Drawing on chance : selections from the collection, the Museum of Modern Art, New York : October 12, 1995-January 23, 1996

Author Museum of Modern Art (New York, N.Y.)

Date 1995

Publisher The Museum of Modern Art

Exhibition URL www.moma.org/calendar/exhibitions/472

The Museum of Modern Art's exhibition history— from our founding in 1929 to the present—is available online. It includes exhibition catalogues, primary documents, installation views, and an index of participating artists.

MoMA © 2017 The Museum of Modern Art Drawing on Chance Selectionsfrom the Collection

The Museum of Modern Art, New York October 12, 1995-January 23, 1996

Since the early years of motivated a wide range of this century, artists have conceptual projects in been fascinated by the which artists stipulated the visual possibilities of ran drawings' parameters but domness and accident, left the results to serendip and have experimented ity. In many works on paper with a range of techniques created since the early six that cede an element of ties, Robert Morris used control to circumstance. the reach of his extremities This exhibition organizes a to delineate the length, group of such works, all on width, and pattern of draw paper, into four sections: ings he executed with games of chance and sys closed eyes. More recently, tems of random ordering; Matthew Barney used the . Monte Carlo image making by rubbing, Bond. 1924. Gift of the artist graph of his muscular scraping, dripping, and development during weight staining; automatic writing produced the Three training to determine the and drawing experiments; Standard Stoppages, on delicate incline of his 1991 and finally the collage and view in Gallery 9 of the drawing Hypertrophy. assemblage of both words Painting and Sculpture gal Rules, games, and and images. leries on the second floor: play are important in many Perhaps the most influ three "rulers" of arbitrary works in the exhibition, ential artist of chance was lengths determined by from Duchamp's Monte Marcel Duchamp, whose dropping meter-long Carlo Bond (1924)— a punning remark that he pieces of string from a collage issued to those had not ceased being a height of one meter. who wished to bet on a painter "but now drew on Inspired by Duchamp, Duchampian system to chance" inspired this exhi after World War II the com break the bank at Monte bition's title. In 1913, in poser and visual artist Carlo—to Oyvind an effort to "imprison and John Cage used random Fahlstrom's 1970 modified preserve forms obtained systems to compose music. "world" monopoly game. through chance," Duchamp This influential innovation In his schematic mappings of imaginary wars determined by the size game played by at least between "x-men" and of the roll of paper, and three participants. Each "dot-men," Kim Jones plays whose graphic character player would complete a a game directly on paper, is the result of a modified section of a figure and with the drawing in a con paper-rolling machine that then fold the paper to con tinual state of revision for passed the paper across ceal all but a portion of the the duration of each battle. a marker at a fixed speed. work from the next contrib In 1924, the Surrealist Other methods of utor. The suprising results artists centered around the have much in common with poet Andre Breton began included decalcomania, the arbitrarily arranged exploring methods of art the result of sandwiching sound poetry of the making that would allow wet color between two sur Dadaist as decisions to be ruled by faces and then peeling well as the Futurist Filippo the unconscious. These off the top sheet, as prac Tommaso Marinetti. In the experiments included auto ticed by artists like Oscar sixties, the sculptor Carl matic writing or drawing Dominguez and Yves Andre produced word col exercises, random rub Tanguy and revived by lages reminiscent of the bings (frottage), decalco- contemporary artists visual and aural chaos of mania, and collaborative like Gerhard Richter and Futurism. Word drawing games. and Christopher Wool. and image collages by The automatic flow Fumage, in which smoke younger artists like Albert of abstract scribbles pro traces create effects like Oehlen and Meyer Vaisman duced by Breton and other those of splattered or relate to both Dada and Surrealists like Andre poured paint, was pio Surrealist precedents. Masson, Joan Miro, and neered by the Surrealist All the techniques of directly influ and used drawing on chance—arbi enced postwar Abstract in the late fifties and early trary systems, automatic Expressionists like sixties by Yves Klein, and mark making, pouring, Jackson Pollock. They also again in the eighties by rubbing, scraping, and inspired the literally auto Cage. Coulage, the tech burning—represent a con matic drawing produced nique of pouring paint, cern with the processes by by a machine that Jean was practiced not only by which art is made. Easily Tinguely devised in the Pollock but more recently manipulated, inexpensive, early sixties. Piero by Hermann Nitsch and and readily available, Manzoni's Line 1,000 Anish Kapoor. paper is a natural vehicle Meters Long (1961) offers The Dada and Surreal for works that emphasize another example of auto ist interest in producing the act of drawing as much matic drawing, with a spontaneous associations as the finished product. Duchampian twist: con by juxtaposing diverse tained in the metal can is images was best illustrated Laura Hoptman a drawing of a single line, by the "," Assistant Curator whose length has been a collaborative drawing Department of Drawings Andre Masson. Automatic Drawing. 1924. Given anonymously 1 Edelfrauen,

Thiiringische Ritter.j

Grafen undl

EdelleuteJ

iiltere und jungere Pilger

Albert Oehlen. Study for Tannhauser, No. 4. 1987. Gift of R. L. B. Tobin Drawing on Chance b L Selections from the Collection I

The Museum of Modern Art, New York E October 12,1995-January 23, 1996 J u " The following is a list of works in the exhibition, all from the collection of The Museum of Modern Art.

William Anastasi American, born 1933 60 Minutes. 1987 Pencil 60% x 108 W Gift of Eugene and Barbara Schwartz T7 Carl Andre American, born 1935 Crowding. 1965 Cut-and-pasted printed papers and synthetic polymer paint on cardboard 1/4X5%" 11 John Cage. Page 18 from Solo for Piano from Concert For Piano and Gift of Carol O. Selle Orchestra. 1957-58. Gift of Lily Auchincloss

Jean (Hans) Arp Mary Bauermeister John Cage French, born Alsace, American, born Germany, 1934 American, 1912-1992 1887-1966 Perhaps. 1964 Music for Carillon No. 4 Automatic Drawing. 1916 Pen and ink (Page 2). 1961 /8 Brush and ink over traces of pencil 20 1 x 28 34" Pen and ink 1/e on gray paper Gift of John S. Newberry 12 X 17Ye" 1634x21 yv Acquired with matching funds from Given anonymously Mel Bochner Mr. and Mrs. Allen Grover and the Squares Arranged According American, born 1940 National Endowment for the Arts to the Law of Chance. 1917 Mental Exercise: Page 18 from Solo for Piano Collage of cut-and-pasted papers, Estimating a Circle. 1972 from Concert For Piano and gouache, ink, and bronze paint Pencil, colored pencil, and Orchestra. 1957-58 /4" 13 Vex 10 1 pen and ink Pen and ink Gift of Philip Johnson 22 % x 30" 7/8x17y8" 10 Acquired with matching funds from Gift of Lily Auchincloss Matthew Barney Mr. and Mrs. Eugene Victor Thaw American, born 1967 and the National Endowment for River Rock and Smoke the Arts Hypertrophy (Incline). 1991 4/13/90 #5. 1990 Light-reflective vinyl, vaseline, and Watercolor on smoked paper 1/2x pencil on file card sewn with thread Andre Breton 52 15" to self-lubricating plastic frame French, 1896-1966 Gift of Sarah-Ann and 1/4x1/2" 10 11 Untitled. 1935 Werner H. Kramarsky Gift of R. L. B. Tobin Ink transfer (decalcomania) 10x1234" Purchase Waltercio Caldas Dennis Evans Oyvind Fahlstrom Brazilian, born 1946 American, born 1946 Swedish, born Brazil, Japao. 1972 Composition for 100 Discrete 1928-1976 Pen and ink Rain Events. 1976 Plan for World Trade /2" 19 x 171 Pen and brush and ink, gouache, Monopoly. 1970 Gift of Gilberto Chateaubriand and thumbprint Synthetic polymer paint, pen and in memory of Monroe Wheeler, 24 x 36 34" ink, colored pencil, and cut-and- Francisco Masjuan, and John Brady Acquired with matching funds from pasted paper Mrs. Frank Y Larkin and the National 16 Ysx 14" Salvador Dali Endowment for the Arts Mrs. Bertram Smith Fund Spanish, 1904-1989 Exquisite Corpses (Cadavres Untitled. 1927 Hamish Fulton Exquis) Pen and brush and ink British, born 1946 Exquisite Corpse (Cadavre 9% x 12 7s" Mountain Skyline Fourteen Exquis). 1935 Gift of Mrs. Alfred R. Stern in Days Walking Fourteen Nights Composite collage by honor of Rene d'Harnoncourt Camping Wind River Range Esteban Frances, Remedios Wyoming 1989. 1989 Lissarraga, Oscar Dominguez, Sonia Delaunay-Terk Pencil and soil on paper Marcel Jean French, born Ukraine, 7% x lOVi" Cut-and-pasted photographs 1885-1979 Purchase 7/8x81/4" 10 Robe Poeme No. 1329. 1923 F H. Hirschland Fund Watercolor, pencil, and gouache Brion Gysin 1/2x9%" 14 Figure, c. 1928 American, born Great Britain, Purchase Composite collage by 1916-1986 Andre Breton, Max Morise, A Trip from Here to There Oscar Dominguez Jeannette, , 1958 French, born Spain, 1906-1957 Benjamin Peret, Yves Tanguy, Ink and gouache Untitled. 1936 Jacques Prevert 31' 6%" long, folded to fit between Gouache transfer (decalcomania) Cut-and-pasted photographs covers 117z x 8" 1/2" 14 Vex11 11% x 9" Larry Aldrich Foundation Fund Purchase Van Gogh Purchase Fund Kim Jones Landscape, c. 1933 Jean Dubuffet American, born 1944 Composite drawing by French, 1901-1985 Untitled. 1991-94 , Andre Breton, Sketchbook: El Golea II. 1948 Pencil Pen and ink Tristan Tzara, and Greta 25 x 38" 7/e x6Ya" Knutsen Gift of Sarah-Ann and Gift of the artist Colored chalk on black paper Werner H. Kramarsky 1/2 1/2" 9 x 12 Sketchbook: El Golea II. 1948 Purchase Pen and ink Anish Kapoor 778x6/4" Nude. 1926-27 Indian, born 1954 Gift of the artist Composite drawing by Yves Untitled (Red Roots). 1990 Tanguy, Joan Miro, Max Morise, Gouache and ink 2" Marcel Duchamp and 20x19y Gift of Patricia and Morris Orden American, born France, Pen and ink, pencil, and crayon and an anonymous donor 1887-1968 14 Wx 9" Monte Carlo Bond. 1924 Purchase Photocollage on colored lithograph 12'/4X7%" Gift of the artist Filippo Tommaso Marinetti Italian, 1876-1944 "Vive la France". 1914 Ink, crayon, and cut-and-pasted printed paper 1/sx12%" 12 Gift of the Benjamin and Francis Benenson Foundation

Kenneth Martin British, born 1905 Chance, Order, Change 1978-79 Ink and pencil on graph paper 11% x 16%" Gift of Alexis Gregory

Andre Masson French, 1896-1987 Automatic Drawing. 1924 Penand ink 1/4x81/b" 9 Given anonymously

Filippo Tommaso Marinetti. "Vive la France". 1914. Gift of the Benjamin and Francis Benenson Foundation Robert Morris American, born 1931 Blind Time XIII. 1973 Yves Klein Richard Long Graphite French, 1928-1962 British, born 1945 35 % x 46 Colored Fire: Blue, Pink (Feu Walking a Straight Line by Acquired with matching funds from Colore/bleu/rose). 1962 Night, Dartmoor, England The Lily Auchincloss Foundation, Dry pigment in synthetic resin with 1970 Inc., and the National Endowment gold paint Photograph, map, and typewritten for the Arts 1/2 24 x 19" statement mounted on cardboard Footprints from Traveling: Gift of the Scaler Foundation and panel and styrofoam panel Limits of Reach. January, 1976. purchase 8 % x 39 V-i Charles Simon Fund 1976 Graphite and plate oil Barry Le Va 1/e" Untitled. 1992 14 x 50' American, born 1941 Mississippi mud Gift of the artist Strips, Sheets, and Particles 78 x 43" 1967-68 Gift of Agnes Gund Hermann Nitsch Pen and ink, cut-and-pasted Austrian, born 1938 photograph, and pencil on graph Piero Manzoni Untitled. 1987 paper Italian, 1933-1963 Oil on paper 17 x 22" Line 1,000 Meters Long. 1961 47 % x 46 %" Philip Johnson Fund Chrome-plated metal drum Gift of Ronald S. Lauder containing a roll of paper with an ink line drawn along its 1000-meter length 20 />" high x 15%" diameter Gift of Fratelli Fabbri Editori and purchase Albert Oehlen Robert Rauschenberg Meyer Vaisman German, born 1954 American, born 1925 American, born Venezuela, Studies for Tannhauser, Twelve illustrations for 1960 Nos. 1, 3, 4, 7. 1987 Dante's Inferno. 1959-60 Untitled. 1990 Cut-and-pasted printed papers, Transfer drawings with Cut-and-pasted printed papers pencil, and ink mixed mediums in four parts 11%x8%" Each 14% x 11%" Each 15% x 12%" Gift of R. L. B.Tobin Given anonymously Purchase

Gabriel Orozco Gerhard Richter Jacques Mahe de la Villegle Mexican, born 1962 German, born 1932 French, born 1927 Maria, Maria, Maria. 1992 Untitled. 1986 122 rue du Temple. 1968 Erased telephone book page 011on paper Torn and pasted printed papers 11 x 9" 22 % x 32 %" on linen Gift of Patricia Phelps de Cisneros Gift of Walter Bareiss 62 % x 82 %" and the David Rockefeller Latin Gift of Joachim Aberbach American Fund Yves Tanguy (by exchange) Untitled. 1992 American, born France, Christopher Wool Pinched and rubbed paper 1900-1955 American, born 1955 11 x 8" Untitled. 1936 Gift of Patricia Phelps de Cisneros Ink transfer (decalcomania) Untitled. 1986 and the David Rockefeller Latin 12%x 19%" Enamel on paper American Fund Alva Gimbel Fund 11 x 17" Gift of Luhring Augustine Gallery Unknown psychiatric patient Jean Tinguely Zush (Alberto Porta) Psychopathic Drawing, (n.d.) Swiss, 1925-1991 Pencil on paper Six from the series Spanish, born 1946 15% x 12" ("meta-matic no. 8"). 1960 Nos. 2, 4, 6 from the series Gift of Ruth Olson Colored ink on postcards The Tarot Cards. 1976-79 Each 8 % x 6" Mixed mediums on paper Jackson Pollock Gift of Jean Tinguely Each 29 % x 17 %" Gift of Gloria Kirby American, 1912-1956 Three from the series Untitled. 1944 ("meta-matic no. 4"). 1960 Pen and ink on paper Colored ink This brochure is made 20% x 26" Each 18 %x 16" possible by The Contemporary Gift of Samuel I. Rosenman Gift of Jean Tinguely (by exchange) Arts Council of The Museum These drawings were made by of Modern Art. Number 12, 1949.1949 unknown visitors to Jean Tinguely's © 1995The Museumof ModernArt, New York Enamel on paper mounted on exhibition at New York's Staempfli Masonite Gallery using the artist's painting 31 x 22 %" machines "meta-matic no. 8" and Gift of Edgar Kaufmann, Jr. "meta-matic no. 4." Untitled, c. 1950 /'upaf-Ttf' v