to Destruction (1983) examines the concept of toxic masculinity and its dire consequences for the future of humanity. Meanwhile a drawing by Pablo Bronstein (b. 1977), Greenwich Pendulum Mantel Clock (2018) examines the enduring legacy of Britain’s recent colonial past through the lens of a ‘world clock’, where Greenwich Mean Time dominates smaller dials representing Britain’s former colonial capitals. The drawing examines the vanity of the grand ‘world project’ of nineteenth century standardised timekeeping as a symbol of colonial power. Pushing paper also encompasses the expansion of drawing to include more experimental approaches, such as Roger Ackling’s (1947 – 2014) work which traced the sun’s rays by burning marks into wood as a meditation on the passing of time.

Free admission

360 virtual tour

Take a look around the exhibition on this 360 virtual tour

More about the artists

Hew Locke

British royalty, the Queen in particular, has been a fascination for Locke since his early childhood in post-colonial Guyana, where the head of Elizabeth II was on his school exercise books and on signs and statues all around him. The drawing featured in the exhibition is part of his ongoing series of drawings and sculptural assemblages, House of Windsor.

This video is courtesy of Glynn Vivian

Marcia Kure

Kure’s creations often resemble hybrid, animalistic, cross-cultural beings from alternative realities. Neither obviously male nor female, the ambiguous figure, with arms folded and hand over mouth, seems to question gender stereotypes associated with power.

This video is courtesy of Glynn Vivian

Andrzej Jackowski

Jackowski grew up in a refugee camp in North Wales, where he lived until the late 1950s with his Polish parents. He uses powerful, insistent images from his past, such as the seemingly uprooted Christmas tree and ominously empty suitcase, to explore ideas of human memory, displacement and the psyche.

This video is courtesy of Glynn Vivian

Seb Patane

This defacement of a plate from an Edwardian theatrical magazine might seem like an act of vandalism. However, Seb Patane’s modification in curls of sticky black ink is instead intended as a kind of memorial: ‘I’m fascinated by aged and discarded images that have been overlooked. I guess this way I try and give these images almost some sort of second chance.’

This video is courtesy of Glynn Vivian

Myra Stimson

Myra Stimson discusses her work in Pushing paper, being an artist and how the pandemic has allowed her to slow down.

This video is courtesy of Glynn Vivian

Rachel Duckhouse

Her drawings seek to map out repeated and layered structures that would otherwise be left unseen. Her research into the nano-architecture of shells and other natural objects is ‘concerned with the underlying patterns and structures of life, and how they fit together’. Through a system of forensic enquiry the artist gains an understanding of microscopic forms, offering new perspectives on nature’s complexity.


This video is courtesy of Glynn Vivian

Gwen Hardie

Hardie’s often-autobiographical paintings comprise extreme close-ups of the female form, including intense observations of skin. Sharing similarities with prehistoric cave painting, such as the bold and simplified outline, this reclining figure illustrates her longstanding preoccupation with the body and its perception.

This video is courtesy of Glynn Vivian

Pushing paper activity booklet

(PDF, 498 KB)

Try some activities by downloading our activity booklet

Download file - Pushing paper activity booklet

The politics of Pushing paper

The Politics of Pushing Paper

(PDF, 1.93 MB)

Find our more by downloading our zine

Download file - The Politics of Pushing Paper

Relaxing drawing activities

Be inspired by these relaxing activities to create your own works of art