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Exploring the evolution of drawing from 1880 to 1940, this volume highlights how modern artists challenged traditional definitions and techniques. By breaking the link between mark-making and the artist's hand, they introduced innovative practices that transformed not just drawing but the broader art world. Featuring works from renowned artists like Jean Arp and Georgia O'Keeffe, it showcases new formal strategies such as collage and abstraction, while addressing themes like urban experience and identity. Subsequent volumes will continue this exploration through the decades.
A towering figure in 19th-century art, Degas is best known as a painter and chronicler of the ballet. In the 1870s, during an era of enthusiasm for experimental printmaking, Degas was introduced to the monotype process drawing in black ink on a metal plate that was then run through a press, typically resulting in a single print. Captivated by the mediums potential, Degas made more than 300 monotypes during two discrete bursts of activity, from the mid-1870s to the mid-1880s, and again during the early 1890s. Taking the medium to new and radical heights, the artist abandoned the academic drawing style of his youth, inventing a new repertoire of mark-making that included wiping, scratching, abrading, finger printing and rendering via removal. Frequently, he used monotypes as a starting point from which an image could be reworked, revised, and re-crafted, often with pastel. Degas explored a variety of subject matter in these works, including scenes of modern life; harshly illuminated café singers; ballet dancers onstage, backstage, or in rehearsal; the life of the brothel; intimate moments at the bath; and landscapes. Degass engagement with monotype had broad consequences for his work in other mediums; repetition and transformation, mirroring and reversal all essential to Degass work in monotype was an ongoing logic of his work in drawing, painting, and pastel. Published to accompany an exhibition at The Museum of Modern Art, this richly illustrated catalogue presents approximately 180 monotypes along with some 50 related works, including paintings, drawings, pastels, sketchbooks and prints. Essays and case studies by curators, scholars and conservators explore the creative potency of Degass rarely seen monotypes, and highlight their impact on his wider practice.
"How the modernist avant-gardes from Dada to constructivism reconceived their roles, working as propagandists, advertisers, publishers, graphic designers, curators and more, to create new visual languages for a radically changed world. "We regarded ourselves as engineers, we maintained that we were building things...we put our works together like fitters." So declared the artist Hannah Höch, describing a radically new approach to artmaking in the 1920s and '30s. Such wholesale reinvention of the role of the artist and the functions of art took place in lockstep with that era's shifts in industry, technology, and labor, and amid the profound impact of momentous events: World War I, the Russian Revolution, the collapse of the Austro-Hungarian Empire, and the rise of fascism. Highlighting figures such as Aleksandr Rodchenko, Lyubov Popova, John Heartfield, Marianne Brandt, and Fré Cohen, Engineer, Agitator, Constructor : The Artist Reinvented demonstrates the ways in which artists reimagined their roles to create a dynamic art for a new world. These "engineers," "agitators," "constructors," "photomonteurs," "workers" - all designations adopted by the artists themselves - turned away from traditional forms of painting and sculpture and invented new visual languages. Central among them was photomontage, in which photographs and images from newspapers and magazines were cut, remixed, and pasted together. Working as propagandists, advertisers, publishers, editors, theater designers, and curators, these artists engaged with expanded audiences in novel ways, establishing distinctive infrastructures for presenting and distributing their work. Published in conjunction with a major exhibition, Engineer, Agitator, Constructor celebrates the recent transformative addition to MoMA's holdings from the Merrill C. Berman Collection, one of the great private collections of early-twentieth-century political art and design. Essays by eminent scholars, conservators, artists, and poets consider the era's revolutionary art forms, such as photomontage and the New Typography; the essential role of women in the avant-garde; and the networks linking these artists across geographic and ideological borders. The exhibition presents the social engagement, fearless experimentation, and utopian aspirations that defined the early 20th century, and how these strategies still reverberate today" --Taken from publisher description
Jodi Hauptman examines the procedures and context behind Kelly's formative 1951 abstraction Ellsworth Kelly's landmark 1951 work Colors for a Large Wall is the culmination of an extraordinarily productive moment in the artist's early career, a time when he developed his singular form of abstraction. After serving in the US Army during World War II, he returned to France in 1948 and lived and worked there until 1954. Connecting with artists of an earlier generation, discovering Paris with his peers, and surveying monuments of the past, Kelly began an audacious creative journey in which, paradoxically, he sought to eliminate "invention" from the process of making art. In this volume of the MoMA One on One series, curator Jodi Hauptman looks closely at the evolution of Colors for a Large Wall, unpacking Kelly's toolbox of close observation of the world, chance procedures, collage and the monochrome, and examining his ambition to create art on a public, architectural scale.