Synopsis
Drawing. The Bottom Line presents the works of fifty-three artists from around the globe, all working within the medium of drawing and exploiting its versatile nature in a wide variety of ways. From brief sketches to fully realized and complex constructions, drawing provides the preliminary foundation for all of these works, whether they are simply functional process materials or products of careful consideration. This extensive survey features works from a wide range of prominent contemporary art figures, including Francis Alÿs, Paul McCarthy, Tacita Dean, Roni Horn, Gabriel Orozco, Raymond Pettibon, and many others, as well as written contributions and short introductory texts from dozens of renowned critical voices, many of which have been selected by the artists themselves. Furthermore, the volume contains a previously published essay by influential British writer John Berger. While drawing is often thought of as an incomplete or loosely defined form, this unique anthology and the varying practices of its participants help to demonstrate drawing’s extraordinarily distinctive properties and nearly infinite possibilities, affirming its significance as an artistic language.
Distributed for Mercatorfonds
Exhibition Schedule:
SMAK
(10/10/15-01/31/16)
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About the Author
Martin Germann is senior curator and Philippe Van Cauteren is director at the S.M.A.K., Museum for Contemporary Art, Ghent, Belgium.
From the Back Cover
Drawing. The Bottom Line' presents drawing related work of 54 international artists. Drawing has always been there, will ever be there, and becomes particular present in times of crisis. Once described as the mother of all arts drawing lies at the bottom of all artistic activities. The freedom of art lives in drawing.
'Drawing. The Bottom Line' embraces the singular practices of all participating artists, whose approach derives out a drawing, or where the history and conventions of the medium find a particular reflection. The presented work hovers between quick sketch and complex construction, between explosive expression and controlled stasis, and, essentially between fast and slow, since drawing is the medium of absorbed time. As most elegant parasite amongst the media drawing stays immune towards many Zeitgeist-attacks, from material patina to the hunger of the curator. A drawing trace can lead you far out to another century in the same way as it can sketch the beginning of something new. Drawing jumps from diary to film, from thought to narration, from material to idea, and from study to mastery, such as the artists wants. They can let it dig deep into their minds as they can make it touch the ground. Because every picture starts with a separation, which is a line.
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Drawing. The Bottom Line
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