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LU < o. THE PLANAR DIMENSION Digitized by the Internet Archive in 2012 with funding from Metropolitan New York Library Council - METRO http://archive.org/details/planaOOrowe EUROPE, 1912-1932 THE PLANAR DIMENSION BY MARGIT ROWELL This project is supported by a grant from the National Endowment for the Arts in Washington, D.C., a Federal Agency Published by The Solomon R. Guggenheim Foundation, New York 1979 ISBN:o-89207-oi7-X Library of Congress Card Catalogue Number: 78-74711 Cl The Solomon R. Guggenheim Foundation, New York, 1979 cover: Kurt Sch witters Merz 1924, 1. Relief with Cross and Sphere. 1924 Lent by Marlborough Fine Art (London), Ltd. THE SOLOMON R. GUGGENHEIM FOUNDATION PRESIDENT Peter O. Lawson-Johnston TRUSTEES The Right Honorable Earl Castle Stewart, Joseph W. Dormer, John Hilson, Eugene W. Leake, Frank R. Milliken, A. Chauncey Newlin, Mrs. Henry Obrc, Seymour Slive, Albert E. Thiele, Michael F. Wettaeh, William T. Ylvisakei HONORARY TRUSTEES Solomon R. Guggenheim, Justin K. Thannhauscr, Peggy IN PERPETUITY Guggenheim ADVISORY BOARD Aye Simon THE SOLOMON R. GUGGENHEIM MUSEUM director Thomas M. Messer STAFF Henry Berg, Deputy Director Susan L. Halper, Executive Assistant; Vanessa Jalet, Director's Coordinator,- Debra Brecher, Secretary Louise Averill Svendsen, Senior Curator; Diane Waldman, Curator of Exhibitions; Margit Rowell, Curator; Angelica Zander Rudenstine, Research Curator; Linda Konheim, Curatorial Administrator (on leave) Linda Shearer, Assis- ; tant Curator; Carol Fuerstein, Editor,- Vivian Endicott Barnett, Curatorial Associate; Mary Joan Hall, Librarian; Ward Jackson, Archivist; Philip Verre, Curatorial Coordi- nator; Susan Hirschfeld, Curatorial Assistant Mimi Poser, Public Affairs Officer; Miriam Emden, Membership Department Head Carolyn Porcelli, Development Associate Agnes R. Connolly, Auditor; Duncan Ralph, Administrative Assistant; Philip Almeida, Restaurant Manager,- Charles Hovland, Sales Supervisor,- Darrie Hammer, Katherine W. Briggs, Information David R. Anthony, Technical Officer; Orrin H. Riley, Conservator; Dana L. Cranmer, Conservation Assistant; Elizabeth M. Funghini, Cherie A. Summers, Associate Registrars; Jack Coyle, Assistant Registrar; Saul Fuerstein, Preparator,- Scott A. Wixon, Operations Supervisor; Robert E. Mates, Photographer; Mary Donlon, Associate Photographer David A. Sutter, Building Superintendent,- Guy Fletcher, Jr., Assistant Building Superintendent; Charles F. Banach, Head Guard life members Eleanor, Countess Castle Stewart, Mr. and Mrs. Werner Dannheisser, Mr. and Mrs. William C. Edwards, Jr., Mr. and Mrs. Andrew P. Fuller, Mrs. Bernard F. Gimbel, Mr. and Mrs. Peter O. Lawson-Johnston, Mrs. Samuel I. Rosenman, Mr. and Mrs. S. H. Scheuer, Mrs. Hilde Thannhauser corporate patrons Alcoa Foundation, Atlantic Richfield Foundation, Exxon Corporation, Mobil Corporation government patrons National Endowment for the Arts, New York State Council on the Arts LENDERS TO THE EXHIBITION Robert d'Ancthan, Paris Kunstmuseum Basel Mmc Arp, Clam art, France Louisiana Museum, Humlebaek, Denmark Mr. and Mrs. Joseph Ascher Moderna Museet, Stockholm Mr. and Mrs. Herman Berninger, Zurich Musee d'Art Moderne, Strasbourg Max Bill, Zurich Musee d'Art Moderne de la Ville de Paris Robert and Andrea Bollt, New York Musee National d'Art Moderne, Centre Georges Pompidou, Paris M. Bricheteau, Paris Museum Ludwig, Cologne George Costakis The Museum of Modern Art, New York Dr. and Mrs. Andre F. Essellier, Zurich Muzeum Sztuki,Z6dz, Poland Gladys C. Fabre, Paris National Gallery of Art, Washington, D.C. Miriam Gabo Philadelphia Museum of Art Ursula and Hans Hahn The Phillips Collection, Washington, D.C. Carl Laszlo Stedelijk Museum, Amsterdam M. and Mme Claude Laurens, Paris Stedelijk van Abbemuseum, Eindhoven, The Netherlands Yulla Lipchitz Tate Gallery, London McCrory Corporation, New York Tel Aviv Museum Mr. Neirynck, Sint-Martcns-Latem, Belgium Yale University Art Gallery, New Haven Lev Nussberg, Paris Christian Schad Mr. and Mrs. James Johnson Sweeney Collection Thyssen-Borncmisza, Switzerland Galerie Bargera, Cologne Cecilia Torres-Garcfa, New York Galerie Jean Chauvelin, Paris Lydia and Harry L. Winston Collection (Dr. and Mrs. Barnett Malbin), York New Galerie Gmurzynska, Cologne Henkel KGaA, Dusseldorf Leonard Hutton Galleries, New York Bayerische Staatsgemaldesammlungcn, Munich Annely Juda Fine Art, London The Cleveland Museum of Art Lords Gallery, London The Solomon R. Guggenheim Museum, New York Marlborough Fine Art (London!, Ltd. Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D.C. N. Scroussi, Galerie Quincampoix, Paris I.M.A. Galerie Tranche, Paris Kunsthaus Zurich Kunsthandel Wolfgang Werner, KG, Bremen ACKNOWLEDGEMENTS The Planar Dimension: Europe, 1912-1932 is an inves- our requests for loans. The fact that fragile, vulnerable tigation both visual and theoretical of formal devel- and unique pieces, often by the masters of modern art, opments peculiar to one area of modern sculpture. were involved heightened the difficulties of securing While various aspects of this theme have been written loans, increased our responsibilities as borrowers and about, to the best of our knowledge the phenomenon deepened our indebtedness toward those who tempo- has not until now been isolated, nor has any major ex- rarily parted with their possessions to see them incor- hibition been devoted to it. porated in The Planar Dimension. These generous The Solomon R. Guggenheim Museum is able to institutional and private lenders are listed separately in introduce the subject with an exemplary selection of this catalogue, unless they requested anonymity. works and an illuminating catalogue essay because I also wish to acknowledge on behalf of Margit Margit Rowell, the Museum's Curator, conceived the Rowell and the Guggenheim Museum the contribu- theme and provided the visual and verbal rationaliza- tions made by the following individuals: Gladys C. tions. It is proper, therefore, to extend to Miss Rowell Fabre, Donald Karshan, Gilbert Lloyd, Sir Norman the Guggenheim's gratitude for extensive preparatory Reid, William Rubin, Jeffrey Solomons and Heinz research and for an exceptionally lucid and informa- Teufel. Without their knowledgeable participation and tive text, which is not only valid independently but generous disposition toward us, many key examples serves as commentary upon the selection. would be missing from our exhibition, while others Every loan show is the result of owners' generosity, would have come to the Museum without the infor- and acknowledgements to lenders are therefore often mation which renders them particularly useful in the viewed as a mere formality. Loans for precisely defined context we propose. theme exhibitions are less interchangeable than those Finally, Philip Verre, Curatorial Coordinator, and required for more general presentations, as specific Carol Fuerstein, Editor, must be singled out from among rather than generic examples are needed to convey con- the many Museum staff members who aided in the cepts in their undiluted intent. We are glad to report preparation of the exhibition and catalogue,- they are that the logic and inherent forcefulness of our theme to be thanked for their direct, central and effective persuaded most museums and private collectors to grant assistance to Margit Rowell. Thomas M. Messer, Director The Solomon R. Guggenheim Museum fig. I Anthony Caro Java. 1976. Steel, 65 x 86 x -55" Andre Emmerich Gallery, New York THE PLANAR DIMENSION 1912-1932: FROM SURFACE TO SPACE by Margit Rowell The planar dimension is the painter's dimension. Yet, to be the outer surface of a concave volume, the result to the generations which came of age in the 1960s and of a process of hollowing out a representational three- 1970s, planar is synonymous with sculpture and planar dimensional figure which leaves a void. In this context sculpture synonymous with one aspect of modernism. we are referring to the flat picture plane used as a two- From this standpoint, the use of the planar dimension dimensional environment or support. It exists in space in sculpture is perceived as a peculiarly American for- as a geometric surface, having length and breadth but mal development, comparable to Abstract Expression- no thickness. In painting the plane is an abstraction, a ism in painting. translation of visual images into conceptualized forms. The comparison is apt. Abstract Expressionism, al- Spatialized it is no different, except that its structural though an American vernacular, sprang from icono- autonomy is underscored. graphic sources and technical inventions of European The resulting objects embody a profound contradic- origin. Similarly, sculptors who have followed David tion which is distinctly modern: for a kind of idealism Smith in using the plane today may be considered in- or conceptual form is coupled with its opposite, a kind debted to Picasso's and Gonzalez's formal innovations. of materialism or attention to materials. The solid mass It is an enigma of history why Picasso's constructions, of sculpture is pared away, dematerialized, leaving the invented over sixty-five years ago, while they inspired plane, a product of the conceptual mind. At the same a few immediate successors, had to await the advent of time, this conceptualized image requires unconven- Smith for a consistent development of the logical syn- tional techniques and media. And each of these materi- tax they implied. als calls attention to itself, to the fact that it
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