Allegories of modernism : contemporary : [checklist of the exhibition held] February 16 to May 5, 1992, the Museum of , New York

Date 1992

Publisher The Museum of Modern Art

Exhibition URL www.moma.org/calendar/exhibitions/360

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 FEBRUARY 16 TO MAY 5, 1992 THE MUSEUM OF MODERN ART, NEW YORK

This exhibition is about key developments in art after modernism, as seen from the point of view of drawing. It shows how drawing has played a pivotal role in the emergence of a new language of the visual arts, particularly in the past decade. Through the work of an international group of artists in all mediums, the exhibition focuses on many of the principal tendencies that define current art. The works range from small sketches to large multimedia installations, very long pieces, works on canvas, and photographic . The exhibition takes place in three separate spaces in the Museum. It begins in The Rene d'Harnoncourt Galleries on the lower level, and continues on the ground floor at the east end of the Garden Hall, with works extending to the Garden Cafe, and in The Ronald S. Lauder Galleries and Garden Hall on the third floor.

The nature and function of ty, constant invention and drawing have changed radi renewal, the culminating cally during the twentieth masterpiece, and the value of century. Most notably, the the individual "hand" are field of drawing has expand still alluring at the end of the ed beyond its role as an twentieth century, mod adjunct of and ernism has become a story in . It has become a itself. Its myths lie in frag major independent disci ments, forming a text, or lex pline with expressive possi icon, from which to choose bilities altogether its own. components for a new lan Yet drawing's tradition guage; and its universalizing, al function as the primary transcendent impulse pro structural agent in the visual vides an ideal ground for a arts has never been stronger. postmodern art. Abstraction Drawing's unfinished and as a form of representation, fragmentary character has the transgression of old become fundamental to con media boundaries, appropri temporary aesthetics and ation of the original, frag practice. In the 1980s not mentation, layering and just the hierarchy of medi seeing one image through ums, but the exclusivity of another, changing context disciplines and the notion of and meaning while still allud ing to the original are all the culminating object were Sigmar Polke. Motorradlampe [Motorcycle Headlight], 1969. Mixed mediums, 10' 3" x 15' 5" (313.4 x 470 cm). at last acknowledged to Private collection, Cologne. characteristic of current have given way to a new lan practice. guage of the visual arts, Sigmar Polke adopted an attitude toward subject and style that has set the terms for much contemporary work. In Today there is no domi based on an expanded field his own work the "mechanical" and the handmade interact, producing a virtual catalogue of current practice. As he nant stylistic direction, of operations for each of its works simultaneously in several disciplines he creates a new aesthetic out of a number of disparate, often contra movement, or group consen dictory modes and historical antecedents, utilizing the interpenetration of different means and techniques of repre disciplines. sus: rather, there are strate sentation, all of them in the end dependent on his distinctive drawing: the figurative and the abstract, the vulgar and In the course of this gies which take advantage of the "fine," tracing from photo-projection, layering, , the printed and the photographic, the painting and the different elements of the transformation a more com- drawing, the automatic, the deliberate, and the accidental. plex interchange between modernist text and make the image and its origin emerged. One of the signal elements of this change was the ingenious use of the means available. The fragmentation in current art, the glut of emergence of a "mechanical" as well as conceptual approach to image-making: the images and confrontation of images taken straight from advertising media, televi important roles played by photography, photographically derived imagery, and sion, film, and "high" art are direct reflections of contemporary experience. methods of projection have challenged the conventional idea of drawing as sponta Postmodernism may be characterized as an ongoing conversation between the neous and of the artist's "handwriting" as the only measure of originality. Drawing modernist past and the present. It is also a questioning of the ethical nature of rep itself, traditionally private in its address, became increasingly public as its conven resentation, of who and what get represented and by whom. Drawing, with its tions were joined to the ongoing preoccupations of . acknowledged lack of finish, its transparency and capacity for over-writing, has pro In the last decade or so it has seemed to many artists that modern art happened vided an ideal means for the examination of contemporary preoccupations, such as so long ago as to form a remote past. This view of modernism as a historical body personal development and the status of art itself, offering a new point of entry and carried with it a desire to redeem some of it for the present, thus bringing forth the possibility for transformation. The present exhibition explores the expanded field of conditions for an allegory of modernism in which the making of art is not only the drawing in the belief that the medium of drawing offers an accessible path into the primary reality but also the subject of representation. changed territory of contemporary art. Although modernism's heroic myths of abstraction and universality, originali- — BERN1CE ROSE BRUCE NAUMAN has often used A . R . P E N C K builds his pencil paired words or phrases (live/die; feed from tangled lines that some me/eat me) but more recently has turned times suggest a recognizable figure and to figures as a means of expressing his other times veer toward abstraction. In ideas. Model for Animal Pyramid II is a Welt des Adlers, abstract calligraphy collage, composed of fragments of pho interspersed with urgent scribbles sug tographs pieced together as a study for an gesting bodies, heads, or other structures outdoor sculpture. The collage is life size fill the rectangular shape of each small (although the sculpture is intended to be sheet of paper. Some of the marks resem much larger) and shows details of the ble archetypal signs such as those of Paul artist's studio. The fragments of the Klee or ; others look like artist's working environment in each pseudoscientific symbols. snipped photograph convey a sense of The interplay between representa receding space. tion and abstraction carries ideological At the core of this work is the oppo significance for the artist, who emigrated sition between culture and nature, and the from East to West in a divided Germany. corresponding human impulses of empa For Penck, representation is tied to thy and cruelty. Playing on a range of instinct, and the instinctual is repressive emotions and associations, Model for because of its long association with Animal Pyramid II refers to heroic animal German Expressionism and its appeal to sculpture, the traditional European alle German national identity. He equates gory of the hunt, and after-the-chase freedom, on the other hand, with the WO/V that depict in detail the strung- ability to abstract and analyze. up victims of the hunt. But Nauman's ani The nine sheets shown here are only mals were never alive, which adds yet a fraction of the 472 pencil drawings that another level of complexity. They are comprise the series. Created at relentless A. R. Penck. Welt des Adlers [World of the Eagle] (Detail). 1984. Pencil, 9 of 472 sheets, each taxidermists' forms used for stuffing ani speed, turned out one after the other, 11 7/8 x 15 3/4" (30 x 40 cm). Michael Werner Gallery, New York and Cologne. mals after they have been killed. The artist the drawings are endless variations that can be expected to serve as an ultimate or discovered them in a shop near his home confront meaning with deliberate mean- ty, was made and is meant to be seen in complete artistic expression. Such think in Pecos, New Mexico, where hunting inglessness. Working in series has the context of the others. ing directly challenges the conventional trophies are important cultural symbols. enabled Penck to render the complex As is evident throughout the exhibi idea of the masterpiece, whereby an artist Through these surrogate forms Nauman twistings and turnings of his creative tion, many contemporary artists share is defined and identified by a single alludes more generally to all victims and thought process. Each drawing, no mat this preference for serial works, taking our response to their pain.H ter how compelling its individual identi- the position that no single work of art work.B

Tom Otterness. Monument Study. 1986. Graphite and ink, 19 x 24 3/4 (48.3 x 62.9 cm). Whitney Museum of American Art, New York. Purchased with funds from the Drawing Committee.

TOM OTTERNESS is a sculptor ness carefully outlines his figures, using whose work is traditional in style, but curved hatch marks across their contours subversive in intent. It poses questions to suggest roundness and weight. about society's relentless production of Resembling old etchings or Albrecht destructive objects and monuments to Diirer's drawings, his drawing style itself. In Monument Study, whose princi reflects his practice of sketching directly pal subject is the production of art, tiny from art in museums and copying from workmen reminiscent of the Lilliputians reproductions. Among his wide-ranging of Gulliver's Travels are busily construct sources are Paul Cezanne, Indian art, ing larger replicas of themselves. One pair Renaissance masters, and comic strips. fit a shoe onto the hollow leg of the While gently mocking society, reclining figure; two others, atop the scaf Monument Study is also a parody of art, folding, hoist the woman's arm. art-making, and the act of drawing. The The artist conceives his narrative, little cartoon worker assembling the hol sculptural figure groupings first in draw low monument is a product as well as a ings, reducing the individual figures to maker of art, part of a sculpture as well as Bruce Nauman. Model for Animal Pyramid II. 1989. Cut-and-taped photographs, 7' 8 1/2' x 63 one characteristic type. Employing con a sculptor, and perhaps a projection of (235 x 160 cm). The Museum of Modem Art, New York. Gift of Agnes Gund and Ronald S. Lauder. ventional techniques of drawing, Otter the artist himself.B SELECTIONS FROM THE EXHIBITION v - - ' »ajjfXwvy.- . v. NANCY SPERO defines her per silenced for so many years. I used Artaud sonal experience as a woman, a political as a means to externalize my voice as an activist, and an artist in Codex Artaud. A artist, and maybe at that time I had to series of thirty-three long, narrow scrolls have that masculine voice, the most combining typewritten passages and extreme example of alienation." metallic-colored cut-out figures glued The individual scrolls are between onto paper, the Codex Artaud is a com twenty and thirty inches high and extend plex layering of visual images and written horizontally from seven to twenty-five language. feet in length. Formed from sheets of The title is a reference to Antonin paper attached end to end, their fragile Artaud, a French writer who was impris construction contradicts their forceful oned for madness and endured years of content. Spero acknowledges that the shock therapy in an asylum. Spero scrolls are cinematic, not just because of became familiar with his work in the late their length, but for the way the various 1960s and identified with his feelings of images shift scales, as if a movie camera victimization and isolation, and his fear were zooming in and out. Isolated on of losing his mind. blank stretches of paper are stamped and The detail shown here combines drawn images culled from Egyptian, typewritten texts taken from Artaud with Greek, Roman, Celtic, and aboriginal the recurring motif of a profiled head sources: goddesses and earth mothers, spewing out a smaller head whose tongue nymphs and women warriors. Working is extended. Spero is literally finding her through this catalogue of female diversity tongue through Artaud. She has appro and Artaud's fractured writing, Spero priated his self-portrait with tongue creates an allegory about the impossibili . From Near and from Afar (Detail). 1979. One of 20 pastels, each 6 3/8 x sticking out as a vehicle for expressing ty of being a woman in a world not of 3 1/2" (16.2 x 9 cm) to 13 3/4 x 13" (35 x 33 cm). Anthony d'Offay Gallery, London. her own rage. Commenting on this work, women's making and extends it to the artist said, "I was sticking my tongue encompass all who are voiceless members FRANCESCO CLEMENTE draws Although the two heads shown here out and trying to find a voice after feeling of society. descriptive self-portraits that are explo are likenesses of the artist, they are not rations of bodily functions and erotic fan alike. The moustache on one inverts to tasies. Startling and seductive, elegant become a beard on the other; the marked i and burlesque, his art confronts sexual frown on the left is omitted from the wide anxieties and exposes society's taboos. brow on the right. What is most striking, Born and raised in , Italy, however, is the feature they both display: Clemente has spent extended periods of the antler (or plantlike growth) that time in India and continues to reside with sprouts from their heads in a way that j I 1\ MBJiCAu his family in Madras, as well as in New recalls mythological creatures known to mmmr m York and Rome. India provides him with possess ferocious sexual appetites. Tf; a link to the late antique civilization of Gazing at us impassively, as if oblivious i e southern Italy with which he identifies. of their bizarre head gear, the two «U£ :fOC : icest;* He has said, "The gods who left us thou Clemente faces unsettle our assumptions I sands of years ago in Naples are still in about what reality is supposed to be. iij i India. It's like going home for me." It is with these pastels that Clemente This self-portrait is part of a group first established his method of working of twenty drawings titled From Near and with fragments. Among contemporary from Afar , one section of an extensive artists, notes Bernice Rose, "The frag series of works known as the Pondicherry ment is taken as both . . . the symptom pastels. (The name refers to a former and the symbol of dissolution — of the French colonial port south of Madras breakup of the old order, which is where the paper for the drawings was inevitably seen as decadence." For produced.) Intimate in scale, the pastels Clemente, fragmentation not only cele reflect the influence of Indian miniatures brates chaos and decadence but also whose sensuous lines, lush colors, and serves as a natural extension of the cul eroticism suffuse Clemente's work. tural and geographic diversity of his life.B

Nancy Spero. Codex Artaud (I) (Detail). 1971. Cut-and-pasted papers, typewriting, gouache, and ink, 23" x 7' 5" (58.4 x 226.1 cm). Josh Baer Gallery, New York.

BRICE MARDEN was known ear and wiry elsewhere. Expressing impetu ly in his career for Minimalist grid paint ous energy, they extend beyond the edges ings with spare right-angled geometry. In of the paper. But on the sheet Marden his more recent work a kind of grid struc controls the marks to create an even den ture still lingers, either imposed by the sity. At certain points he punctuates the artist or inherent in the motifs he chooses. linear flow by "whiting out" inked lines Many of Marden's recent drawings, such with dabs of white paint. as Upper Garden, are meditations on The patterning of Upper Garden fol nature inspired by the artist's experience lows an almost imperceptible vertical while contemplating a particular land scaffolding. It is not surprising that scape or observing the patterns of shells Marden admires and finds inspiration in or branches of trees. Instead of using a the fluid vertical writing system of pen or brush, Marden draws with natural Chinese calligraphy. Bernice Rose has sticks and twigs, a practice that adds an observed: "Marden returns the grid to element of accident, or chance, to his calligraphy and calligraphy constantly to work. The varying thickness and flexibil its source in nature, and round about ity of the twigs affect the flow of ink that again, in a constant discourse between determines the marks on the paper. The nature and culture." For Marden this dis . Upper Garden. 1988. Ink and gouache, 15 x 22 1/2" (38.1 x 57.2 cm). Collection strokes of Upper Garden, for example, course becomes a representation not of Dr. and Mrs. Paul Sternberg. are thick and clotted in some places, thin nature but of abstraction itself. STEPHEN PRINA No Titte/("The History of Modern Painting, to label it with a phrase, has been the struggle against the catalog, ..." — Barnett Newman)/ (Monochrome Painting, 1988-89). 1992. Ink wash on rag barrier paper, 67 units, various dimensions. Collection the artist

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JONATHAN BOROFSKY MIKE KELLEY Self-Portrait.1992. Environmentalinstallation with chalk, pastel, pencil, charcoal, synthetic polymerpaint, Be Mine #1. 1991-92. Colored pencil, pencil, and synthetic polymer paint, 60 x 45 1/2" (152.4 x gold leaf, and wood numbers; 12 drawings, 1 unframed; compact disc player and animated pencil drawing 115.6 cm). Collection the artist. Courtesy Metro Pictures, New York titled Escalator-Giraffeon video monitor; 10 framed drawingsand 1 unframed pastel, 9x9' (22.9 x Be Mine #2. 1991-92. Colored pencil, pencil, and synthetic polymer paint, 60 x 45 1/2" (152.4 x 22.9 cm). Collectionthe artist and Paula CooperGallery, New York 115.6 cm). Collection the artist. Courtesy Metro Pictures, New York Polish Joke. 1991-92. Synthetic polymer paint on paper, 60 x 45 1/2" (152.4 x 115.6 cm). Collection the artist. Courtesy Metro Pictures, New York Speech Impediment. 1991-92. Cut-and-gluedfelt, 7' 10" x 11' 10 1/2" (238.8 x 361 cm). Collection the artist. Courtesy Metro Pictures, New York The John Reed Club. 1991-92. Pencil and colored pencil, 84 sheets, each 10 1/2 x 7 3/4" (26.7 x 19.7 cm). Collection the artist and Metro Pictures, New York SOL LeWITT REINHARD MUCHA Irregular black rectangles bordered by color (Wall Drawing #697). February1992. Colored ink wash, Kopfdiktate [Learnedby Rote], 1990. Photographs,photocopies, wood, glass, felt, and aluminum, synthetic polymer paint, and gouache, 13' 2" x approx. 78' (401.3 x 2,377.4 cm). Drawn by Cecily 8 (numbers 1, 2, 9, 11, 19, 21, 23, and 29) of 30 sections, each 27 1/2 x 51 1/8 x 3 7/8" (70 x 130 x Brown, Jemima Brown, Morgan Fine, and Anthony Sansotta. Courtesy the artist 10 cm). Collection Mrs. Ackermans,Xanten

ALLAN McCOLLUM Drawings. 1988-92. Pencil on museum board, approx. 1,000 drawings, from 9 1/2 x 8" (24.1 x 20.3 cm) to 12 1/2 x 14" (31.8 x 35.6 cm). Collection the artist CATALOGUE OF THE EXHIBITION Francesco Clemente Untitled ("Still Alive in 85"). 1985. Chalk on Jannis Kounellis Italian, born 1952 black paper, 83 x 41" (210.8 x 104.1 cm). Italian, born Greece 1936 Collection Justin Warsh All works are on paper, unless otherwise The Pondicherry Pastels: The Sick Rose, From Untitled. 1980. Ink, 7 sheets, each approx. Near and from Afar, Silenus, Myriads, Happier 8' 10 1/4" x 59" (270 x 150 cm). Jenny Holzer noted. Dimensions are given in feet and than Piero, Around and Very Close. 1979. Sonnabend Collection American, born 1950 inches and in centimeters, height before Pastel on handmade paper, 82 sheets, from width, followed in some cases by a third 6 3/8x3 1/2" (16.2 x 9 cm) to 13 3/4 x Selection from Laments ("No Record of Joy"). Sherrie Levine 13" (35 x 33 cm). Anthony d'Offay Gallery, 1988-89. Oil transfer on rubbing paper, American, born 1947 dimension, depth; for works on paper, London 6' 10" x 30" (208.3 x 76.2 cm). Barbara Untitled (after Kasimir Malevich), from The 1917 sheet size is given. Credit lines indicate the Gladstone Gallery, New York Self-Portrait as a Garden. 1979. Charcoal, gold Exhibition, Nature Morte Gallery, New York. lenders to the exhibition. paint, and dirt on handmade paper, 24 sheets, Selection from Laments ("The New Disease 1984. Pencil and watercolor, 20 sheets, each overall 10' 6" x 13' 1 1/2" (320 x 400 cm). Came"). 1988-89. Oil transfer on rubbing 14 x 11" (36 x 27.9 cm). Collection the artist Georg Baselitz Galerie , Zurich paper, 6' 10" x 30" (208.3 x 76.2 cm). Untitled (after Egon Schiele) from The 1917 German, bom 1938 The Museum of Modern Art, New York. Exhibition, Nature Morte Gallery, New York. George Condo Purchase Skulptur. March 1982. Pencil, 24 x 17" (61.2 x 1984. Pencil and watercolor, 20 sheets, each American, born 1957 43.2 cm). Private collection Selection from Laments ("There Is No One's 14 x 11" (36 x 27.9 cm). Collection the artist Untitled. 1985. Pastel and charcoal on brown Skin"). 1988-89. Oil transfer on rubbing paper, rut. < :) ; Skulptur. March 1982. Pencil, 24 x 17" (61.2 x Kraft paper, 7' 7 1/4" x 46 1/4" (231.8 x 6' 10" x 30" (208.3 x 76.2 cm). Barbara Sol LeWitt 43.2 cm). Private collection 117.5 cm). The Museum of Modern Art, New Gladstone Gallery, New York American, born 1928 Skulptur. March 1982. Pencil, 24 x 17" (61.2 x York. Gift of Charles B. Benenson Irregular black rectangles bordered by color 43.2 cm). Private collection JORG IMMENDORFF Big White One. 1987. Mixed mediums on can (Wall Drawing #697). February 1992. Colored German, born 1945 Skulptur. March 1982. Pencil, 24 x 17" (61.2 x vas, 8' 3" x 9" 10 1/4" (251.5 x 300.4 cm). ink wash, synthetic polymer paint, and gouache, 43.2 cm). Private collection Collection Robert M. Kaye Brandenburger Tor Weltfrage [Brandenburg Gate 13' 2" x approx. 78' (401.3 x 2,377.4 cm). Universal Question]. 1981. Pencil and water- Drawn by Cecily Brown, Jemima Brown, Morgan Skulptur. March 1982. Pencil, 24 x 17" (61.2 x Untitled. 1987. Charcoal, brush and ink, and color, 37 sheets, each 23 1/2 x 27 7/8" Fine, and Anthony Sansotta. Courtesy the artist 43.2 cm). Private collection pen and ink, 48 x 60." (122 x 125.4 cm). The (59.7 x 70.5 cm). Michael Werner Gallery, Museum of Modern Art, New York. Gift of Skulptur. March 1982. Pencil, 24 x 17" (61.2 x New York and Cologne Glenn Ligon Charles B. Benenson 43.2 cm). Private collection American, born 1960 Untitled Studies for Sculpture. 1992. Pencil Mike Kelley Skulptur. March 22, 1982. Pencil, 24 x 17" Untitled ("How it feels to be colored me . . ."). and ink, various dimensions. Collection American, born 1954 (61.2 x 43.2 cm). Private collection 1991. Oilstick, 16 x 31 1/4" (40.6 x 79.4 cm). the artist Be Mine #1. 1991-92. Colored pencil, pencil, Max Protetch Gallery, New York Untitled. January 26, 1983. Ink wash, 24 x and synthetic polymer paint, 60 x 45 1/2" 7 5/8" (61.2 x 19.5 cm). Private collection Richard Deacon Untitled ("How does it feel to be white you . . ."). (152.4 x 115.6 cm). Collection the artist. British, born 1949 1991. Oilstick, 16 x 32" (40.6 x 81.3 cm). Kampfmotive I [Struggle Motifs I]. 1986. Courtesy Metro Pictures, New York Collection the artist. Courtesy Max Protetch Charcoal, 12 sheets, overall 10' 10 1/8" x Two Untitled Drawings. 1990. Pencil, each 30 x Be Mine #2. 1991-92. Colored pencil, pencil, Gallery, New York 9' 3" (330.6 x 281.6 cm). Oeffentliche 40" (76.2 x 101.6 cm). Marian Goodman and synthetic polymer paint, 60 x 45 1/2" Kunstsammlung, Kupferstichkabinett, Gallery, New York Untitled ("I am an invisible man ..."). 1991. (152.4 x 115.6 cm). Collection the artist. Kunstmuseum Basel. Extended loan Oilstick, 17 x 30 1/2" (43.2 x 77.5 cm). Courtesy Metro Pictures, New York Gunther Forg Collection the artist. Courtesy Max Protetch Kampfmotive II [Struggle Motifs II]. 1986. German, born 1952 Polish Joke. 1991-92. Synthetic polymer paint Gallery, New York Charcoal, 12 sheets, overall 10' 10 1/8" x on paper, 60 x 45 1/2" (152.4 x 115.6 cm). 9' 3" (330.6 x 281.6 cm). Oeffentliche Untitled. May 22, 1989. Synthetic polymer Untitled ("Ich bin ein Auslander . . ."). 1991. Collection the artist. Courtesy Metro Pictures, Kunstsammlung, Kupferstichkabinett, paint, 8' 7 1/8" x 58 5/8" (262 x 149 cm). Oilstick, 15 3/4 x 32" (40 x 81.3 cm). New York Kunstmuseum Basel Collection the Schrammel Family Collection the artist. Courtesy Max Protetch Speech Impediment. 1991-92. Cut-and-glued Gallery, New York Untitled. May 22, 1989. Synthetic polymer Jean Michel Basquiat felt, 7' 10" x 11' 10 1/2" (238.8 x 361 cm). paint, 8' 7 7/8" x 58 5/8" (264 x 149 cm). American, 1960-1988 Collection the artist. Courtesy Metro Pictures, Robert Longo Museum Boymans-van Beuningen, Rotterdam New York American, born 1953 Untitled. 1981. Oilstick, 40 x 60" (101.6 x Untitled. May 23, 1989. Synthetic polymer 152.4 cm). The Museum of Modern Art, New The John Reed Club. 1991-92. Pencil and col Master Jazz. 1982-83. Lacquer on wood; paint, 8' 7 7/8" x 58 5/8" (264 x 149 cm). York. Gift of Sheldon Solow and purchase ored pencil, 84 sheets, each 10 1/2 x 7 3/4" charcoal, graphite, and ink on paper; silkscreen Galerie Gisela Capitain, Cologne (26.7 x 19.7 cm). Collection the artist and and synthetic polymer paint on masonite, Self-Portrait. 1982. Oilstick, synthetic polymer Metro Pictures, New York 8' x 18' 9" x 12" (243 x 571.5 x 30.5 cm). paint, and cut-and-pasted paper on canvas tied The Menil Collection, Houston with wood supports, 48" x 6' 9" (121.9 x American, born 1954 Martin Kippenberger 205.7 cm). The Estate of Jean Michel Basquiat. German, born 1953 Untitled. 1984. Pencil, 14 x 11" (35.6 x Brice Marden Courtesy Robert Miller Gallery, New York 27.9 cm). Collection James Harb and Shellee Die Welt des Kanarienvogels [The Worid of the American, born 1938 Untitled. 1982. Oilstick, 60 x 40" (152.4 x Rudner Canary]. 1988. Pencil, 156 sheets, each 5 1/2 x 3 and 4 Study, 2, St. Barts. 1980. Pencil and 101.6 cm). Private collection 4 1/8" (14 x 10.5 cm). The Museum of Modern Untitled. 1984. Pencil, 11 x 14" (27.9 x 35.6 cm). ink, 29 3/4 x 72" (75.6 x 182.9 cm). Collection Art, New York. Gift of Walter Bareiss and Untitled. 1982. Oilstick on paperboard, 60 x Collection Rose and Morton Landowne the artist Robert L. B. Tobin 40" (152.4 x 101.6 cm). The Estate of Jean Untitled. 1985. Pencil, 14 x 16 7/8" (35.6 x 3 and 4 Study, 3, St. Barts. 1980. Pencil and Michel Basquiat. Courtesy Robert Miller Gallery, Untitled. 1989. Cut-and-pasted printed papers, 49.9 cm). The Museum of Modern Art, New ink, 29 3/4 x 72" (75.6 x 182.9 cm). Collection New York 21 5/8 x 39 3/16" (24.1 x 99.6 cm).The York. Gift of Barbara Pine the artist Museum of Modern Art, New York. Gift of Embittered. 1986. Crayon on paper on wood, Untitled. 1985. Pencil, 22 x 29 7/8" (55.9 x Walter Bareiss 3 and 4 Study, 4, St. Barts. 1980. Pencil and 49 3/4" x 6' 1/2" x 11 3/4" (126.5 x 184 x 75.9 cm). Private collection, Boston ink, 29 3/4 x 72" (75.6 x 182.9 cm). Collection 30 cm). Collection Jose Mugrabi Untitled. 1989. Cut-and-pasted printed papers, the artist Untitled. 1986. Pencil and latex, 6 3/8 x 8 3/8" 23 x 39 3/16" (58.4 x 99.6 cm). Collection Ashley Bickerton (116.2 x 21.3 cm). Collection Ignace and Vincent and Shelly Fremont Basel Drawing. 1983. Colored ink, 25 1/2 x American, bom 1959 Isabelle Vandenabeele 19 3/4" (38.1 x 57.2 cm). Collection the artist Untitled. 1989. Cut-and-pasted printed papers, Drawing for Horizontal Wall Piece. 1988. Untitled (Drain). 1989. Pencil on vellum, 6 x 23 x 39 1/4" (58.4 x 99.7 cm). Collection Thea Basel Drawing. 1983-88. Ink, 10 1/2 x 7" Gouache, 28 1/2 x 40 3/4" (72.4 x 103.5 cm). 5 7/8" (15.2 x 14.9 cm). Private collection Westreich (26.7 x 17.8 cm). Collection the artist Collection William S. Ehrlich Untitled. 1989. Cut-and-pasted printed papers, Masking Drawing 20. 1983-86. Oil and ink, Plan for Atmosphere. 1988. Pencil, 22 1/2 x 26 3/8 x 39 3/8" (67 x 100 cm). Collection 14 x 32 7/8" (35.7 x 83.5 cm). Anthony d'Offay American, 1958-1990 28 1/2" (57.2 x 72.4 cm). Collection Chase Dennis Wong Gallery, London Manhattan Bank, New York Untitled. May 13, 1982. Sumi ink, 2 sheets, Untitled. 1989. Cut-and-pasted printed papers, Masking Drawing 5. 1984. Oil, ink, graphite, overall 6 x 56' (182.9 x 1,706.9 cm). Plan for Wet Landscape. 1988. Pencil, 26 1/2 x 23 1/4 x 37 13/16" (59.1 x 96 cm). David and gouache, 14 7/8 x 13 1/2" (37.8 x The Estate of Keith Haring 34" (67.3 x 86.4 cm). Collection B. Z. and Nolan Gallery, New York 34.3 cm). Collection the artist Michael Schwartz, New York Three Untitled Subway Drawings, c. 1982. Chalk Untitled. 1989. Cut-and-pasted printed papers, #3. 1985. Oil, 29 1/2 x 22" (74.9 x 55.9 cm). on black paper, each 49 1/2 x 34 1/2" Study for Landscape: Geostrata. 1988. Pencil, 28 16 1/4 x 39 7/8" (41.9 x 101.3 cm). Collection Collection the artist (125.7 x 87.6 cm). Collection Larry Warsh 1/2 x 22 1/2" (72.4 x 57.2 cm). Private collection Mr. and Mrs. William Wilson III #15. 1985. Oil, 30 1/8 x 22 1/2" (76.5 x Untitled Subway Drawing, c. 1982. Chalk on The Canary Searching for a Port in a Storm. 74.9 cm). Collection the artist Jonathan Borofsky black paper, 34 1/2 x 45" (87.6 x 114.3 cm). 1991. Pages from the book Die Welt des American, bom 1942 Collection Larry Warsh Masking Drawing. 1985. Ink and gouache, Grunen Kanarienvogels [The World of the / 13 3/4 x 13" (35 x 33 cm). Matthew Marks Self-Portrait. 1992. Environmental installation with Untitled Subway Drawing, c. 1982. Chalk on Green Canary] by Martin Kippenberger, with Gallery, New York chalk, pastel, pencil, charcoal, synthetic polymer black paper, 34 1/2 x 49 1/2" (87.6 x additions in yellow ball-point pen and paint, gold leaf, and wood numbers; 12 drawings, 125.7 cm). Collection Larry Warsh correcting fluid by Andreas Hohne. 90 of 93 Basel Drawing. 1985. Colored ink, 22 x 30" 1 unframed; compact disc player and animated double-sided sheets, each 5 1/2 x 4 1/8" (14 x (55.9 x 76.2 cm). Private collection. Courtesy Untitled Subway Drawing, c. 1982. Chalk, pencil drawing titled Escalator-Giraffe on video 10.5 cm). Private collection , New York 49 x 67" (124.5 x 170.2 cm). Collection monitor; 10 framed drawings and 1 unframed pas Larry Warsh [see also Oehlen] Shell Drawings. 1985-87. Ink, 8 sheets, each tel, 9 x 9' (22.9 x 22.9 cm). Collection the artist 11 1/2 x 8" (29.2 x 20.3 cm). Collection the artist and Paula Cooper Gallery, New York Drawing 2 Hydra. 1986. Ink, 19 1/4 x 15 1/2" Three Sheets of Studies, n.d. Pen and ink, each Untitled. 1991. Synthetic polymer paint, silk Susan Rothenberg (48.9 x 39.3 cm). The Museum of Modem Art, 17 x 14" (43.3 x 35.6 cm). Collection the artist screen, and pencil on canvas, 8' 3 1/2" x American, bom 1945 New York. Gift of Mr. and Mrs. Maxime L. 9' 8" (252.7 x 294.6 cm). Philadelphia Museum Three Sheets of Studies, n.d. Pen and ink, each Untitled. 1987. Charcoal, graphite, crayon, and Hermanos (by exchange) of Art. Purchased with a grant from the National 13 1/2 x 9 1/2" (34.3 x 24.1 cm). Collection synthetic polymer paint, 42 1/2 x 7' 1 1/2" Endowment for the Arts with matching funds con Untitled. 1987-88. Ink, 15 x 22 1/2" (38.1 x the artist (108 x 217.2 cm). The Schorr Family Collection tributed by various donors, and funds from the 57.2 cm). Collection Adele Haas Turner and Beatrice Pastorius Turner Untitled. 1990. Charcoal, 59" x 6' 11" (150 x A. R. Penck (Ralf Winkler) Upper Garden. 1988. Ink and gouache, 15 x Memorial Fund 211 cm). The Museum of Modem Art, New York. German, born 1939 22 1/2" (38.1 x 57.2 cm). Collection Dr. and Purchase Mrs. Paul Sternberg Queen of the Underground. 1975. Synthetic poly Martin Puryear mer paint on linen, 9' 4 1/4" x 9' 4 1/4" (285 x American, born 1941 David Salle Drawing for Conjunctions. 1988-89. Ink and 285 cm). Michael Werner Gallery, New York and American, bom 1952 gouache, 16 x 11 3/4" (40.6 x 29.8 cm). Private Untitled, c. 1987. Graphite, 23 x 29" (58.4 x Cologne collection 73.7 cm). Collection the artist. Courtesy David Untitled. 1980. Synthetic polymer paint, water- Twelve Drawings: Zeitlandschaft im Fluss [Time McKee Gallery, New York color, and pencil, 62" x 7' 7 7/8" (157.5 x Venus. 1990-91. ink and gouache, 40 x Landscape in Flux], Entscheidung am Abend 233.3 cm). The Museum of Modem Art, New 25 1/2" (101.6 x 64.8 cm). Private collection. Malediction. 1989. Graphite on paper mounted [Decision in the Evening], Fight, Die Perfekte York. Gift of the Denise and Andrew Saul Fund Courtesy Matthew Marks Gallery, New York on board, 14 x 11" (35.6 x 27.9 cm). Collection Illusion? [The Perfect Illusion?], Krater und the artist. Courtesy David McKee Gallery, A Couple of Centuries. 1982. Synthetic polymer Wolke [Crater and Cloud], Lollipops HH, Allan McCollum New York paint and oil on canvas, 2 panels, overall 9' 2" x Mikro 0 [Micro O], T?, Lalaby of Birth land, American, born 1944 13' 4" (279.4 x 406.4 cm) overall. Collection Angriff Hauptstrom [Mainstream Attack], TTT, Untitled. 1989. Graphite on paper mounted Robert and Rosalyn Papell Drawings. 1988-92. Pencil on museum board, T5. 1980. Ink and brush on parchment paper, on mat board, 11 x 14" (27.9 x 35.6 cm). approx. 1,000 drawings, from 9 1/2 x 8" (24.1 x each approx. 16 5/8 x 23 3/8" (50 x 75 cm). Collection the artist. Courtesy David McKee Julian Schnabel 20.3 cm) to 12 1/2 x 14" (31.8 x 35.6 cm). The Museum of Modern Art, New York. Gift of Gallery, New York American, bom 1951 Collection the artist Robert L. B. Tobin Gerhard Richter Pregnant Drawing. 1982. Oil, 8' 6" x 6' 6 1/2" Welt Des Adlers [World of the Eagle], 1984. 40 Reinhard Mucha German, born 1932 (259 x 199.4 cm). Private collection (numbers 215-253) of 472 drawings. Pencil, German, bom 1950 each 11 7/8 x 15 3/4" (30 x 40 cm). Michael Untitled (2, 3). April 4, 1983. Pencil, 2 sheets, The Trial. 1985. Oil and modeling paste on can Kopfdiktate [Learned by Rote]. 1990. Photographs, Werner Gallery, New York and Cologne each 7 1/8 x 9 5/8" (10.1 x 24.4 cm). Collection vas tarpaulin, 9' 1 7/8" x 17' 7 3/4" (279 x photocopies, wood, glass, felt, and aluminum, 8 George W. Vroom IV, New York 538 cm). Private collection Fifteen Untitled Drawings. 1987. Watercolor, each (numbers 1, 2, 9, 11, 19, 21, 23, and 29) of 30 approx. 8 1/4 x 13 5/8" (21 x 32 cm). Michael Untitled (4, 5). April 4, 1983. Pencil, 2 sheets, La Tango. 1990. Chromolithograph, oil, and ges sections, each 27 1/2 x 51 1/8 x 3 7/8" (70 x Werner Gallery, New York and Cologne each 7 1/8 x 9 5/8" (10.1 x 24.4 cm). Collection so on canvas, 7' 8" x 68" (233.7 x 172.7 cm). 130 x 10 cm). Collection Mrs. Ackermans, Xanten George W. Vroom IV, New York Private collection Ellen Phelan Bruce Nauman Felsenlandschaft [Stony Landscape]. 1984. American, born 1943 Joel Shapiro American, born 1941 Watercolor, 15 3/4 X 11 7/8" (40 x 30.2 cm). American, bom 1941 Say It Isn't So. 1987. Watercolor, 30 11/16 x David Nolan Gallery, New York Human Need Drain. 1983. Chalk and watercolor, 43 1/4" (78.1 x 109.9 cm). Whitney Museum of Untitled. 1986. Charcoal and chalk, 3 sheets, 86 x 80" (218.4 x 203.2 cm). Basler G.E.L. 3. January 21, 1984. Watercolor, gouache, American Art, New York. Purchased with funds overall 43" x 7' 9" (190.2 x 236.2 cm). Versicherungs-Geselischaft, Switzerland and pencil, 7x9 1/2" (17.8 x 24.1 cm). Collec from the Drawing Committee Collection Gabriele Henkel tion Mr. and Mrs. Marshall B. Front, Chicago Drawing. 1989. Mixed mediums, 33 1/4 x Neighborhood. 1990. Watercolor, 27 x 37 3/4" Untitled. 1988. Charcoal, 7' 4" x 60" (223.5 x 38 3/8" (85 x 97.5 cm). Private collection Untitled. May 20, 1984. Watercolor, oil, and pas (68.6 x 95.9 cm). The Museum of Modern Art, 152.4 cm). The Museum of Modem Art, New tel, 9 x 12 5/8" (22.9 x 32.1 cm). Collection Four Heads. 1989. Mixed mediums, 41 3/8 x New York. Gift of Edward R. Broida York. Acquired with matching funds from the Carol and Arnold Wolowitz 50 1/4" (105 x 127.5 cm). Private collection Robert Lehman Foundation, Inc., and the National Street Scene: Memory of Detroit. 1991. Gouache, Untitled. 1985. Watercolor, gouache, and pencil, Endowment for the Arts Model for Animal Pyramid II. 1989. Cut-and-taped 19 7/8 x 19 1/4" (50.5 x 48.9 cm). Barbara Toll 6 1/4x9 1/4" (15.9 x 23.5 cm). Private photographs, 7' 8 1/2" x 63" (235 x 160 cm). Gallery, New York collection Nancy Spero The Museum of Modern Art, New York. Gift of American, bom 1926 Agnes Gund and Ronald S. Lauder SlGMAR POLKE Untitled. October 4, 1985. Pencil, 8 1/4 x 11 German, born 1941 1/2" (21 x 29.8 cm). Private collection Codex Artaud (I). 1971. Cut-and-pasted papers, Proposal for Animal Pyramid. 1989. Cut-and- typewriting, gouache, and ink, 23" x 7' 5" (58.4 x taped photographs, 6' 8 1/2" x 62" (201.9 x Burma. 1968-85. Mixed mediums, 8' 8" x Untitled. March 24, 1986. Oil on photograph, 226.1 cm). Josh Baer Gallery, New York 157.5 cm). Des Moines Art Center. Purchased 8' 1 5/8" (265 x 248 cm). Private collection 31 5/8 x 39 1/4" (80.3 x 99.7 cm). The Art with funds from the Melva and Martin Bucksbaum Institute of Chicago. Restricted gift of Adele and Codex Artaud (V). 1971. Cut-and-pasted papers, Motorradlampe [Motorcycle Headlight]. 1969. Director's Discretionary Fund for Acquisitions and Willard Gidwitz typewriting, gouache, and ink, 32" x 12' 6" Mixed mediums, 10' 3" x 15' 5" (313.4 x Innovation. Commissioned for the Sculpture Park, (81.3 x 381 cm). Josh Baer Gallery, New York 470 cm). Private collection, Cologne Untitled (Self-Portrait). March 25, 1986. Oil on Des Moines Art Center, 1990 photograph, 39 1/4 x 31 1/2" (99.7 x 80.3 cm). Codex Artaud (VI). 1971. Cut-and-pasted paper, Four Untitled. Drawings. 1976-91. Mixed Matthew Marks Gallery, New York typewriting, gouache, and ink, 20 1/2" x Albert Oehlen mediums, each 6' 6 3/4" x 6' 10 3/4" (200 x 10' 4 1/2" (52.1 x 316.2 cm). Josh Baer Gallery, German, born 1954 210 cm). Private collection Untitled. July 6, 1987. Watercolor and pencil, New York 6 5/8 x 9 3/8" (16.2 x 23.8 cm). Private [with Martin Kippenberger] Untitled. 1984. Mixed Untitled. Mid-1970s. Synthetic polymer paint on collection Codex Artaud (VII). 1971. Cut-and-pasted papers, mediums on cut-and-pasted printed papers, photograph, 49 1/4 x 74 3/4" (125 x 190 cm). typewriting, gouache, and ink, 27" x 13' (68.6 x 11 3/8 x 8" (28.9 x.20.3 cm) Collection Carol The Garnatz Collection Untitled. February 20, 1988. Oil, 11 3/4 x 396.2 cm). Josh Baer Gallery, New York and Richard Selle 16 1/2" (29.8 x 41.9 cm). Collection Mr. and Stephen Prina Mrs. M. Marcus Codex Artaud (VIII). 1971. Cut-and-pasted papers, [with Martin Kippenberger] Untitled. 1984. Mixed American, born 1954 typewriting, gouache, and ink, 21" x 10' 6" mediums on cut-and-pasted printed papers, Untitled. March 25, 1988. Watercolor, 6 3/4 x (53.3 x 266.7 cm). Josh Baer Gallery, New York 11 3/8 x 8" (28.9 x 20.3 cm) Collection Carol No Title/("The History of Modern Painting, to label 9 1/4" (17.1 x 23.5 cm). Collection Linda Jane and Richard Selle it with a phrase, has been the struggle against Smith, New York Codex Artaud (IX). 1971. Cut-and-pasted papers, the catalog, ..." — Barnett Newman)/ typewriting, gouache, and ink, 25" x 10' 6" Ten Studies for Richard Wagner's Tannhauser, Untitled. April 2, 1988. Watercolor and graphite, (Monochrome Painting, 1988-89). 1992. Ink (63.5 x 320 cm). Josh Baer Gallery, New York produced by the Theater der Freien Hansestadt 6 5/8 x 9 1/4" (20 x 23.5 cm). Private collection, wash on rag barrier paper, 67 units, various Bremen. 1987. Cut-and-pasted printed papers, New York Codex Artaud (XXIII). 1972. Cut-and-pasted dimensions. Collection the artist pencil, and ink, each 11 1/2 x 8 3/4" (29.2 x papers, typewriting, gouache, and ink, 29" x 10' Untitled. April 28, 1988. Watercolor, 9 1/2 x 22.2 cm). The Museum of Modern Art, New York. (73.7 x 304.8 cm). Josh Baer Gallery, New York Richard Prince 13 1/4" (24.1 x 33.7 cm). Collection Richmond Gift of Robert L. B. Tobin, and Private collection American, born 1949 Burton, New York Codex Artaud (XXIV). 1972. Cut-and-pasted papers, typewriting, gouache, and ink, 30 1/2" x 14' 1/2" Tom Otterness Untitled. 1985. Graphite, 40 x 26" (101.6 x 66). Untitled. February 3, 1989. Oil, 8 1/4 x 11 3/4" (77.5 x 428 cm). Josh Baer Gallery, New York American, born 1952 Gallery, New York (21 x 29.8 cm). Collection David and Susan Gersh Codex Artaud (XXV). 1972. Cut-and-pasted papers, Selected Notebooks. Late 1970s-1990. Pencil, Untitled. 1985. Graphite, 39 7/8 x 26" Untitled. February 4, 1989. Oil and watercolor, typewriting, gouache, and ink, 28" x 16' 4* (71.1 x pen and ink, wash, various dimensions. (101.2 x 65.9 cm). The Museum of Modern 11 3/4 x 16 1/2" (29.8 x 41.9 cm). Dorothy 497.8 cm). Josh Baer Gallery, New York Collection the artist Art, New York. Gift of the Robert Lehman Goldeen Gallery, Santa Monica Foundation, Inc. Codex Artaud (XXXIII.A). 1972. Cut-and-pasted New Plans. 1985. Pencil and ink, 29 x 23" (73.7 x Untitled. March 3, 1989. Oil, 8 1/4 x 11 3/4" papers, typewriting, gouache, and ink, 30 1/2" x 58.4 cm). Collection Brooke and Carolyn Untitled. 1985-90. Silkscreen, graphite, and (21 x 29.8 cm). Collection Barbara and Howard 9' 8 1/2" (77.5 x 295.9 cm). Josh Baer Gallery, Alexander, New York spray paint, 40 x 26" (101.5 x 66 cm). The Morse, New York New York Museum of Modern Art, New York. Gift of the Dreamers Awake. 1986. Pencil, 18 x 24" (45.7 x Untitled. March 9, 1989. Oil, 8 1/4 x 11 3/4" Robert Lehman Foundation, Inc. Codex Artaud (XXXIII.B). 1972. Cut-and-pasted 70 cm). Collection Werner H. and Sarah-Ann (21 x 29.8 cm). Collection Jason Rubell papers, typewriting, gouache, and ink, 30 1/2" x Kramarsky, New York Untitled. 1990. Synthetic polymer paint, 6' 11 3/4" (77.5 x 212.7 cm). Josh Baer Gallery, silkscreen, and graphite, 49 1/4 x 38 3/16" Tim Rollins + K.O.S. (Kids of Survival) Monument Study. 1986. Graphite and ink, 19 x New York (101.3 x 65.9 cm). Collection Barbara Jakobson, American, born 1955 (Rollins) 24 3/4" (48.3 x 62.9 cm). Whitney Museum of New York Codex Artaud (XXXIII.C). 1972. Cut-and-pasted American Art, New York. Purchased with funds X-Men 1967. 1990-91. Cut-and-pasted comic papers, typewriting, gouache, and ink, 30 1/2" x from the Drawing Committee Untitled. 1990. Synthetic polymer paint, silk book pages and synthetic polymer paint on can 10' 2" (77.5 x 309.9 cm). Josh Baer Gallery, screen, and graphite, 49 1/4 x 38 1/4" vas, 6' 1 3/4" x 15' 9 1/4" (187.3 x 480.7 cm). Tables (Working Drawing). 1986-87. Pencil, New York (125 x 97.2 cm). Collection Dr. John Lane, Collection Ari Straus 20 7/8 x 26 3/4" (48.3 x 62.9 cm). Private San Francisco (Catalogue continues on page 8) collection, New York (Continued from page 7) Winter Group XVIII. 1991. Mixed mediums, Untitled. 1987. Colored marker, 15 3/4 x 17 3/4" Schema (55). 1985-86. Watercolor, gouache, 67 1/2 x 17" (171.4 x 43.2 cm). Robert Miller (40 x 45 cm). Collection Norman Dubrow and graphite, 12 1/8 x 8 5/8" (30.7 x 21.9 Doug and Mike Starn Gallery, New York cm). The Museum of Modem Art, New York. American, born 1961 Terry Winters Gift of Richard E. Salomon Rosemarie Trockel American, born 1949 Crucifixion. 1985-88. Toned silver print, wire, German, born 1952 Schema (65). 1985-86. Watercolor and ribbon, wood, and tape, 10 x 16' (305 x 12 Chinese Notebook Drawings. 1980. Pencil, graphite, 12 1/4 x 8 5/8" (31.1 x 21.9 cm). The 488 cm). Collection the artists 9 1/4x7 1/2" (23.5 x 19 cm) to 11 x 7 1/4" Untitled. 1983. Watercolor and synthetic poly Museum of Modem Art, New York. Gift of (27.9 x 18.4 cm). Collection Brice Marden, and Richard E. Salomon Pat Steir mer emulsion paint, 8 1/4 x 6 1/2" (20.8 x Collection the artist 16.5). The Museum of Modern Art, New York. American, born 1940 Chinese Notebook Drawings. 1980. Pencil and Gift of Walter Bareiss Schema (1). 1985-86. Graphite, 12 1/4 x charcoal, 7 1/2 x 9 1/2" (19 x 24.1 cm). Winter Group IV. 1991. Mixed mediums, 67 1/2 x 8 3/4" (31.1 x 22.2 cm). Collection the Collection the artist 17" (171.4 x 43.2 cm). Robert Miller Gallery, Untitled. 1983. Watercolor, 11 7/8 x 8 1/4" artist New York (30 x 21 cm). The Museum of Modern Art, New Christopher Wool Schema (10). 1985-86. Gouache, watercolor, York. Gift of Walter Bareiss American, bom 1955 Winter Group IX. 1991. Mixed mediums, graphite, and oil, 12 1/4 x 8 3/4" (31.1 x 67 x 17" (170.1 x 43.2 cm). Robert Miller 22.2 cm). Private collection Untitled. 1991. Alkyd and stamp, 52 x 40" Untitled. 1986. Ink, 46 1/2 x 24 1/8" (118.1 x Gallery, New York (132 x 101.6 cm). Luhring Augustine, New York 61.3 cm). Collection Raymond Learsy Schema (17). 1985-86. Graphite, 12 1/4 x Winter Group XIII. 1991. Mixed mediums, 8 3/4" (31.1 x 22.2 cm). The Eli Broad Family Untitled. 1991. Alkyd and stamp, 52 x 40" Untitled. 1986. Ink, 46 1/2 x 26" (118.1 x 66 cm). 67 1/2 x 17" (171.4 x 43.2 cm). Robert Miller Foundation (132 x 101.6 cm). Luhring Augustine, New York Collection Lois and Richard Plehn, New York Gallery, New York Schema (40). 1985-86. Watercolor, gouache, Untitled. 1991. Alkyd and stamp, 52 x 40" Untitled. 1987. Ink, 16 1/2 x 11 1/2" (44 x Winter Group XIV. 1991. Mixed mediums, and graphite, 12 1/4 x 8 3/4" (31.1 x (132 x 101.6 cm). Luhring Augustine, New York 32 cm). Collection Gabriella De Ferrari 67 x 17" (170.1 x 43.2 cm). Robert Miller 22.2 cm). Sonnabend Gallery, New York Gallery, New York

Keith Haring. Untitled (Detail). May 13, 1982. Sumi ink, 2 sheets, overall 6 x 56' (182.9 x 1,706.9 cm). The Estate of Keith Haring.

PUBLICATION PUBLIC PROGRAM

ALLEGORIES OF MODERNISM: CONTEMPORARY DRAWING CONTEMPORARY DRAWING By Bernice Rose Tuesday, February 18, 8:30 p.m. 128 pages; 60 illustrations (20 in color); paperbound; $19.95 Published by The Museum of Modern Art, New York In conjunction with the current exhibition, artists Giinther Forg, Jenny Holzer, Distributed to the trade by Harry N. Abrams, Inc. Sherrie Levine, and Allan McCollum discuss their work. Moderated by Bernice Available in The MoMA Book Store Rose, Senior Curator, Department of Drawings, The Museum of Modern Art.

Published on the occasion of the exhibition, Allegories of Modernism: Contem The Roy and Niuta Titus Theater 2 porary Drawing, this volume takes a fresh look at the role of drawing in the art of Tickets $8; members $7; students $5. the past fifteen years. It explores the latest developments in an adventurous medium that has been at the center of the transition from modernism to postmodernism. Allegories of Modernism: Contemporary Drawing has been organized by Bernice Through the work of more than forty contemporary artists the author describes Rose, Senior Curator, Department of Drawings, The Museum of Modern Art. the advent of a new language of art in which drawing plays an expanded role, as both fragment and finished work. She discusses the resurgence of gestural drawing, Copyright © 1992 by The Museum of Modern Art, New York. All rights reserved. new approaches to collage and montage, issues raised by drawings of exceptionally large scale, changes in the historical relationship between drawing and sculpture, Pages 2 and 3 written by Emily Kies Folpe the introduction into drawing of technological means such as photography and Catalogue compiled by Robert Evren print, the influence of video, and drawing's change from a private to a public mode. Designed by Emily Waters The book is handsomely illustrated with more than sixty works by all the artists in the exhibition. Biographies of the artists and a selected bibliography complete the Photograph credits: Pages 1, 4, and 5: Mali Olatunji, Fine Arts Photographer, The volume. Museum of Modern Art. Page 2: top, Michael Werner Gallery, New York and Bernice Rose is also the author of Drawing Now, a seminal analysis of the rise of Cologne; bottom left, Whitney Museum of American Art; bottom right, Mali drawing as an independent medium from the 1960s to the mid-1970s, Jackson Olatunji. Page 3: top, Prudence Cuming, London; center, David Reynolds. Page 8: Pollock: Works on Paper (1969), Jackson Pollock: Drawing into Painting (1980), Brian Albert, New York A Century of Modern Drawing (1982), and The Drawings of Roy Lichtenstein (1987).

This exhibition is made possible by a generous grant from Mr. and Mrs. Ronald S. Lauder. Additional support has been provided by The International Council of The Museum of Modern Art, The Bohen Foundation, The Tobin Foundation, and The Solow Foundation.

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