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NOW—BOUNDARY CROSSINGS: Sculptural—Pictorial

May 23, 2016

The exhibition "Plane.Site," currently on view at Gagosian Gallery San Francisco, is comprised of drawings and other works on paper made in two dimensions, and sculptures and assemblages made in three dimensions by more than a dozen modern and contemporary artists. The exhibition was selected by Sam Orlofsky with the aim of showing how each of these artists has in different ways crossed the divide from two- to three-dimensional composition, or vice versa. This essay, by John Elderfield, has two parts: the first describes some of the principles that have influenced such boundary crossings; the second addresses a number of the works in the exhibition. Below is an excerpt from part one. Any project conceived for the purpose of juxtaposing two- and three-dimensional works of art needs to acknowledge the long history of comparing them. As far back as Renaissance Italy, theoretical discussions of art used the term paragone (comparison) largely to consider the relative possibilities available to painting and sculpture. The most frequent comparison made in such discussions was between the Central Italian and the Venetian schools of painting, the former valued for its linear design, the latter for its color. And it was broadly understood—especially, and predictably, by advocates of the Central Italian school—that drawing was the very basis not only of pictorial art but of sculpture as well.

This exhibition was not conceived to explore the viability of that claim for the priority of drawing in the art of sculpture, although it does imply the inescapability of the connection between the two, as any such survey will. Rather, the exhibition is concerned with how, and to what effect, a range of modern and contemporary artists have negotiated the transition from drawing to sculpture, and from sculpture to drawing—the terms “drawing” and “sculpture” being broadly defined here, as is evident from the works shown. Nonetheless, a useful way of beginning to address this subject is to look briefly at what is, or was, commonly understood by the term “sculptor’s (or ‘sculptural’) drawing.”

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The first exhibition at Gagosian San Francisco, opening across the street from the new SFMOMA, will include Bourgeois, Picasso, Warhol and more.

#san francisco (calif)#Plane.Site #Plane Site #Gagosian San Francisco #Gagosian SF #Gagosian #Gagosian Gallery #Larry Gagosian #Sam Orlofsky #David Ireland #SF #New York Times #T Magazine #Janelle Zara

Press Release—Plane.Site at Gagosian San Francisco

April 25, 2016

The critic and curator Philip Rawson, an eloquent guide to the means and methods of drawing over the ages, points out that until the Italian Quattrocento, no European sculptor was supposed to be able to draw. In the medieval period, only those sculptors who also worked in two dimensions drew habitually; any other sculptor who needed, say, to show a client a proposed design hired a draftsman to make one. And when sculptors began to make drawings (for their own use or to guide assistants), they tended to do so without thinking of the format of the paper as a frame to which the image should relate. Instead, the image was generally treated as an independent motif, composed of mutually related units and placed anywhere on the sheet. In this approach, the space of the paper outside the image was not incorporated into the design but functioned like the open, empty space around actual sculptures. ... In contrast, Rawson observes, painters' drawings have tended to treat the usually rectangular format of the paper as a frame to which the image content relates. —John Elderfield Gagosian Gallery is pleased to present “Plane.Site,” a cross-generational exhibition of modern and contemporary artists organized by Sam Orlofsky to inaugurate the San Francisco gallery. CONTINUE READING...