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New Work on Paper 2 : Jonathan Borofsky New work on paper 2 : Jonathan Borofsky ... [et al.] Bernice Rose Author Rose, Bernice Date 1982 Publisher The Museum of Modern Art ISBN 0870703242 Exhibition URL www.moma.org/calendar/exhibitions/2249 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 NEW WORK ON PAPER JONATHAN BO ROES K Y FRANCESCO CLEMENTE MARIO MERZ R . PENCEA . GIUSEPPE PENON E BERN ICE ROSE THE MUSEUM OF MODERN ART NEW YORK NEW WORK ON PAPER 2 JONATHAN BOROFSKY FRANCESCO CLEMEN T E MARIO MERZ A. R. F>ENCK GI USE PPl ? PENONE BERNIC E ROSE THE MUSEUM OF MODI ERN ART N E W Y O R K NEW WORK ON PAPER 2 Thisis the second in a seriesof exhibitionsorganized by The Museum space,of onlya fewof thosewhose achievementmight warrant their of ModernArt, NewYork,each of whichis intendedto showa rela inclusion—anda choice,moreover, that is entirelythe responsibility tivelysmall number of artiststhrough a representativeselection of of the directorof the exhibition,who wished to sharesome of the theirrecentdrawing and work on paper.E mphasisis placedon new interestand excitementexperienced in looking at newwork on paper. work,wit hoccasional glances backward to earlierproduction where Thecurrentexhibit iondeparts from the formatof workson paper thecharacter oft heartespecially requires it, andon artists or kindsof onlyto includedrawings on othersupportas s well,while the catalog art notseen in depthat the Museumbefore.B eyondthis,no restric is designedto givethe viewer an idea of eachartist's work within the tionsare imposed on the series,which may include exhibitions devoted strictf ormatof a workon paper. toheterogeneous and to highlycompatible groups of artists,and selec tion of workranging from traditional drawing to workson paperin mediumsof all kinds.W ithoutexcept ion,however, the artists included Theexhibition "New Work on Paper2" hasbeen organized with the in eachexhibition are presented notas a definitivechoice of outstand aidof a grantfrom the National Endowmentfor the Arts.T hispublica ing contemporarytalents,but as a choice,limit edby necessitiesof tionis madepossible by a generousgrantfrom Pinewood Foundation. Copyright© 1982by The Museum of ModernArt Trusteesof TheMuseum of ModernArt Mrs.Walter Hochschild* All rightsreserved WilliamS. Paley Mrs.Barbara Jakobson Libraryof CongressCatalog Card Number Chairmanof theBoard PhilipJohnson 82-81432 RonaldS. Lauder ISBN0-87070-324-2 Mrs.Henry Ives Cobb JohnL. Loeb* GardnerCowles RanaldH. Macdonald* Designedby Antony Drobinski DavidRockefeller Mrs.G .Macculloch Miller* Typesetby Boro Typographers, Inc., New York ViceChairmen J. IrwinMiller* Printedand bound by Nicholas/David Mrs.John D.Rockef eller3rd S. I. Newhouse,Jr. Lithographers,Inc. ,New York President RichardE. Oldenburg PeterG. Peterson TheMuseum of ModernArt Mrs.Frank Y. Larkin GiffordPhillips 11West 53 Street DonaldB. Marron DavidRockefeller,Jr. NewYork, N.Y. 10019 JohnParkinson III Mrs.Agnes Gund Saalfield VicePresidents Mrs.W olfgangSchoenborn* Printedin theUnited States of America JohnParkinson III Mrs.Const antineSidamon-Eristoff Treasurer Mrs.Bertram Smith Mrs.Alfred R. Stern Mrs.L. vA.Auchincloss Mrs.Donald B. Straus EdwardLarrabee Barnes WalterN. Thayer CelesteBartos R.L. B. Tobin GordonBunshaft EdwardM. M. Warburg* ShirleyC. Burden Mrs.Clifton R. Wharton, Jr. WilliamA. M. Burden MonroeWheeler* ThomasS. Carroll RichardS. Zeisler FrankT. Cary *HonoraryTrustee PhotoCredits Mrs.Anne Cox Chambers IvanChermayeff Kupferstichkabinett,Kunstmuseum Basel,p. 14. Mrs.C. Douglas Dillon* ExOfficio Trustees UniversitAyrtMuseum, Universit y GianluigiGabetti of California,Berkeley, p. 12. PaulGottlieb EdwardI. Koch NeerdFrederikse,Rot terdam,p. 11. Mrs.Melville Wakeman Hall Mayorof theCity of NewYork PaoloMussat Sartor, Turin, p. 15. GeorgeHeard Hamilton* HarrisonJ. Goldin NeilWinokur, New York, p. 13. WilliamA. Hewitt Comptrollerof the City of NewYork JonathanBorofsky /11 FrancescoClement/e 12 GiuseppePenone / 15 ACKNOWLEDGMENTS Anyexhibition is necessarilythe resultof the cooperativeefforts of Romeand Turin.F orA.R. P enck:Fred Jahn,F redJahn Gallery,Munich; manypeople.In thisexhibition,we have been particularly fortunate, MichaelWerner and David Nolan,Michael Werner Gallery,Cologne; andespecially with reference to thecatalog,in havingthe directpar lleanaSonnabend and Antonio Homem,Sonnabend Gallery,New York. ticipationof the artistsconcerned.I should like to thankJonathan For GiuseppePenone:S alvatoreAla and CarolineMartin,G allery Borofsky,Francesco ClementMario e, Merz,and Giuseppe Penone for SalvatoreAla,Milan and New York. creatingoriginal artworks and writing texts specially for reproduction At TheMuseum of ModernArt, I amparticularly indebted to my in thiscatalog.I wish also to thankA. R.P enck(RalfW inkler)and his colleagueBeatrice Kernan,Curat orialAssistantin the Departmentof dealers,Michael Werner in Cologneand Fred Jahn in Munich,for per Drawings,for her coordination of all aspectofs t heexhibition and pub missionto reproducehis suite off ourteendrawings and reprinthis text, lication.O thersto whomspecial thanks are due include:F redCoxen whichappeared originally in a catalogfor theJosef-Haubrich-Kunst- andJerry Neuner,of the ExhibitionsProgram,for theircoordination halle,Cologne. Borof sky,Merz, and Penone are also creating works of the installation;Ant oinettKeing,S eniorPaper Conservator, forher directlyin the galleriesfor the exhibition.In addition,many people specialassistance in installationand generalsupervision;Francis associatedwith the artistshave been very helpful,as havebeen a Kloeppel,who edited this publication;and Rose Kolmetfz,or her trans numberof mycolleagues abroad.I would like to thankDieter Koepplin lationof the Pencktext.I amespecially grateful to AntonyDrobinski, of the Kupferstichkabinett,Kunstmuseum, Basel,and Martin Visser, the designerof this publication,for hisvery inventive formatwit, hin Bergejk,the Netherlands,for t heirunfailing generositto y thismuseum whichthe artists worked to createtheir contributions,and for his sug —Mr.V isserin particularforlending two groups of Penckdrawings,/T gestionsand help in realizingthe catalogprojectI. wouldalso like to for Karen(1980),a seriesof fourteendrawings,and 7F/(1980),a thankManfredi Piccolomini for histranslation of the Penonetextand seriesoft wenty-fivedrawings.For lending Francesco Clemente's-draw- MarciaFeinstein for hertranslation of the Merztext.T heMuseum of ingthe loneliness oft hefrog,or bruno tautI nIstanbul,1937, laughing, ModernArtis gratefulfor generoussupportfrom the National Endow I wouldlike to thankAdriaan van Ravesteijn and Gertvan Beijeren of mentf or the Arts,which made this exhibitionpossible.F inally,on art & projectA, msterdam.The following individuals and galleries have behalfof the Museum,I wish to thankPinewood Foundation for their beenof assistancethroughoutF:or Jonathan Borofsky:Paula Cooper, generoussupportwit; houttheir help this publication would nothave PaulaCooper Gallery,New York.F orFrancesco Clementand e Mario beenpossible. Merz:A ngelaWestwater,Sperone WestwatFer ischer Gallery,New York; PierLuigi Perro and Gian Enzo Sperone,G ianEnzo Sperone Gallery, BerniceRose IIS TROD UCTION Withinthe moderntradition it is possible,broadly speaking,to dis oneway or anotherreaches for beginnings-for the "firstcommunica tinguishtwo tendencies.O nefollows the formalistapproach of the tion"—andis involvednotonly in "visual"but in "semantic"modes, manipulationof the structure—the linear armature and planar field— justifyinghimselfby a kindof poetry.F oreach artist,drawing forms an ofmodern artit selfwhile, the other manipulates a variety of elements, importantpart of his practice,eit heras an independentmeans of especiallyfigures,wit hinthatst ructure.The interplay between the two expressionor asthe indispensable structural center of aneclectic mix approachesguarantees a constantexcit ementThe. more formal ap of elements. proachtends to beexclusive;it st rivesfor the absolute,concent rating onelementofs thestructure alone,on line,or oncolor,on two dimen A. R. Penck,born RalfW inklerin Dresdenin 1939,worked in East sionsor onthree,manipulat ingthese elementeits herin isolationor Germanyuntil July of 1980,when he came to livein Cologne.He had juxtaposingthem as though independentIn .t he otherapproach,the hisfirstexhibit ionin theWestin 1969,but t hestyle thathe continues intentionisto beinclusive,to exploitthe inherentflexibilit ofy t hestruc to evolvetoday dates from around 1963.P enckhas recently influenced tureso asto incorporatseeminglye disparate-even contradictory- a goodmany younger artists.He and Mario Merz mightbe considered elementands expressive currents:to mixmodes.Just at the moment thesenior artists in theexhibition.Penck has gained steadily in prom thelatter tendency is inthe ascendantovercoming , national and gener inencesince the middleseventies,and his work is bynow as widely ationaldifferences. knownand influentialas that of the slightlyolder Cologne master Fordrawing this means the incorporation of painterly devices (color, JosephBeuys,alt hough,properly speaking,P enck'works belongs drawingwith the brush,wat ercolor,gouache) and the projectionof withthatof a groupofyounger German artists who emigrated from the drawingfrom the limits oft hesingle sheetint oseries,ont olarge sheets Eastint oBerlin. of paper,ont othe walls,and into the
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