Sol LeWitt, Robert Mangold, Bruce Nauman & Richard Serra and the line
Extended Drawing focuses on one particular aspect of the work of American artists Sol LeWitt, Robert Mangold, Bruce Nauman and Richard Serra: the line--or respectively, its anonymity in the space.
Sol LeWitt, Robert Mangold, Bruce Nauman and Richard Serra now belong to the "classical" generation, which has given an orientation to American art since the mid-sixties. Their preference for the minimal and the concept is clearly understood. These four create models for new options in the art of drawing, and explore the possibilities offered by architectural and public space. In the drawings, it is no longer about personal style, but rather a special relationship to the wall (LeWitt), to the painting (Mangold), to sculpture (Serra) and to the public sphere (Nauman).
The hand-drawn line is considered the most personal and most individual form of expression in art. The lines in a drawing are like a handwritten letter, and say much about the author. The line speaks. A drawing conveys a great intimacy.
Anonymizing the line
The above-mentioned artists keep away from these conventions in Extended Drawing. The personal touch is avoided categorically, and precisely the impersonal is sought. Neutrality is intended; the art is "mechanically" applied and provides the ability to exclude an excess of expressivity.
Sol LeWitt goes farthest in anonymizing. The fact that he has chosen to let his work (albeit under strict guidelines) be executed by assistants speaks for itself; as well, the fact that Richard Serra limits himself to the deepest possible black (a combination of resin and tar) without nuances. The thick, almost emotionless lines of Robert Mangold can just as less be considered a large expressive gesture. Mangold uses the line to create an imbalance that lies behind the seemingly unmoved harmony of circles or ovals. Nothing is left to the imagination. The rules of perspective or other illusionist tricks were not applied and everything possible has been done to avoid illusions or mimesis. For Bruce Nauman, the use of outlines and contours is neutral and appears mechanical, even when both are present in attractively colored neon. The flashing of the neon tubes is based on a mathematically defined frequency and significance of the colors is fixed and determines the order.
A publication accompanies the exhibition, available in the museum shop.
18.09.2011 – 15.01.2012
www.bonnefanten.nl
Bonnefantenmuseum, Avenue Ceramique 250, NL-6221 KX Maastricht
