Drawing Degree Zero
Drawing Degree Zero
Traditionally considered a preparatory or subsidiary practice, drawing's notational, provisional, and incidental qualities accrued new value in the context of post-Minimal and Conceptual art. Considering the work of Bochner, Sol LeWitt, Rosemarie Castoro, Dorothea Rockburne, and Richard Tuttle, Lovatt explores the strategies these artists used to confound long-standing presumptions about drawing, rendering it systematic rather than autographic, public rather than private, and conceptually rigorous rather than manually dexterous. Drawing Degree Zero argues that these artists pursued a neutral, anonymous mode of inscription analogous to Roland Barthes's concept of "writing degree zero."
A lively examination of the resurgence of interest in drawing, Drawing Degree Zero highlights the medium's ability to foreground issues of authorship, process, location, and participation that remain fundamental to contemporary art. Scholars and art aficionados will welcome Lovatt's insights.
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Traditionally considered a preparatory or subsidiary practice, drawing's notational, provisional, and incidental qualities accrued new value in the context of post-Minimal and Conceptual art. Considering the work of Bochner, Sol LeWitt, Rosemarie Castoro, Dorothea Rockburne, and Richard Tuttle, Lovatt explores the strategies these artists used to confound long-standing presumptions about drawing, rendering it systematic rather than autographic, public rather than private, and conceptually rigorous rather than manually dexterous. Drawing Degree Zero argues that these artists pursued a neutral, anonymous mode of inscription analogous to Roland Barthes's concept of "writing degree zero."
A lively examination of the resurgence of interest in drawing, Drawing Degree Zero highlights the medium's ability to foreground issues of authorship, process, location, and participation that remain fundamental to contemporary art. Scholars and art aficionados will welcome Lovatt's insights.
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