“Many artists use installative drawings and what these artists are doing positions the viewer or audience member in a totally different way to someone viewing a work on the wall contained within a frame.
Using the link below, look at the work curated for On Line, an exhibition of contemporary drawing held in Edinburgh in 2010. Look particularly at the section entitled ‘line extension’ which discusses the work of Robert Rauschenberg, Cy Twombly, Ellsworth Kelly, Karel Malich, Edward Krasinski and Pierrette Bloch:” http://www.moma.org/interactives/exhibitions/2010/online/
Line extension section presented works that use line to extend beyond flat surface of support into the 3D space we occupy.
I am familiar with some of the artists and their work that feature in this exhibition.
Personally i’m quite a fan of Alexander Calder’s wire works – he uses linear qualities of wire to place the drawing into the space away/out of the flat surface of paper. Added movement creates visual interest and in a way makes line appear as if it is in a process of being constantly drawn/changing.
Ellsworth Kelly – uses automatism and gesture often while not looking at the support – this creates lively markings , to my eye they resemble moving branches that could be seen on a large tree or grasses in the wind. Spontaneity and unpredictability of resulted marks appear still moving. In a way his use of gesture is similar to the Way Pollock used paint while immersed in the process of creating his canvasses.
Robert Rauschenberg – his work quite close to me personally , especially the idea of using “found” or recycled materials. His pioneering Technics of combining painting/drawing with performance art , as example where he used car to draw it’s tire marks, opened up new possibilities and doors into the idea “we can do anything” in a name of art.
Automobile tire print : https://www.moma.org/interactives/exhibitions/2010/online/#works/02/49
Edward Krasinsky – his work was new to me but i found it exiting, as the idea of “leaving” the plain of the flat surface is quite similar to what i’m exploring at the moment.
Pierette Bloch (June 16, 1928 – July 7, 2017, french), . Why is she described as using “poor materials” and what do you think her materials lend to her subject matter?
Looking at her work makes me think she was very much interested in mark making and expressing the qualities of line by using materials that mimic it’s qualities. Why to use “poor”materials ? Sometimes the simplicity of material can capture momentum and imply the moment our eye sees the object , we can make out everything else later. I think her background in textiles led to the use of singular strands of horse hair, wire, thread, inks, paper – they found life of their own out of the whole piece delivering “simple” but striking result at the same time. Also she is being referred to as a modest person, as example she mostly signed her works on the back, and this perhaps was her way of relating to works produced.
Her works are mostly in black and white, linear and appear moving in space while remaining static at the same time. I particularly liked Horse hair and wire pieces – i can imagine that the hair move as the viewer comes close or walks by. The elegant twirls and knots create ever changing line that in it’s simplicity takes over the space it’s occupying.
Some of her work reminded me of works by Russian installation artist Dmitri Gutov, in particular work where he uses fishing line. In an example below he used line attached to walls with dust particles tied to them. I found this project fascinating and it captivated my imagination when i heard of it.
“To what extent would you say that this piece by Louise Bourgeois is a drawing?”
( i could not find the image that is in the course materials, but the one below is similar)
image source: https://www.sfmoma.org/artwork/fc-555/
She uses theme of spiders throughout and has a lot of drawings using hard media to very fluid paint. Also she has produced a series of sculptures where she plays with scale and materials. To me , the answer to the question is – i think it is a sculptured drawing that found it’s way from flat 2D support and emerged as a 3D object that fills the space and interacts with the viewer on a different level. I feel that material and the linear qualities play role of drawing in space/air rather than being on a paper surface.