Art as a formal and holistic description of the real space and experience of landscape and its most elemental materials. Nature has always been recorded by artists, from pre-historic cave paintings to 20th century landscape photography. I too wanted to make nature the subject of my work, but in new ways. I started working outside using natural materials like grass and water, and this evolved into the idea of making a sculpture by walking. Walking itself has a cultural history, from Pilgrims to the wandering Japanese poets, the English Romantics and contemporary long-distance walkers. My first work made by walking, in 1967, was a straight line in a grass field, which was also my own path, going &apos;nowhere&apos;. In the subsequent early map works, recording very simple but precise walks on Exmoor and Dartmoor, my intention was to make a new art which was also a new way of walking: walking as art. Each walk followed my own unique, formal route, for an original reason, which was different from other categories of walking, like travelling. Each walk, though not by definition conceptual, realised a particular idea. Thus walking - as art - provided an ideal means for me to explore relationships between time, distance, geography and measurement. These walks are recorded or described in my work in three ways: in maps, photographs or text works, using whichever form is the most appropriate for each different idea. All these forms feed the imagination, they are the distillation of experience. Walking also enabled me to extend the boundaries of sculpture, which now had the potential to be de-constructed in the space and time of walking long distances. Sculpture could now be about place as well as material and form. I consider my landscape sculptures inhabit the rich territory between two ideological positions, namely that of making &apos;monuments&apos; or conversely, of &apos;leaving only footprints&apos;. Over the years these sculptures have explored some of the variables of transience, permanence, visibility or recognition. A sculpture may be moved, dispersed, carried. Stones can be used as markers of time or distance, or exist as parts of a huge, yet anonymous, sculpture. On a mountain walk a sculpture could be made above the clouds, perhaps in a remote region, bringing an imaginative freedom about how, or where, art can be made in the world. Bristol 2000
he Museum of Modern Art, MoMA Highlights, New York: The Museum of Modern Art, revised 2004, originally published 1999, p. 280 Interest in the mural form was widespread among the Abstract Expressionists, who often worked on a scale far larger than that of most easel paintings. Twombly, a member of a younger generation, transposed that interest in the wall into a different register: no painter of his time more consistently invites association with the language of graffiti. His scrawled calligraphic markings may recall the automatic writing of Surrealism, another inheritance passed on to him through Abstract Expressionism, but they also evoke the scratches and scribbles on the ancient walls of Rome (his home since 1957). Rome supplies another touchstone for Twombly through his fascination with classical antiquity. Here he refers to the myth in which Jupiter, lord of the gods, took the shape of a swan in order to ravish the beautiful Leda. (This violation ultimately led to the Trojan War, fought over Leda&apos;s daughter Helen.) Twombly&apos;s version of this old art-historical theme supplies no contrasts of feathers and flesh but an orgiastic fusion and confusion of energies within furiously thrashing overlays of crayon, pencil, and ruddy paint. A few recognizable signs—hearts, a phallus—fly out from this explosion. A drier comment is the quartered, windowlike rectangle near the top of the painting, an indication of the stabilizing direction that Twombly&apos;s art was starting to take.Rome, Twombly&apos;s home since the 1950s, has nurtured his fascination with classical antiquity. In this work he refers to the Roman myth in which Jupiter, lord of the gods, takes the shape of a swan in order to ravish Leda, the beautiful mother of Helen (over whom the Trojan war would be fought). Twombly&apos;s version of this old art-historical theme supplies no contrast of feathers and flesh but a fusion of violent energies in furiously thrashing overlays of crayon, pencil, and ruddy paint. A few recognizable signs—hearts, a phallus—fly out from this explosion, in stark contrast to the sober windowlike rectangle near the top of the painting.
he Museum of Modern Art, MoMA Highlights since 1980, New York: The Museum of Modern Art, 2007, p. 240 Combining a Surrealist&apos;s interest in the unconscious with a postmodern sensibility, Herrera creates evocative collage drawings that are distinctively psychically charged. These amorphous works are typically composed from cut fragments from children’s coloring books or comic illustrations, and often incorporate Disney characters and other recognizable cartoon icons. In A Knock Herrera uses his cut-and-paste technique to achieve a perfect balance between figuration and abstraction. For this work he has cut out fragments of figures based on the Disney characters Snow White and the Seven Dwarfs from a collaged, candy-colored background. The disjointed figures are not immediately recognizable and only emerge from clues within the flowing, linear web of paper strips: a hand holding a candle, a pickax, the tassel of a cap, fragments of clothing, and pieces of arms and legs. Images that are normally considered innocent and innocuous are placed in illogical juxtapositions, resulting in a morphed entity composed of multiple body parts. Herrera has created a nightmarish world in which childhood innocence has been subsumed by the unconscious.
New Perspectives in Latin American Art, 1930–2006: Selections from a Decade of Acquisitions November 21, 2007–February 25, 2008 In the early 1960s Ferrari made work in two styles: gestural drip drawings with entangled line structures, and what he called &quot;written paintings&quot;—drawings as texts and texts as drawings—whose striking visual qualities made them iconic in early Latin American Conceptualism. Through these two repertoires Ferrari was able to question the distinction between art and language—between pure visuality and codified information, and between graphic gesture and calligraphy. Untitled (after Rafael Alberti&apos;s Sermon of the Blood) was the piece that led Ferrari from gestural abstraction to his written paintings, and it therefore marks a turning point in his work. It was conceived as a visual interpretation of a poem by Rafael Alberti, a major Spanish modern poet and the artist&apos;s lifelong friend.
2 d linepp_revised6_4_12
• A POINT IN MOTION
• A SERIES OF ADJACENT POINTS
• A CONNECTION BETWEEN POINTS
• AN IMPLIED CONNECTION BETWEEN POINTS
Richard Long, A Line Made by Walking, England,1967
•Actual - solid lines that define shapes and forms
•Implied - lines that suggest connections and are
composed of seperate visual parts
Line Variations. a. Actual line.
Line Variations. b. Implied line.
Pink out of a Corner from No. 1 of December 19, 1963
Dan Flavin (American, 1933-1996)
October 14, 1965. Pencil and crayon on colored paper, 10 x 13"
Jean and Claude Christo
The Gates, NYC
Line Variations. c. Actual straight lines and implied curved line.
Gego (Gertrud Goldschmidt) (Venezuelan, born Germany. 1912-1994)
1963. Ink on paper, 30 x 22"
Victor Vasarely (French, 1908-1997)
1965. Tempera on composition board, in two parts, overall 50 5/8 x 32 3/4"
•Direction: the implied movement of a line
•Orientation: the position of a line
•Continuity: enhances or reduces direction
(attitude of alert attention);
horizontal line (attitude of rest).
Brushstrokes Cut into Forty-Nine Squares and Arranged by Chance
Ellsworth Kelly (American, born 1923)
Yayoi Kusama (Japanese, born 1929)
1951. Ink on paper, 15 1/2 x 10 1/8" (39.4 x 25.7 cm)
Agnes Martin (American, born Canada. 1912-2004)
(1960). Ink and pencil on paper, 9 3/8 x 11 7/8"
Line Variations. i. Hard line, soft line.
Boundary Layers / 2
Terry Winters (American, born 1949)
2002. Synthetic polymer paint, gouache, pencil, and charcoal on paper, 60 x 40"
Michelle Segre (American, born 1965)
2000. Ink on paper, 49 x 64 1/2"
Line Variations. j. Ragged, irregular line.
Portrait of Edwin Denby
Larry Rivers (American, 1923-2002)
(1953). Pencil on paper, 16 3/8 x 19 3/4" (41.5 x 50.1 cm).
Philip Guston (American, born Canada. 1913-1980)
1950. Ink on paper, 17 x 22" (43.2 x 55.9 cm)
Philip Guston (American, born Canada. 1913-1980)
1953. Ink on paper, 17 3/4 x 23 3/4" (45.1 x 60.3 cm).
Henry Pearson (American,1914-2006)
1960. Ink on paper, 10 3/8 x 9 7/8"
Gary Stephan (American, born 1942)
2002. Ballpoint pen on paper, 7 3/4 x 8 5/8"
Arturo Herrera (Venezuelan, born 1959)
(2000). Cut-and-pasted printed paper on paper, 70 x 60"
Sin titulo (Sermón de la sangre) (Untitled [Sermon of the Blood])
León Ferrari (Argentine, born 1920)
1962. Ink and colored ink on paper, 39 3/8 x 26 5/8"
Lee Bontecou (American, born 1931)
(1967). Pencil and felt-tip pen on flocked paper, 20 x 26"
The Black One, 1997, acrylic, felt tip markers, felt, aluminum tape, acetate, pipe cleaners, and pom poms on wall and canvas, 124x138x2 inches
And I Couldn’t find You, 1998-1999, acrylic, felt tip marker, felt, cardboard and pipe cleaners on canvas, wall and floor, 94x105x25 inches