A line (a)round an idea: Selected Works on Paper
Gagosian is pleased to present A line (a)round an idea, an exhibition of black-and-white works on paper by Richard Artschwager, Georg Baselitz, Bruce Conner, Willem de Kooning, Günther F?rg, Sam Francis, Keith Haring, Christine Hiebert, Hans Hofmann, Franz Kline, Brice Marden, Henri Matisse, Robert Motherwell, Richard Serra, Cy Twombly, Andy Warhol, Tom Wesselmann, and others.
In the act of drawing, an artist physically experiences the full potential of the most direct gestures. The works included in A line (a)round an idea reveal the ways in which modern and contemporary artists have explored the clarity and activating power of the simple line, mark, splatter, or stroke.
Contrasting with the bold gestural abstractions of Francis, Kline, Motherwell, and Serra, the figurative works in the exhibition use the immediacy of drawing to map the contours of the human body—from de Kooning’s Woman (c. 1965), a standing nude that appears to dissolve into hazy charcoal curves, to the visceral, inky drips of Baselitz’s inverted figure from 2015.
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Gagosian is pleased to present A line (a)round an idea, an exhibition of black-and-white works on paper by Richard Artschwager, Georg Baselitz, Bruce Conner, Willem de Kooning, Günther F?rg, Sam Francis, Keith Haring, Christine Hiebert, Hans Hofmann, Franz Kline, Brice Marden, Henri Matisse, Robert Motherwell, Richard Serra, Cy Twombly, Andy Warhol, Tom Wesselmann, and others.
In the act of drawing, an artist physically experiences the full potential of the most direct gestures. The works included in A line (a)round an idea reveal the ways in which modern and contemporary artists have explored the clarity and activating power of the simple line, mark, splatter, or stroke.
Contrasting with the bold gestural abstractions of Francis, Kline, Motherwell, and Serra, the figurative works in the exhibition use the immediacy of drawing to map the contours of the human body—from de Kooning’s Woman (c. 1965), a standing nude that appears to dissolve into hazy charcoal curves, to the visceral, inky drips of Baselitz’s inverted figure from 2015.
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