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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
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 1982. Pencil, 24 x 17" (61.2 x
43.2 cm). Private collection
Skulptur. March 1982. Pencil, 24 x 17" (61.2 x
43.2 cm). Private collection
Skulptur. March 1982. Pencil, 24 x 17" (61.2 x
43.2 cm). Private collection
Skulptur. March 1982. Pencil, 24 x 17" (61.2 x
43.2 cm). Private collection
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
101.6 cm). Private collection
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
117.5 cm). The Museum of Modern Art, New
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
Untitled. May 22, 1989. Synthetic polymer
paint, 8' 7 7/8" x 58 5/8" (264 x 149 cm).
Museum Boymans-van Beuningen, Rotterdam
Untitled. May 23, 1989. Synthetic polymer
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
49.9 cm). The Museum of Modern Art, New
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
Untitled. 1989. Cut-and-pasted printed papers,
23 x 39 3/16" (58.4 x 99.6 cm). Collection
Vincent and Shelly Fremont
Untitled. 1989. Cut-and-pasted printed papers,
23 x 39 1/4" (58.4 x 99.7 cm). Collection Thea
Westreich
Untitled. 1989. Cut-and-pasted printed papers,
26 3/8 x 39 3/8" (67 x 100 cm). Collection
Dennis Wong
Untitled. 1989. Cut-and-pasted printed papers,
23 1/4 x 37 13/16" (59.1 x 96 cm). David
Nolan Gallery, New York
Untitled. 1989. Cut-and-pasted printed papers,
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
10.5 cm). Private collection
[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).
Collection the artist. Courtesy Max Protetch
Gallery, New York
Untitled ("Ich bin ein Auslander . . ."). 1991.
Oilstick, 15 3/4 x 32" (40 x 81.3 cm).
Collection the artist. Courtesy Max Protetch
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
3 and 4 Study, 3, St. Barts. 1980. Pencil and
ink, 29 3/4 x 72" (75.6 x 182.9 cm). Collection
the artist
3 and 4 Study, 4, St. Barts. 1980. Pencil and
ink, 29 3/4 x 72" (75.6 x 182.9 cm). Collection
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).
Collection the artist
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.
Collection the artist
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
396.2 cm). Josh Baer Gallery, New York
Codex Artaud (VIII). 1971. Cut-and-pasted papers,
typewriting, gouache, and ink, 21" x 10' 6"
(53.3 x 266.7 cm). Josh Baer Gallery, New York
Codex Artaud (IX). 1971. Cut-and-pasted papers,
typewriting, gouache, and ink, 25" x 10' 6"
(63.5 x 320 cm). Josh Baer Gallery, New York
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"
(77.5 x 428 cm). Josh Baer Gallery, New York
Codex Artaud (XXV). 1972. Cut-and-pasted papers,
typewriting, gouache, and ink, 28" x 16' 4* (71.1 x
497.8 cm). Josh Baer Gallery, New York
Codex Artaud (XXXIII.A). 1972. Cut-and-pasted
papers, typewriting, gouache, and ink, 30 1/2" x
9' 8 1/2" (77.5 x 295.9 cm). Josh Baer Gallery,
New York
Codex Artaud (XXXIII.B). 1972. Cut-and-pasted
papers, typewriting, gouache, and ink, 30 1/2" x
6' 11 3/4" (77.5 x 212.7 cm). Josh Baer Gallery,
New York
Codex Artaud (XXXIII.C). 1972. Cut-and-pasted
papers, typewriting, gouache, and ink, 30 1/2" x
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
Collection the artist
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
22.2 cm). Private collection
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).
Collection the artist
Christopher Wool
American, bom 1955
Untitled. 1991. Alkyd and stamp, 52 x 40"
(132 x 101.6 cm). Luhring Augustine, New York
Untitled. 1991. Alkyd and stamp, 52 x 40"
(132 x 101.6 cm). Luhring Augustine, New York
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