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Allegories of Modernism : Contemporary Drawing : [Checklist of the Exhibition Held] February 16 to May 5, 1992, the Museum of Modern Art, New York

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Allegories of Modernism : Contemporary Drawing : [Checklist of the Exhibition Held] February 16 to May 5, 1992, the Museum of Modern Art, New York Allegories of modernism : contemporary drawing : [checklist of the exhibition held] February 16 to May 5, 1992, the Museum of Modern Art, 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 collages. 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 painting and ernism has become a story in sculpture. 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, collage, 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 contemporary art. 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 drawings 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 Jackson Pollock; 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 paintings 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.
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