Allegories of modernism : contemporary drawing

Allegories of modernism : contemporaryAllegories of modernism : contemporarydrawing : [checklist of the exhibitiondrawing : [checklist of the exhibitionheld] February 16 to May 5, 1992, theheld] February 16 to May 5, 1992, theMuseum of Modern Art, New YorkMuseum of Modern Art, New York

Date1992

PublisherThe Museum of Modern Art

Exhibition URLwww.moma.org/calendar/exhibitions/360

The Museum of Modern Art's exhibitionhistory—from our founding in 1929 to thepresent—is available online. It includesexhibition catalogues, primary documents,installation views, and an index ofparticipating artists.

© 2017 The Museum of Modern ArtMoMA

https://www.moma.org/calendar/exhibitions/360

http://www.moma.org

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

drawing have changed radi

cally during the twentieth

century. Most notably, the

field of drawing has expand

ed beyond its role as an

adjunct of painting and

sculpture. It has become a

major independent disci

pline with expressive possi

bilities altogether its own.

Yet drawing's tradition

al function as the primary

structural agent in the visual

arts has never been stronger.

Drawing's unfinished and

fragmentary character has

become fundamental to con

temporary aesthetics and

practice. In the 1980s not

just the hierarchy of medi

ums, but the exclusivity of

disciplines and the notion of

the culminating object were

at last acknowledged to

have given way to a new lan

guage of the visual arts,

based on an expanded field

of operations for each of its

disciplines.

In the course of this

transformation a more com-

Sigmar Polke. Motorradlampe [Motorcycle Headlight], 1969. Mixed mediums, 10' 3" x 15' 5" (313.4 x 470 cm).

Private collection, Cologne.

Sigmar Polke adopted an attitude toward subject and style that has set the terms for much contemporary work. In

his own work the "mechanical" and the handmade interact, producing a virtual catalogue of current practice. As he

works simultaneously in several disciplines he creates a new aesthetic out of a number of disparate, often contra

dictory modes and historical antecedents, utilizing the interpenetration of different means and techniques of repre

sentation, all of them in the end dependent on his distinctive drawing: the figurative and the abstract, the vulgar and

the "fine," tracing from photo-projection, layering, collage, the printed and the photographic, the painting and the

drawing, the automatic, the deliberate, and the accidental.

ty, constant invention and

renewal, the culminating

masterpiece, and the value of

the individual "hand" are

still alluring at the end of the

twentieth century, mod

ernism has become a story in

itself. Its myths lie in frag

ments, forming a text, or lex

icon, from which to choose

components for a new lan

guage; and its universalizing,

transcendent impulse pro

vides an ideal ground for a

postmodern art. Abstraction

as a form of representation,

the transgression of old

media boundaries, appropri

ation of the original, frag

mentation, layering and

seeing one image through

another, changing context

and meaning while still allud

ing to the original are all

characteristic of current

practice.

Today there is no domi

nant stylistic direction,

movement, or group consen

sus: rather, there are strate

gies which take advantage of

different elements of the

plex interchange between

the image and its origin emerged. One of the signal elements of this change was the

emergence of a "mechanical" as well as conceptual approach to image-making: the

important roles played by photography, photographically derived imagery, and

methods of projection have challenged the conventional idea of drawing as sponta

neous and of the artist's "handwriting" as the only measure of originality. Drawing

itself, traditionally private in its address, became increasingly public as its conven

tions were joined to the ongoing preoccupations of contemporary art.

In the last decade or so it has seemed to many artists that modern art happened

so long ago as to form a remote past. This view of modernism as a historical body

carried with it a desire to redeem some of it for the present, thus bringing forth the

conditions for an allegory of modernism in which the making of art is not only the

primary reality but also the subject of representation.

Although modernism's heroic myths of abstraction and universality, originali-

modernist text and make

ingenious use of the means available. The fragmentation in current art, the glut of

images and confrontation of images taken straight from advertising media, televi

sion, film, and "high" art are direct reflections of contemporary experience.

Postmodernism may be characterized as an ongoing conversation between the

modernist past and the present. It is also a questioning of the ethical nature of rep

resentation, of who and what get represented and by whom. Drawing, with its

acknowledged lack of finish, its transparency and capacity for over-writing, has pro

vided an ideal means for the examination of contemporary preoccupations, such as

personal development and the status of art itself, offering a new point of entry and

possibility for transformation. The present exhibition explores the expanded field of

drawing in the belief that the medium of drawing offers an accessible path into the

changed territory of contemporary art.

— BERN1CE ROSE

WO/V

BRUCE NAUMAN has often used

paired words or phrases (live/die; feed

me/eat me) but more recently has turned

to figures as a means of expressing his

ideas. Model for Animal Pyramid II is a

collage, composed of fragments of pho

tographs pieced together as a study for an

outdoor sculpture. The collage is life size

(although the sculpture is intended to be

much larger) and shows details of the

artist's studio. The fragments of the

artist's working environment in each

snipped photograph convey a sense of

receding space.At the core of this work is the oppo

sition between culture and nature, and the

corresponding human impulses of empa

thy and cruelty. Playing on a range of

emotions and associations, Model for

Animal Pyramid II refers to heroic animal

sculpture, the traditional European alle

gory of the hunt, and after-the-chase

paintings that depict in detail the strung-

up victims of the hunt. But Nauman's ani

mals were never alive, which adds yet

another level of complexity. They are

taxidermists' forms used for stuffing ani

mals after they have been killed. The artist

discovered them in a shop near his home

in Pecos, New Mexico, where hunting

trophies are important cultural symbols.

Through these surrogate forms Nauman

alludes more generally to all victims and

our response to their pain.H

A . R . P E N C K builds his pencil

drawings from tangled lines that some

times suggest a recognizable figure and

other times veer toward abstraction. In

Welt des Adlers, abstract calligraphy

interspersed with urgent scribbles sug

gesting bodies, heads, or other structures

fill the rectangular shape of each small

sheet of paper. Some of the marks resem

ble archetypal signs such as those of Paul

Klee or Jackson Pollock; others look like

pseudoscientific symbols.

The interplay between representa

tion and abstraction carries ideological

significance for the artist, who emigrated

from East to West in a divided Germany.

For Penck, representation is tied to

instinct, and the instinctual is repressive

because of its long association with

German Expressionism and its appeal to

German national identity. He equates

freedom, on the other hand, with the

ability to abstract and analyze.

The nine sheets shown here are only

a fraction of the 472 pencil drawings that

comprise the series. Created at relentless

speed, turned out one after the other,

the drawings are endless variations that

confront meaning with deliberate mean-

inglessness. Working in series has

enabled Penck to render the complex

twistings and turnings of his creative

thought process. Each drawing, no mat

ter how compelling its individual identi-

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

whose work is traditional in style, but

subversive in intent. It poses questions

about society's relentless production of

destructive objects and monuments to

itself. In Monument Study, whose princi

pal subject is the production of art, tiny

workmen reminiscent of the Lilliputians

of Gulliver's Travels are busily construct

ing larger replicas of themselves. One pair

fit a shoe onto the hollow leg of the

reclining figure; two others, atop the scaf

folding, hoist the woman's arm.

The artist conceives his narrative,

sculptural figure groupings first in draw

ings, reducing the individual figures to

one characteristic type. Employing con

ventional techniques of drawing, Otter

ness carefully outlines his figures, using

curved hatch marks across their contours

to suggest roundness and weight.

Resembling old etchings or Albrecht

Diirer's drawings, his drawing style

reflects his practice of sketching directly

from art in museums and copying from

reproductions. Among his wide-ranging

sources are Paul Cezanne, Indian art,

Renaissance masters, and comic strips.

While gently mocking society,

Monument Study is also a parody of art,

art-making, and the act of drawing. The

little cartoon worker assembling the hol

low monument is a product as well as a

maker of art, part of a sculpture as well as

a sculptor, and perhaps a projection of

the artist himself.B

Bruce Nauman. Model for Animal Pyramid II. 1989. Cut-and-taped photographs, 7' 8 1/2' x 63

(235 x 160 cm). The Museum of Modem Art, New York. Gift of Agnes Gund and Ronald S. Lauder.

A. R. Penck. Welt des Adlers [World of the Eagle] (Detail). 1984. Pencil, 9 of 472 sheets, each

11 7/8 x 15 3/4" (30 x 40 cm). Michael Werner Gallery, New York and Cologne.

ty, was made and is meant to be seen in

the context of the others.As is evident throughout the exhibi

tion, many contemporary artists share

this preference for serial works, taking

the position that no single work of art

can be expected to serve as an ultimate or

complete artistic expression. Such think

ing directly challenges the conventional

idea of the masterpiece, whereby an artist

is defined and identified by a single

work.B

SELECTIONS FROM THE EXHIBITION-v - ' �»ajjfXwvy.- . v.

Francesco Clemente. From Near and from Afar (Detail). 1979. One of 20 pastels, each 6 3/8 x

3 1/2" (16.2 x 9 cm) to 13 3/4 x 13" (35 x 33 cm). Anthony d'Offay Gallery, London.

FRANCESCO CLEMENTE draws

descriptive self-portraits that are explo

rations of bodily functions and erotic fan

tasies. Startling and seductive, elegant

and burlesque, his art confronts sexual

anxieties and exposes society's taboos.

Born and raised in Naples, Italy,

Clemente has spent extended periods of

time in India and continues to reside with

his family in Madras, as well as in New

York and Rome. India provides him with

a link to the late antique civilization of

southern Italy with which he identifies.

He has said, "The gods who left us thou

sands of years ago in Naples are still in

India. It's like going home for me."

This self-portrait is part of a group

of twenty drawings titled From Near and

from Afar , one section of an extensive

series of works known as the Pondicherry

pastels. (The name refers to a former

French colonial port south of Madras

where the paper for the drawings was

produced.) Intimate in scale, the pastels

reflect the influence of Indian miniatures

whose sensuous lines, lush colors, and

eroticism suffuse Clemente's work.

Although the two heads shown here

are likenesses of the artist, they are not

alike. The moustache on one inverts to

become a beard on the other; the marked

frown on the left is omitted from the wide

brow on the right. What is most striking,

however, is the feature they both display:

the antler (or plantlike growth) that

sprouts from their heads in a way that

recalls mythological creatures known to

possess ferocious sexual appetites.

Gazing at us impassively, as if oblivious

of their bizarre head gear, the two

Clemente faces unsettle our assumptions

about what reality is supposed to be.

It is with these pastels that Clemente

first established his method of working

with fragments. Among contemporary

artists, notes Bernice Rose, "The frag

ment is taken as both . . . the symptom

and the symbol of dissolution — of the

breakup of the old order, which is

inevitably seen as decadence." For

Clemente, fragmentation not only cele

brates chaos and decadence but also

serves as a natural extension of the cul

tural and geographic diversity of his life.B

NANCY SPERO defines her per

sonal experience as a woman, a political

activist, and an artist in Codex Artaud. A

series of thirty-three long, narrow scrolls

combining typewritten passages and

metallic-colored cut-out figures glued

onto paper, the Codex Artaud is a com

plex layering of visual images and written

language.

The title is a reference to Antonin

Artaud, a French writer who was impris

oned for madness and endured years of

shock therapy in an asylum. Spero

became familiar with his work in the late

1960s and identified with his feelings of

victimization and isolation, and his fear

of losing his mind.

The detail shown here combines

typewritten texts taken from Artaud with

the recurring motif of a profiled head

spewing out a smaller head whose tongue

is extended. Spero is literally finding her

tongue through Artaud. She has appro

priated his self-portrait with tongue

sticking out as a vehicle for expressing

her own rage. Commenting on this work,

the artist said, "I was sticking my tongue

out and trying to find a voice after feeling

BRICE MARDEN was known ear

ly in his career for Minimalist grid paint

ings with spare right-angled geometry. In

his more recent work a kind of grid struc

ture still lingers, either imposed by the

artist or inherent in the motifs he chooses.

Many of Marden's recent drawings, such

as Upper Garden, are meditations on

nature inspired by the artist's experience

while contemplating a particular land

scape or observing the patterns of shells

or branches of trees. Instead of using a

pen or brush, Marden draws with natural

sticks and twigs, a practice that adds an

element of accident, or chance, to his

work. The varying thickness and flexibil

ity of the twigs affect the flow of ink that

determines the marks on the paper. The

strokes of Upper Garden, for example,

are thick and clotted in some places, thin

silenced for so many years. I used Artaud

as a means to externalize my voice as an

artist, and maybe at that time I had to

have that masculine voice, the most

extreme example of alienation."

The individual scrolls are between

twenty and thirty inches high and extend

horizontally from seven to twenty-five

feet in length. Formed from sheets of

paper attached end to end, their fragile

construction contradicts their forceful

content. Spero acknowledges that the

scrolls are cinematic, not just because of

their length, but for the way the various

images shift scales, as if a movie camera

were zooming in and out. Isolated on

blank stretches of paper are stamped and

drawn images culled from Egyptian,

Greek, Roman, Celtic, and aboriginal

sources: goddesses and earth mothers,

nymphs and women warriors. Working

through this catalogue of female diversity

and Artaud's fractured writing, Spero

creates an allegory about the impossibili

ty of being a woman in a world not of

women's making and extends it to

encompass all who are voiceless members

of society.

and wiry elsewhere. Expressing impetu

ous energy, they extend beyond the edges

of the paper. But on the sheet Marden

controls the marks to create an even den

sity. At certain points he punctuates the

linear flow by "whiting out" inked lines

with dabs of white paint.

The patterning of Upper Garden fol

lows an almost imperceptible vertical

scaffolding. It is not surprising that

Marden admires and finds inspiration in

the fluid vertical writing system of

Chinese calligraphy. Bernice Rose has

observed: "Marden returns the grid to

calligraphy and calligraphy constantly to

its source in nature, and round about

again, in a constant discourse between

nature and culture." For Marden this dis

course becomes a representation not of

nature but of abstraction itself.

Brice Marden. Upper Garden. 1988. Ink and gouache, 15 x 22 1/2" (38.1 x 57.2 cm). Collection

Dr. and Mrs. Paul Sternberg.

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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.

JONATHAN BOROFSKY

Self-Portrait. 1992. Environmental installation with chalk, pastel, pencil, charcoal, synthetic polymer paint,

gold leaf, and wood numbers; 12 drawings, 1 unframed; compact disc player and animated pencil drawing

titled Escalator-Giraffe on video monitor; 10 framed drawings and 1 unframed pastel, 9x9' (22.9 x

22.9 cm). Collection the artist and Paula Cooper Gallery, New York

MIKE KELLEY

Be Mine #1. 1991-92. Colored pencil, pencil, and synthetic polymer paint, 60 x 45 1/2" (152.4 x

115.6 cm). Collection the artist. Courtesy Metro Pictures, New York

Be Mine #2. 1991-92. Colored pencil, pencil, and synthetic polymer paint, 60 x 45 1/2" (152.4 x

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-glued felt, 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

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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

SOL LeWITT

Irregular black rectangles bordered by color (Wall Drawing #697). February 1992. Colored ink wash,

synthetic polymer paint, and gouache, 13' 2" x approx. 78' (401.3 x 2,377.4 cm). Drawn by Cecily

Brown, Jemima Brown, Morgan Fine, and Anthony Sansotta. Courtesy the artist

REINHARD MUCHA

Kopfdiktate [Learned by Rote], 1990. Photographs, photocopies, wood, glass, felt, and aluminum,

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

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

All works are on paper, unless otherwise

noted. Dimensions are given in feet and

inches and in centimeters, height before

width, followed in some cases by a third

dimension, depth; for works on paper,

sheet size is given. Credit lines indicate the

lenders to the exhibition.

Georg Baselitz

German, bom 1938

Skulptur. March 1982. Pencil, 24 x 17" (61.2 x

43.2 cm). Private collection











Skulptur. March 22, 1982. Pencil, 24 x 17"

(61.2 x 43.2 cm). Private collection

Untitled. January 26, 1983. Ink wash, 24 x

7 5/8" (61.2 x 19.5 cm). Private collection

Kampfmotive I [Struggle Motifs I]. 1986.

Charcoal, 12 sheets, overall 10' 10 1/8" x

9' 3" (330.6 x 281.6 cm). Oeffentliche

Kunstsammlung, Kupferstichkabinett,

Kunstmuseum Basel. Extended loan

Kampfmotive II [Struggle Motifs II]. 1986.

Charcoal, 12 sheets, overall 10' 10 1/8" x

9' 3" (330.6 x 281.6 cm). Oeffentliche

Kunstsammlung, Kupferstichkabinett,

Kunstmuseum Basel

Jean Michel Basquiat

American, 1960-1988

Untitled. 1981. Oilstick, 40 x 60" (101.6 x

152.4 cm). The Museum of Modern Art, New

York. Gift of Sheldon Solow and purchase

Self-Portrait. 1982. Oilstick, synthetic polymer

paint, and cut-and-pasted paper on canvas tied

with wood supports, 48" x 6' 9" (121.9 x

205.7 cm). The Estate of Jean Michel Basquiat.

Courtesy Robert Miller Gallery, New York

Untitled. 1982. Oilstick, 60 x 40" (152.4 x


Untitled. 1982. Oilstick on paperboard, 60 x

40" (152.4 x 101.6 cm). The Estate of Jean

Michel Basquiat. Courtesy Robert Miller Gallery,

New York

Embittered. 1986. Crayon on paper on wood,

49 3/4" x 6' 1/2" x 11 3/4" (126.5 x 184 x

30 cm). Collection Jose Mugrabi

Ashley Bickerton

American, bom 1959

Drawing for Horizontal Wall Piece. 1988.

Gouache, 28 1/2 x 40 3/4" (72.4 x 103.5 cm).

Collection William S. Ehrlich

Plan for Atmosphere. 1988. Pencil, 22 1/2 x

28 1/2" (57.2 x 72.4 cm). Collection Chase

Manhattan Bank, New York

Plan for Wet Landscape. 1988. Pencil, 26 1/2 x

34" (67.3 x 86.4 cm). Collection B. Z. and

Michael Schwartz, New York

Study for Landscape: Geostrata. 1988. Pencil, 28

1/2 x 22 1/2" (72.4 x 57.2 cm). Private collection

Jonathan Borofsky

American, bom 1942

Self-Portrait. 1992. Environmental installation with

chalk, pastel, pencil, charcoal, synthetic polymer

paint, gold leaf, and wood numbers; 12 drawings,

1 unframed; compact disc player and animated

pencil drawing titled Escalator-Giraffe on video

monitor; 10 framed drawings and 1 unframed pas

tel, 9 x 9' (22.9 x 22.9 cm). Collection the artist

and Paula Cooper Gallery, New York

Francesco Clemente

Italian, born 1952

The Pondicherry Pastels: The Sick Rose, From

Near and from Afar, Silenus, Myriads, Happier

than Piero, Around and Very Close. 1979.

Pastel on handmade paper, 82 sheets, from

6 3/8x3 1/2" (16.2 x 9 cm) to 13 3/4 x

13" (35 x 33 cm). Anthony d'Offay Gallery,

London

Self-Portrait as a Garden. 1979. Charcoal, gold

paint, and dirt on handmade paper, 24 sheets,

overall 10' 6" x 13' 1 1/2" (320 x 400 cm).

Galerie Bruno Bischofberger, Zurich

George Condo

American, born 1957

Untitled. 1985. Pastel and charcoal on brown

Kraft paper, 7' 7 1/4" x 46 1/4" (231.8 x


York. Gift of Charles B. Benenson

Big White One. 1987. Mixed mediums on can

vas, 8' 3" x 9" 10 1/4" (251.5 x 300.4 cm).

Collection Robert M. Kaye

Untitled. 1987. Charcoal, brush and ink, and

pen and ink, 48 x 60." (122 x 125.4 cm). The

Museum of Modern Art, New York. Gift of

Charles B. Benenson

Untitled Studies for Sculpture. 1992. Pencil

and ink, various dimensions. Collection

the artist

Richard Deacon

British, born 1949

Two Untitled Drawings. 1990. Pencil, each 30 x

40" (76.2 x 101.6 cm). Marian Goodman

Gallery, New York

Gunther Forg

German, born 1952

Untitled. May 22, 1989. Synthetic polymer

paint, 8' 7 1/8" x 58 5/8" (262 x 149 cm).

Collection the Schrammel Family


paint, 8' 7 7/8" x 58 5/8" (264 x 149 cm).

Museum Boymans-van Beuningen, Rotterdam


paint, 8' 7 7/8" x 58 5/8" (264 x 149 cm).

Galerie Gisela Capitain, Cologne

Robert Gober

American, born 1954

Untitled. 1984. Pencil, 14 x 11" (35.6 x

27.9 cm). Collection James Harb and Shellee

Rudner

Untitled. 1984. Pencil, 11 x 14" (27.9 x 35.6 cm).

Collection Rose and Morton Landowne

Untitled. 1985. Pencil, 14 x 16 7/8" (35.6 x


York. Gift of Barbara Pine

Untitled. 1985. Pencil, 22 x 29 7/8" (55.9 x

75.9 cm). Private collection, Boston

Untitled. 1986. Pencil and latex, 6 3/8 x 8 3/8"

(116.2 x 21.3 cm). Collection Ignace and

Isabelle Vandenabeele

Untitled (Drain). 1989. Pencil on vellum, 6 x

5 7/8" (15.2 x 14.9 cm). Private collection

Keith Haring

American, 1958-1990

Untitled. May 13, 1982. Sumi ink, 2 sheets,

overall 6 x 56' (182.9 x 1,706.9 cm).

The Estate of Keith Haring

Three Untitled Subway Drawings, c. 1982. Chalk

on black paper, each 49 1/2 x 34 1/2"

(125.7 x 87.6 cm). Collection Larry Warsh

Untitled Subway Drawing, c. 1982. Chalk on

black paper, 34 1/2 x 45" (87.6 x 114.3 cm).

Collection Larry Warsh/

Untitled Subway Drawing, c. 1982. Chalk on

black paper, 34 1/2 x 49 1/2" (87.6 x

125.7 cm). Collection Larry Warsh

Untitled Subway Drawing, c. 1982. Chalk,

49 x 67" (124.5 x 170.2 cm). Collection

Larry Warsh

Untitled ("Still Alive in 85"). 1985. Chalk on

black paper, 83 x 41" (210.8 x 104.1 cm).

Collection Justin Warsh

Jenny Holzer

American, born 1950

Selection from Laments ("No Record of Joy").

1988-89. Oil transfer on rubbing paper,

6' 10" x 30" (208.3 x 76.2 cm). Barbara

Gladstone Gallery, New York

Selection from Laments ("The New Disease

Came"). 1988-89. Oil transfer on rubbing

paper, 6' 10" x 30" (208.3 x 76.2 cm).

The Museum of Modern Art, New York.

Purchase

Selection from Laments ("There Is No One's

Skin"). 1988-89. Oil transfer on rubbing paper,

6' 10" x 30" (208.3 x 76.2 cm). Barbara

Gladstone Gallery, New York

JORG IMMENDORFF

German, born 1945

Brandenburger Tor Weltfrage [Brandenburg Gate

Universal Question]. 1981. Pencil and water-

color, 37 sheets, each 23 1/2 x 27 7/8"

(59.7 x 70.5 cm). Michael Werner Gallery,

New York and Cologne

Mike Kelley

American, born 1954

Be Mine #1. 1991-92. Colored pencil, pencil,

and synthetic polymer paint, 60 x 45 1/2"

(152.4 x 115.6 cm). Collection the artist.

Courtesy Metro Pictures, New York

Be Mine #2. 1991-92. Colored pencil, pencil,

and synthetic polymer paint, 60 x 45 1/2"

(152.4 x 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-glued

felt, 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 col

ored 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

Martin Kippenberger

German, born 1953

Die Welt des Kanarienvogels [The Worid of the

Canary]. 1988. Pencil, 156 sheets, each 5 1/2 x

4 1/8" (14 x 10.5 cm). The Museum of Modern

Art, New York. Gift of Walter Bareiss and

Robert L. B. Tobin

Untitled. 1989. Cut-and-pasted printed papers,

21 5/8 x 39 3/16" (24.1 x 99.6 cm).The

Museum of Modern Art, New York. Gift of

Walter Bareiss


23 x 39 3/16" (58.4 x 99.6 cm). Collection

Vincent and Shelly Fremont


23 x 39 1/4" (58.4 x 99.7 cm). Collection Thea

Westreich


26 3/8 x 39 3/8" (67 x 100 cm). Collection

Dennis Wong


23 1/4 x 37 13/16" (59.1 x 96 cm). David

Nolan Gallery, New York


16 1/4 x 39 7/8" (41.9 x 101.3 cm). Collection

Mr. and Mrs. William Wilson III

The Canary Searching for a Port in a Storm.

1991. Pages from the book Die Welt des

Grunen Kanarienvogels [The World of the

Green Canary] by Martin Kippenberger, with

additions in yellow ball-point pen and

correcting fluid by Andreas Hohne. 90 of 93

double-sided sheets, each 5 1/2 x 4 1/8" (14 x


[see also Oehlen]

Jannis Kounellis

Italian, born Greece 1936

Untitled. 1980. Ink, 7 sheets, each approx.

8' 10 1/4" x 59" (270 x 150 cm).

Sonnabend Collection

Sherrie Levine

American, born 1947

Untitled (after Kasimir Malevich), from The 1917

Exhibition, Nature Morte Gallery, New York.

1984. Pencil and watercolor, 20 sheets, each

14 x 11" (36 x 27.9 cm). Collection the artist

Untitled (after Egon Schiele) from The 1917

Exhibition, Nature Morte Gallery, New York.

1984. Pencil and watercolor, 20 sheets, each

14 x 11" (36 x 27.9 cm). Collection the artistrut. < :) ;

Sol LeWitt

American, born 1928

Irregular black rectangles bordered by color

(Wall Drawing #697). February 1992. Colored

ink wash, synthetic polymer paint, and gouache,

13' 2" x approx. 78' (401.3 x 2,377.4 cm).

Drawn by Cecily Brown, Jemima Brown, Morgan

Fine, and Anthony Sansotta. Courtesy the artist

Glenn Ligon

American, born 1960

Untitled ("How it feels to be colored me . . .").

1991. Oilstick, 16 x 31 1/4" (40.6 x 79.4 cm).

Max Protetch Gallery, New York

Untitled ("How does it feel to be white you . . .").

1991. Oilstick, 16 x 32" (40.6 x 81.3 cm).

Collection the artist. Courtesy Max Protetch

Gallery, New York

Untitled ("I am an invisible man ..."). 1991.

Oilstick, 17 x 30 1/2" (43.2 x 77.5 cm).


Gallery, New York

Untitled ("Ich bin ein Auslander . . ."). 1991.

Oilstick, 15 3/4 x 32" (40 x 81.3 cm).


Gallery, New York

Robert Longo

American, born 1953

Master Jazz. 1982-83. Lacquer on wood;

charcoal, graphite, and ink on paper; silkscreen

and synthetic polymer paint on masonite,

8' x 18' 9" x 12" (243 x 571.5 x 30.5 cm).

The Menil Collection, Houston

Brice Marden

American, born 1938

3 and 4 Study, 2, St. Barts. 1980. Pencil and

ink, 29 3/4 x 72" (75.6 x 182.9 cm). Collection

the artist



the artist



the artist

Basel Drawing. 1983. Colored ink, 25 1/2 x

19 3/4" (38.1 x 57.2 cm). Collection the artist

Basel Drawing. 1983-88. Ink, 10 1/2 x 7"

(26.7 x 17.8 cm). Collection the artist

Masking Drawing 20. 1983-86. Oil and ink,

14 x 32 7/8" (35.7 x 83.5 cm). Anthony d'Offay

Gallery, London

Masking Drawing 5. 1984. Oil, ink, graphite,

and gouache, 14 7/8 x 13 1/2" (37.8 x

34.3 cm). Collection the artist

#3. 1985. Oil, 29 1/2 x 22" (74.9 x 55.9 cm).

Collection the artist

#15. 1985. Oil, 30 1/8 x 22 1/2" (76.5 x

74.9 cm). Collection the artist

Masking Drawing. 1985. Ink and gouache,

13 3/4 x 13" (35 x 33 cm). Matthew Marks

Gallery, New York

Basel Drawing. 1985. Colored ink, 22 x 30"

(55.9 x 76.2 cm). Private collection. Courtesy

Matthew Marks Gallery, New York

Shell Drawings. 1985-87. Ink, 8 sheets, each

11 1/2 x 8" (29.2 x 20.3 cm). Collection the artist

Drawing 2 Hydra. 1986. Ink, 19 1/4 x 15 1/2"

(48.9 x 39.3 cm). The Museum of Modem Art,

New York. Gift of Mr. and Mrs. Maxime L.

Hermanos (by exchange)

Untitled. 1987-88. Ink, 15 x 22 1/2" (38.1 x

57.2 cm). Collection Jasper Johns

Upper Garden. 1988. Ink and gouache, 15 x

22 1/2" (38.1 x 57.2 cm). Collection Dr. and

Mrs. Paul Sternberg

Drawing for Conjunctions. 1988-89. Ink and

gouache, 16 x 11 3/4" (40.6 x 29.8 cm). Private

collection

Venus. 1990-91. ink and gouache, 40 x

25 1/2" (101.6 x 64.8 cm). Private collection.

Courtesy Matthew Marks Gallery, New York

Allan McCollum

American, born 1944

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).


Reinhard Mucha

German, bom 1950

Kopfdiktate [Learned by Rote]. 1990. Photographs,

photocopies, wood, glass, felt, and aluminum, 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 10 cm). Collection Mrs. Ackermans, Xanten

Bruce Nauman

American, born 1941

Human Need Drain. 1983. Chalk and watercolor,

86 x 80" (218.4 x 203.2 cm). Basler

Versicherungs-Geselischaft, Switzerland

Drawing. 1989. Mixed mediums, 33 1/4 x

38 3/8" (85 x 97.5 cm). Private collection

Four Heads. 1989. Mixed mediums, 41 3/8 x

50 1/4" (105 x 127.5 cm). Private collection

Model for Animal Pyramid II. 1989. Cut-and-taped

photographs, 7' 8 1/2" x 63" (235 x 160 cm).

The Museum of Modern Art, New York. Gift of

Agnes Gund and Ronald S. Lauder

Proposal for Animal Pyramid. 1989. Cut-and-

taped photographs, 6' 8 1/2" x 62" (201.9 x

157.5 cm). Des Moines Art Center. Purchased

with funds from the Melva and Martin Bucksbaum

Director's Discretionary Fund for Acquisitions and

Innovation. Commissioned for the Sculpture Park,

Des Moines Art Center, 1990

Albert Oehlen

German, born 1954

[with Martin Kippenberger] Untitled. 1984. Mixed

mediums on cut-and-pasted printed papers,

11 3/8 x 8" (28.9 x.20.3 cm) Collection Carol

and Richard Selle

[with Martin Kippenberger] Untitled. 1984. Mixed

mediums on cut-and-pasted printed papers,

11 3/8 x 8" (28.9 x 20.3 cm) Collection Carol

and Richard Selle

Ten Studies for Richard Wagner's Tannhauser,

produced by the Theater der Freien Hansestadt

Bremen. 1987. Cut-and-pasted printed papers,

pencil, and ink, each 11 1/2 x 8 3/4" (29.2 x

22.2 cm). The Museum of Modern Art, New York.

Gift of Robert L. B. Tobin, and Private collection

Tom Otterness

American, born 1952

Selected Notebooks. Late 1970s-1990. Pencil,

pen and ink, wash, various dimensions.


New Plans. 1985. Pencil and ink, 29 x 23" (73.7 x

58.4 cm). Collection Brooke and Carolyn

Alexander, New York

Dreamers Awake. 1986. Pencil, 18 x 24" (45.7 x

70 cm). Collection Werner H. and Sarah-Ann

Kramarsky, New York

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

Tables (Working Drawing). 1986-87. Pencil,

20 7/8 x 26 3/4" (48.3 x 62.9 cm). Private

collection, New York

Three Sheets of Studies, n.d. Pen and ink, each

17 x 14" (43.3 x 35.6 cm). Collection the artist

Three Sheets of Studies, n.d. Pen and ink, each

13 1/2 x 9 1/2" (34.3 x 24.1 cm). Collection

the artist

A. R. Penck (Ralf Winkler)

German, born 1939

Queen of the Underground. 1975. Synthetic poly

mer paint on linen, 9' 4 1/4" x 9' 4 1/4" (285 x

285 cm). Michael Werner Gallery, New York and

Cologne

Twelve Drawings: Zeitlandschaft im Fluss [Time

Landscape in Flux], Entscheidung am Abend

[Decision in the Evening], Fight, Die Perfekte

Illusion? [The Perfect Illusion?], Krater und

Wolke [Crater and Cloud], Lollipops HH,

Mikro 0 [Micro O], T?, Lalaby of Birth land,

Angriff Hauptstrom [Mainstream Attack], TTT,

T5. 1980. Ink and brush on parchment paper,

each approx. 16 5/8 x 23 3/8" (50 x 75 cm).

The Museum of Modern Art, New York. Gift of

Robert L. B. Tobin

Welt Des Adlers [World of the Eagle], 1984. 40

(numbers 215-253) of 472 drawings. Pencil,

each 11 7/8 x 15 3/4" (30 x 40 cm). Michael

Werner Gallery, New York and Cologne

Fifteen Untitled Drawings. 1987. Watercolor, each

approx. 8 1/4 x 13 5/8" (21 x 32 cm). Michael

Werner Gallery, New York and Cologne

Ellen Phelan

American, born 1943

Say It Isn't So. 1987. Watercolor, 30 11/16 x

43 1/4" (78.1 x 109.9 cm). Whitney Museum of

American Art, New York. Purchased with funds

from the Drawing Committee

Neighborhood. 1990. Watercolor, 27 x 37 3/4"

(68.6 x 95.9 cm). The Museum of Modern Art,

New York. Gift of Edward R. Broida

Street Scene: Memory of Detroit. 1991. Gouache,

19 7/8 x 19 1/4" (50.5 x 48.9 cm). Barbara Toll

Gallery, New York

SlGMAR POLKE

German, born 1941

Burma. 1968-85. Mixed mediums, 8' 8" x

8' 1 5/8" (265 x 248 cm). Private collection

Motorradlampe [Motorcycle Headlight]. 1969.

Mixed mediums, 10' 3" x 15' 5" (313.4 x

470 cm). Private collection, Cologne

Four Untitled. Drawings. 1976-91. Mixed

mediums, each 6' 6 3/4" x 6' 10 3/4" (200 x

210 cm). Private collection

Untitled. Mid-1970s. Synthetic polymer paint on

photograph, 49 1/4 x 74 3/4" (125 x 190 cm).

The Garnatz Collection

Stephen Prina

American, born 1954

No Title/("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

Richard Prince

American, born 1949

Untitled. 1985. Graphite, 40 x 26" (101.6 x 66).

Barbara Gladstone Gallery, New York

Untitled. 1985. Graphite, 39 7/8 x 26"

(101.2 x 65.9 cm). The Museum of Modern

Art, New York. Gift of the Robert Lehman

Foundation, Inc.

Untitled. 1985-90. Silkscreen, graphite, and

spray paint, 40 x 26" (101.5 x 66 cm). The

Museum of Modern Art, New York. Gift of the

Robert Lehman Foundation, Inc.

Untitled. 1990. Synthetic polymer paint,

silkscreen, and graphite, 49 1/4 x 38 3/16"

(101.3 x 65.9 cm). Collection Barbara Jakobson,

New York

Untitled. 1990. Synthetic polymer paint, silk

screen, and graphite, 49 1/4 x 38 1/4"

(125 x 97.2 cm). Collection Dr. John Lane,

San Francisco

Untitled. 1991. Synthetic polymer paint, silk

screen, and pencil on canvas, 8' 3 1/2" x

9' 8" (252.7 x 294.6 cm). Philadelphia Museum

of Art. Purchased with a grant from the National

Endowment for the Arts with matching funds con

tributed by various donors, and funds from the

Adele Haas Turner and Beatrice Pastorius Turner

Memorial Fund

Martin Puryear

American, born 1941

Untitled, c. 1987. Graphite, 23 x 29" (58.4 x

73.7 cm). Collection the artist. Courtesy David

McKee Gallery, New York

Malediction. 1989. Graphite on paper mounted

on board, 14 x 11" (35.6 x 27.9 cm). Collection

the artist. Courtesy David McKee Gallery,

New York

Untitled. 1989. Graphite on paper mounted

on mat board, 11 x 14" (27.9 x 35.6 cm).

Collection the artist. Courtesy David McKee

Gallery, New York

Gerhard Richter

German, born 1932

Untitled (2, 3). April 4, 1983. Pencil, 2 sheets,

each 7 1/8 x 9 5/8" (10.1 x 24.4 cm). Collection

George W. Vroom IV, New York

Untitled (4, 5). April 4, 1983. Pencil, 2 sheets,

each 7 1/8 x 9 5/8" (10.1 x 24.4 cm). Collection

George W. Vroom IV, New York

Felsenlandschaft [Stony Landscape]. 1984.

Watercolor, 15 3/4 X 11 7/8" (40 x 30.2 cm).

David Nolan Gallery, New York

G.E.L. 3. January 21, 1984. Watercolor, gouache,

and pencil, 7x9 1/2" (17.8 x 24.1 cm). Collec

tion Mr. and Mrs. Marshall B. Front, Chicago

Untitled. May 20, 1984. Watercolor, oil, and pas

tel, 9 x 12 5/8" (22.9 x 32.1 cm). Collection

Carol and Arnold Wolowitz

Untitled. 1985. Watercolor, gouache, and pencil,

6 1/4x9 1/4" (15.9 x 23.5 cm). Private

collection

Untitled. October 4, 1985. Pencil, 8 1/4 x 11

1/2" (21 x 29.8 cm). Private collection

Untitled. March 24, 1986. Oil on photograph,

31 5/8 x 39 1/4" (80.3 x 99.7 cm). The Art

Institute of Chicago. Restricted gift of Adele and

Willard Gidwitz

Untitled (Self-Portrait). March 25, 1986. Oil on

photograph, 39 1/4 x 31 1/2" (99.7 x 80.3 cm).

Matthew Marks Gallery, New York

Untitled. July 6, 1987. Watercolor and pencil,

6 5/8 x 9 3/8" (16.2 x 23.8 cm). Private

collection

Untitled. February 20, 1988. Oil, 11 3/4 x

16 1/2" (29.8 x 41.9 cm). Collection Mr. and

Mrs. M. Marcus

Untitled. March 25, 1988. Watercolor, 6 3/4 x

9 1/4" (17.1 x 23.5 cm). Collection Linda Jane

Smith, New York

Untitled. April 2, 1988. Watercolor and graphite,

6 5/8 x 9 1/4" (20 x 23.5 cm). Private collection,

New York

Untitled. April 28, 1988. Watercolor, 9 1/2 x

13 1/4" (24.1 x 33.7 cm). Collection Richmond

Burton, New York

Untitled. February 3, 1989. Oil, 8 1/4 x 11 3/4"

(21 x 29.8 cm). Collection David and Susan Gersh

Untitled. February 4, 1989. Oil and watercolor,

11 3/4 x 16 1/2" (29.8 x 41.9 cm). Dorothy

Goldeen Gallery, Santa Monica

Untitled. March 3, 1989. Oil, 8 1/4 x 11 3/4"

(21 x 29.8 cm). Collection Barbara and Howard

Morse, New York

Untitled. March 9, 1989. Oil, 8 1/4 x 11 3/4"

(21 x 29.8 cm). Collection Jason Rubell

Tim Rollins + K.O.S. (Kids of Survival)

American, born 1955 (Rollins)

X-Men 1967. 1990-91. Cut-and-pasted comic

book pages and synthetic polymer paint on can

vas, 6' 1 3/4" x 15' 9 1/4" (187.3 x 480.7 cm).

Collection Ari Straus

Susan Rothenberg

American, bom 1945

Untitled. 1987. Charcoal, graphite, crayon, and

synthetic polymer paint, 42 1/2 x 7' 1 1/2"

(108 x 217.2 cm). The Schorr Family Collection

Untitled. 1990. Charcoal, 59" x 6' 11" (150 x

211 cm). The Museum of Modem Art, New York.

Purchase

David Salle

American, bom 1952

Untitled. 1980. Synthetic polymer paint, water-

color, and pencil, 62" x 7' 7 7/8" (157.5 x

233.3 cm). The Museum of Modem Art, New

York. Gift of the Denise and Andrew Saul Fund

A Couple of Centuries. 1982. Synthetic polymer

paint and oil on canvas, 2 panels, overall 9' 2" x

13' 4" (279.4 x 406.4 cm) overall. Collection

Robert and Rosalyn Papell

Julian Schnabel

American, bom 1951

Pregnant Drawing. 1982. Oil, 8' 6" x 6' 6 1/2"

(259 x 199.4 cm). Private collection

The Trial. 1985. Oil and modeling paste on can

vas tarpaulin, 9' 1 7/8" x 17' 7 3/4" (279 x

538 cm). Private collection

La Tango. 1990. Chromolithograph, oil, and ges

so on canvas, 7' 8" x 68" (233.7 x 172.7 cm).

Private collection

Joel Shapiro

American, bom 1941

Untitled. 1986. Charcoal and chalk, 3 sheets,

overall 43" x 7' 9" (190.2 x 236.2 cm).

Collection Gabriele Henkel

Untitled. 1988. Charcoal, 7' 4" x 60" (223.5 x

152.4 cm). The Museum of Modem Art, New

York. Acquired with matching funds from the

Robert Lehman Foundation, Inc., and the National

Endowment for the Arts

Nancy Spero

American, bom 1926

Codex Artaud (I). 1971. Cut-and-pasted papers,

typewriting, gouache, and ink, 23" x 7' 5" (58.4 x

226.1 cm). Josh Baer Gallery, New York

Codex Artaud (V). 1971. Cut-and-pasted papers,

typewriting, gouache, and ink, 32" x 12' 6"

(81.3 x 381 cm). Josh Baer Gallery, New York

Codex Artaud (VI). 1971. Cut-and-pasted paper,

typewriting, gouache, and ink, 20 1/2" x

10' 4 1/2" (52.1 x 316.2 cm). Josh Baer Gallery,

New York

Codex Artaud (VII). 1971. Cut-and-pasted papers,

typewriting, gouache, and ink, 27" x 13' (68.6 x


Codex Artaud (VIII). 1971. Cut-and-pasted papers,


(53.3 x 266.7 cm). Josh Baer Gallery, New York

Codex Artaud (IX). 1971. Cut-and-pasted papers,



Codex Artaud (XXIII). 1972. Cut-and-pasted

papers, typewriting, gouache, and ink, 29" x 10'

(73.7 x 304.8 cm). Josh Baer Gallery, New York

Codex Artaud (XXIV). 1972. Cut-and-pasted papers,

typewriting, gouache, and ink, 30 1/2" x 14' 1/2"


Codex Artaud (XXV). 1972. Cut-and-pasted papers,

typewriting, gouache, and ink, 28" x 16' 4* (71.1 x


Codex Artaud (XXXIII.A). 1972. Cut-and-pasted

papers, typewriting, gouache, and ink, 30 1/2" x


New York

Codex Artaud (XXXIII.B). 1972. Cut-and-pasted



New York

Codex Artaud (XXXIII.C). 1972. Cut-and-pasted


10' 2" (77.5 x 309.9 cm). Josh Baer Gallery,

New York

(Catalogue continues on page 8)

(Continued from page 7)

Doug and Mike Starn

American, born 1961

Crucifixion. 1985-88. Toned silver print, wire,

ribbon, wood, and tape, 10 x 16' (305 x

488 cm). Collection the artists

Pat Steir

American, born 1940

Winter Group IV. 1991. Mixed mediums, 67 1/2 x

17" (171.4 x 43.2 cm). Robert Miller Gallery,

New York

Winter Group IX. 1991. Mixed mediums,

67 x 17" (170.1 x 43.2 cm). Robert Miller

Gallery, New York

Winter Group XIII. 1991. Mixed mediums,

67 1/2 x 17" (171.4 x 43.2 cm). Robert Miller

Gallery, New York

Winter Group XIV. 1991. Mixed mediums,

67 x 17" (170.1 x 43.2 cm). Robert Miller

Gallery, New York

Winter Group XVIII. 1991. Mixed mediums,

67 1/2 x 17" (171.4 x 43.2 cm). Robert Miller

Gallery, New York

Rosemarie Trockel

German, born 1952

Untitled. 1983. Watercolor and synthetic poly

mer emulsion paint, 8 1/4 x 6 1/2" (20.8 x

16.5). The Museum of Modern Art, New York.

Gift of Walter Bareiss

Untitled. 1983. Watercolor, 11 7/8 x 8 1/4"

(30 x 21 cm). The Museum of Modern Art, New

York. Gift of Walter Bareiss

Untitled. 1986. Ink, 46 1/2 x 24 1/8" (118.1 x

61.3 cm). Collection Raymond Learsy

Untitled. 1986. Ink, 46 1/2 x 26" (118.1 x 66 cm).

Collection Lois and Richard Plehn, New York

Untitled. 1987. Ink, 16 1/2 x 11 1/2" (44 x

32 cm). Collection Gabriella De Ferrari

Untitled. 1987. Colored marker, 15 3/4 x 17 3/4"

(40 x 45 cm). Collection Norman Dubrow

Terry Winters

American, born 1949

12 Chinese Notebook Drawings. 1980. Pencil,

9 1/4x7 1/2" (23.5 x 19 cm) to 11 x 7 1/4"

(27.9 x 18.4 cm). Collection Brice Marden, and


Schema (1). 1985-86. Graphite, 12 1/4 x

8 3/4" (31.1 x 22.2 cm). Collection the

artist

Schema (10). 1985-86. Gouache, watercolor,

graphite, and oil, 12 1/4 x 8 3/4" (31.1 x


Schema (17). 1985-86. Graphite, 12 1/4 x

8 3/4" (31.1 x 22.2 cm). The Eli Broad Family

Foundation

Schema (40). 1985-86. Watercolor, gouache,

and graphite, 12 1/4 x 8 3/4" (31.1 x

22.2 cm). Sonnabend Gallery, New York

Schema (55). 1985-86. Watercolor, gouache,

and graphite, 12 1/8 x 8 5/8" (30.7 x 21.9

cm). The Museum of Modem Art, New York.

Gift of Richard E. Salomon

Schema (65). 1985-86. Watercolor and

graphite, 12 1/4 x 8 5/8" (31.1 x 21.9 cm). The

Museum of Modem Art, New York. Gift of

Richard E. Salomon

Chinese Notebook Drawings. 1980. Pencil and

charcoal, 7 1/2 x 9 1/2" (19 x 24.1 cm).


Christopher Wool

American, bom 1955

Untitled. 1991. Alkyd and stamp, 52 x 40"

(132 x 101.6 cm). Luhring Augustine, 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

ALLEGORIES OF MODERNISM: CONTEMPORARY DRAWING

By Bernice Rose

128 pages; 60 illustrations (20 in color); paperbound; $19.95

Published by The Museum of Modern Art, New York

Distributed to the trade by Harry N. Abrams, Inc.

Available in The MoMA Book Store

Published on the occasion of the exhibition, Allegories of Modernism: Contem

porary Drawing, this volume takes a fresh look at the role of drawing in the art of

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.

Through the work of more than forty contemporary artists the author describes

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,

new approaches to collage and montage, issues raised by drawings of exceptionally

large scale, changes in the historical relationship between drawing and sculpture,

the introduction into drawing of technological means such as photography and

print, the influence of video, and drawing's change from a private to a public mode.

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

volume.

Bernice Rose is also the author of Drawing Now, a seminal analysis of the rise of

drawing as an independent medium from the 1960s to the mid-1970s, Jackson

Pollock: Works on Paper (1969), Jackson Pollock: Drawing into Painting (1980),

A Century of Modern Drawing (1982), and The Drawings of Roy Lichtenstein(1987).

PUBLIC PROGRAM

CONTEMPORARY DRAWING

Tuesday, February 18, 8:30 p.m.

In conjunction with the current exhibition, artists Giinther Forg, Jenny Holzer,

Sherrie Levine, and Allan McCollum discuss their work. Moderated by Bernice

Rose, Senior Curator, Department of Drawings, The Museum of Modern Art.

The Roy and Niuta Titus Theater 2

Tickets $8; members $7; students $5.

Allegories of Modernism: Contemporary Drawing has been organized by Bernice

Rose, Senior Curator, Department of Drawings, The Museum of Modern Art.

Copyright © 1992 by The Museum of Modern Art, New York. All rights reserved.

Pages 2 and 3 written by Emily Kies Folpe

Catalogue compiled by Robert Evren

Designed by Emily Waters

Photograph credits: Pages 1, 4, and 5: Mali Olatunji, Fine Arts Photographer, The

Museum of Modern Art. Page 2: top, Michael Werner Gallery, New York and

Cologne; bottom left, Whitney Museum of American Art; bottom right, Mali

Olatunji. Page 3: top, Prudence Cuming, London; center, David Reynolds. Page 8:

Brian Albert, New York

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.

PRINTED BY THE STAR-LEDGER, NEWARK. NEW JERSEY

Documents

Allegories of modernism : contemporary drawing