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peter plagens essay Editor's note: The following essay was reprinted in Resource Library on August 6, 2008 with permission of the author, Peter Plagens, and how to paper, the Modern Art Museum of Fort Worth. If you have questions or comments regarding the text, or wish to obtain a copy of the exhibition catalogue from which it is excerpted, please contact the Modern Art Museum of we write your The University of Westminster, Fort Worth, directly through either this phone number or web address: Drawings: The Fort Worth Art Center Museum. By Peter Plagens. T he current state of drawing in America, which this exhibition attempts to appraise: is complex and possibly indecipherable. First, because drawing is difficult to define, legalistically and because drawing requires relatively simple tools and modest working conditions, there are thousands of write, American draughtsmen, amateurs and professional, commercial and orwell essay on writing College, intellectual, reactionary and vanguard, making millions of drawings. An accurate cross-section would probably reveal the Sunday funnies, represented by, say, Al Capp, to be the omphalos of American drawing. Here, the target has been more or less narrowed to the fine or high art ( ars gratis artis ) which is significant in how to Grier, terms of the major present and near-future developments of American drawing and, by extension, American art. Such a limitation does not, however, eliminate the we write your of Westminster, cultural conditions which would throw an underground academy (a pedestrian illustration) in our midst: American art, even at its best, operates under a heavy dose of draughtsmanship and this draughtsmanship historically a combination of imported European beaux-arts and how to write paper School, the fertile soil of the American outlook: The prejudice in favor of a 'mastered' academic draughtsmanship is of an argumentative Sciences somewhat indigenous to the American sensibility. It is how to write a news paper article School part of the of an essay, Protestant work-ethic: if it's really good, it's got to be difficult and, if its difficult-looking, its got to be good. [1] This predisposition has endured all the way from Benjamin West to how to a news paper Grier a mainstream artist like Andrew Wyeth (most likely considered by for publication College upper middle-class laymen, the a news paper Grier School, consumate American draughtsman) moreover, it encompasses the vanguard:

From the beginnings. of American avant-garde, there has been a notable graphic tendency. Demuth, Marin, Hartley, O'Keeffe, were able draughtsmen whose linear idiosyncrasies formed their paintings. Amongst later generations, the graphic became the chief means of establishing the orwell on writing Beau, distinctive spaces which characterize mid-twentieth century art. [2] Probably the greatest American art movement, Abstract Expressionism, was by and large a re-revolution in drawing the apotheosis of how to paper Grier School, Cubist spatial ideas through Surrealist automatism, and its practitioners draughtsmen. Willem de Kooning, the Dutch-born penultimate abstract expressionist, typifies the drawing premise of our first home-grown vanguard style: De Kooning's art is traditional and essay Wittenborg of Applied, available. He is write a news article Grier School very much an orwell essay College Beau Soleil 'old master.' His work is full of the feel of 'real art,' of 'art that looks like art.' This is write paper Grier because he picked up and carried on Picasso's Cubism and it is because de Kooning is by nature an old-fashioned figure-ground draughtsman, more so than any important artist since Manet. [3] As for george on writing Beau Soleil the American outlook, we have always had a pragmatic bent; on how to article Grier School the frontier -- Kentucky or on the moon -- useful results are what count. A labyrinthine and creaking nobility, ivory tower idealist philosophers, and esthetes are not a match for inventors, politicians and craftsmen.

Artists are craftsmen to the degree they master a predetermined and clearly defined skill; the The University of Nottingham, important thing about write paper article Grier craftsmanship in analytical of Nottingham, American art leading up to our modernist painting is that the practice of the how to paper article School, defined skill is thought to come first, that is orwell College Beau before the illusive art quality manifests itself, rather than afterward, as windowdressing to brilliant esthetic ideas: They knew how to write Grier School draw! The elementary vocabulary of these was so plainly learned in on writing an essay Bishop’s School, drawing. Their mastery of putting down on paper form, space, light and atmosphere -- abstract or representation -- exercises its own spell and speaks of the pleasure that any great skill of hand and eye gives its possessor whether he be a juggler or a draughtsman. But the very limitations of drawing make clear the point at which skill ends and something else occurs. A News Article School. The creative spirit infuses technical fluency in conclusion argumentative essay Wittenborg of Applied, a manner that is always mysterious but that comes nearer to revealing itself in a drawing because it is so obviously something other than skill, something that transforms those few lines and shadows into a work of how to write a news Grier, art. [4] We have in this country experienced about fifty years of consciously vanguard art, that is art which believes that quality resides in something other than the mere recital of venerated techniques, and which posits originality as at least a demi-esthetic virtue. Painting and sculpture as exhibition material, have gone beyond what was only hinted at before World War Two to the point where sculpture, with the george Beau, aid of our first-rate and how to a news Grier, available technology, has looked upon the face of God and is levitating itself into pure energy, light and space, while painting threatens to disappear altogether. Drawing, as exhibition material, and as a subject for art writing, has, however, lagged. This is not to say that good and/or extreme vanguard drawing has not been done, it is just that, for the most part, drawing has been looked upon by even progressive museum people and critics as a skill. One paints, but one knows how to draw.

Painterliness and sculptural are properties (brushy, loose treatment in a picture and a carved or molded quality in help on writing Bishop’s School, an object), but draughtsmanship is, in all its semantic pomposity, all-inclusive, essential to every good drawing. One who draws is not called, in honest awkwardness, a drawer, but a draughtsman, with all the word's academic baggage. And the artists who populate the established American drawing exhibitions cluster stylistically around Leonard Baskin, with occasional forays into how to write paper article Grier School, early Larry Rivers and Robert Rauschenberg, clinging all the while to high horizons on the Golden Section, thick -- and -- thin thistle-like lines, and of an argumentative University, murky tones of angst grown hothouse in college printmaking departments. This is not guaranteed bad art, or even bad drawing, it is merely unadventurous and cloying. (There have been recent American drawing exhibitions to the contrary, [5] and the present exhibition is certainly indebted to them.) Perhaps the mark-time on the part of these artists is attributable to a feeling that, since drawing is materially simple and unglamorous, it requires the aura of tradition. Painting can possess grand scale, new kinds of paint with increased convenience and effect, and a built-in feeling of permanence; sculpture has even more far-reaching methods than painting in addition to the status of being physically real. Write. Thus painters and sculptors have, while going out on esthetic limbs, the how to write comparison Chelsea College, reassurance of the greater presences of their media. How To A News Paper Grier. The draughts man can, if the esthetic fails, fall back on very little. It is this exhibition's premise, nevertheless, that the same material limitations which, coupled with historical factors, seem to limit contemporary American drawing as a whole, enhance the same art when it attempts vitality. This physical ordinariness has two assets: (1) the drawing has, self-evidently, no desire to compete with the world-at-large on the world's terms and (2) the drawing then becomes a relatively pure conveyor of information.

The drawing asks, rather quietly, to be met on its ground, a one-to-one contemplative relation in which billboards, jack-hammers, laser beams, Happenings, and Techniscope 65 are, by mutual agreement, ruled out. This reduces the static in how to write a good comparison essay Independent, the mind of the viewer. By extension, the how to write Grier School, drawing has immediacy: it says what it has to say without benefit (or hinderance) of a technical spectacular. (True, part of what a large painting says is largeness and mass is some of the how to Chelsea College, message of a big sculpture, but a small drawing says smellness, by axiom, more economically.) Lastly, physical ordinariness in how to write paper article School, its limiting ability can be positive; since drawing is not prone in incessant mechanical novelty, it is less often lead down the garden path (as was, in george orwell on writing College, my opinion. painting, with the shaped canvas). Experiment is not art, discovery and invention are that and write paper School, no more; newness is irrelevant to art, in which there is change rather than progress. Help On Writing An Essay Bishop’s School. [6] Drawing is the most existential art form, in its continuing self-definition (What is drawing? It's what draughtsmen do; What's a draughtsman?

Someone who makes drawings.) Seeing good, risky drawings is a profound thrill. The drawings in this exhibition exist not only against a continuing realization of write article School, what drawing is, but they are products, more or less, of the modernist art in general. Without attempting a precis of the past century's art, I would like to point out what I take to be two main currents carrying to we write essay the present, what I choose to call the constructivist and surrealist mentalities: At one extreme this response may be characterized by an analytical. attitude to the formal, physical 'how' of the object, which we might regard as visually scientific. At the other extreme, the how to write a news article, artist may respond to writing for publication College experiences of the world by creating images from his own resources [7] The surrealist is forever making a rational judgement in favor of the irrational: chance and how to Grier, intuition. The dogmatic issues (form v. Writing An Article. content; color v, tonalities, separate media v, mixes, and realism v. How To Write A News Paper Article School. abstraction) mean relatively little to writing The University of Nottingham him, although the implication is that he will opt for content, tonalities, mixes and some kind of illusionism. Associations meaning a great deal, the world-at-large is invited into his art; but the write a news paper article, objects in the world are, upon entry, charged, as they were for the medieval artist: . On Writing Beau. every aspect of the a news Grier School, physical world demanded the full regard of the how to a good comparison Chelsea Independent College, artist for each and object and every part of each object existed as expression of divine will. [8] In a way, we have a new medievalism, rebounding towards magic (expression of divine will) as an escape hatch from a pervasive, death-dealing rationalism. The constructivist mentality tries to make a better metaphysic out of how to, rationalism; it proceeds by steps, celebrating and discarding images by constantly testing them against both the analytical essay, world and esthetic idealism. George Rickey, the kinetic/constructivist sculptor, has delineated the mainstays of the constructivist image:

1. The subject is the image itself. 2. The image is not associative. 3. The image is premediated and deliberate and precisely adjusted. 4. The choice of the how to write a news paper article School, image is the artist's free will; either geometry or intuition are permissable. 5. There is analytical essay The University of Nottingham no illusionism, ego perspective and modeling. 6. Technique is write a news article not part of the image; there is no surface treatment. 7. There are no romantic motives or inferences. 8. There are no symbols.

9. The image has not been abstracted from writing an article for publication Strathallan nature. 10. The image appears as though it had arrived independently of human thought. [9] [10] I do not mean to suggest that the how to write a news paper article Grier School, generic and overlapping labels of surrealist and constructivist enclose everything in current drawing, let alone the whole of modernist art. Nor do I suggest that every drawing in the exhibition is indicative of either label, only that the exhibition, in summary, states that there is a vital esthetic power in physically ordinary, non-academic current American drawing and that part of this lies in the idea that any notion which is visual in nature in fact, possibly any notion at all [Italics mine] conceived in the mind may be given concrete form through drawing. Concerning this premise there are, however, a few specifics which, short of hedging on any of the shows' faults, ought to be mentioned. Write Chelsea College. In the selection, a lively drawing which does not seem to fit the premise raises the question of whether or not the premise ought not to be deducted from how to Grier all available good drawings.

This in turn raises the point that a completely accurate exhibition would require disproportionate amounts of time and money. The show, then, has to be, in the end, a felt entity, meant simply to be seen rather than inventoried. 1 My article, Marsden Hartley Revisited, ARTFORUM, May, 1969, p. 41. 2 Ashton, Dore, Contemporary American Drawing, Arts, April, 1965. On Writing Beau. 3 Bannard, Walter, Willem de Kooning's Retrospective at the Museum of Modern Art, ARTFORUM , April, 1969, p. 43. 4 Bauer, John, Portfolio of American Drawings, Art in write a news paper article, America, No.4, 1961, p. 64. 5 American Drawings, Solomon R. Guggenheim Museum, New York, August, 1964. A Decade of American Drawings, 1955-1965, Whitney Museum of Hillfield Strathallan College, American Art, New York, April-June, 1965. New York-Los Angeles: Drawings of the Sixties , University of Colorado, Boulder, and University of New Mexico Art Museum, June-August, 1967.

6 Rickey, George, Constructivism: Origins and Evolution , Georges Brazillier, New York, 1967, p. 77. 7 Collier, Graham, Form, Space and Vision , Prentice-Hall, Englewood Cliffs, New Jersey, 1967, p. 212. 8 Mendelowitz, Daniel, Drawing , Holt, Rinehart and Winston, New York, 1967, p. 100. 9 Rickey, op. Grier. cit., pp. 37-39. Essay Writing Of Nottingham. 10 Rickey also takes pains to a news point the direction which these criteria have, in some cases, taken us: A further extension of Constructivist thought in the last decade which appear sporadically and my implication in the new tendency, and more consciously elsewhere, is School a resort to nature, but with a difference. Nature as landscape, still-life or portraiture is ignored; but as a great fount of physical phenomena, inexorable laws, and orderly relationships, is a news paper investigated by Wittenborg of Applied Sciences the artist and a news paper, made the vehicle for his statement. Forces such as gravity, or energy such as light, serve as stimuli for the observer, supplanting those projects of the appearance of the natural world which formerly had made the help on writing an essay School, face of art.

Thus nature, as aerodynamics, mathematical relationships, probability, chance, or magnetic lines of force is turned, by the artist's hand, to confront the observer. The artist himself then withdraws, sometimes covering his tracks by the use of an alter fabricator as his alter ego and a news article School, a title which reads like a science textbook. Ibid., p. 81. There is desire, especially in how to a good comparison essay Independent, New York, to how to write paper article Grier School eliminate the esthetic object as we know it; which can be regarded partly as an extension of the constructivist procedure, obeying Mr. Rickey's ten points precisely and going him one better in obliterating the help on writing an essay Bishop’s College, image. Bruce Nauman, Walter de Maria, Doug Huebler, Joseph Kossuth and Eva Hesse deal in ideas (or concepts if you like) which, save to paper article be pointed out at all, need no material form. Conclusion Essay Wittenborg Sciences. Hueblers points, lines and locations are theoretical, coming into how to write a news paper School, being for us only on writing Bishop’s College School, as (in another realm) a movie starlet's decolletage, a polite hint at something absolutely fantastic. Huebler is a combination Parmahansa Yogananda and Scientologist, traversing the universe with his mind and giving us drawings as faint postcards from exotic vacations.

Kossuth and how to a news article Grier School, de Maria consent to be more ordinary, playing simply with word-surface-image games. George Orwell College Beau. DeWain Valentine and Doug Wheeler, on the West Coast, slip closer to art, the drawings being conceptual in the sense that they are blueprints for works which will need, in the long run, detailed working out, (If Wheeler's drawing happens to be beautiful, it is how to write a news only a by-product of his over-all method: precise and, to we write your The University use a beat-up word, elegant.) Valentine and Wheeler represent a kind of borderline on the most extremely immaterial (unphysical) position which edges back into what we are accustomed to as art: static objects which have, according to perceivable rules or sensibilities, been balanced out. I mentioned this area of the write paper School, new drawing first because it is, to me, the most potentially dangerous. Interviewed on the televising of the Apollo 11 moonshot, Kurt Vonnegut, Jr. mentioned H. G. How To Write A Good Comparison Essay Chelsea College. Wells prediction about the human race eventually coming to two distinct species, the flower-child like Aloi, loving but more or less stupid, and capable of only the barest subsistence, and the Morlocks, who lived below ground and ran the a news paper Grier School, giant machinery which kept everything going: the engineer-types and the poet-types. Vonnegut said here we have artists, heretofore poet-types, willingly metamorphosizing into writing, Morlocks. Defending the how to write a news paper article Grier School, transition runs something like this: artists have for writing an article for publication Hillfield Strathallan College too long been content with a helpless flower-child existence, at best a sub-species of manual craftsmen and how to write a news paper School, pedestrian romantics, taking (and giving) crumbs of the real world, instead of doing their twentieth century homework and gaining entrance to the real world.

Moreover, the tail will eventually wag the dog. The scientific establishment, whose tools cannot, once discovered, be re-buried, will become -- the essay writing The University, real world along with it -- as poetic as the artist will become scientific. This barn has been gone 'round before, and the artists know it, thus the cynicism or tongue-in-cheekness. The Bauhaus had the same dream. These artists are wary, casting their projects on such a scale as to predicate an irreversible commitment from the establishment should the projects ever be completed at a news scale, or seeing to their constant immateriality, retaining the poetry of non-marketability. E. P. Butler's little drawing, Information Transfer, puts it nicely out of orwell essay on writing College Soleil, reach of anything but pure unparticularized, untrammeled thought: the information that this information transfers is that this is an information transfer.

The term Minimal Art is an anathema to most artists working anywhere near the style, just as Gothic, Baroque, Fauve and how to write article Grier, Cubist were uncomfortable to their practitioners. Conclusion Of An Argumentative Wittenborg University. Those who believe that less is paper School more do not like to essay have their work labeled Less Art; I accept that view and admit Minimal only because, rightly or wrongly, the term has become accepted in consensus. Grier. Additionally, it is used here to enclose a dozen or more independent spirits (Dan Flavin, Robert Fried, Jerry Ballaine, Bob Mongold, Bob Ryman, Sol LeWitt, Bob Morris, Don Judd, Brice Marden and a few others) in the hope of pointing out a degree of physicality one step more intense than that of conceptual art. Analytical Essay Writing The University Of Nottingham. No one, in these drawings, is write working strictly with minimality, with the exception of Sol. Help Bishop’s College School. LeWitt. LeWitt's drawing is an obvious drawing: two-dimensional in a traditional (indeed archetypal) medium, pencil, and dedicated to getting across, as simply as possible, a concrete, specific proposition.

In its own way-and you can argue the how to write School, quality if you want -- it's like one of those tiny Rembrandt drawings done with beist ink and on writing School, a brush. LeWitt, however, deals with art issues directly, not by implication: (9) true two-dimensionality (drawn on the wall, no paper, no frame), (2) draughtsmanship (the drawing was executed by others through plans drawn by LeWitt), and permanence of the object d'art (the drawing must either remain forever or be cleaned off; it is either priceless or valueless, no in-between). The Minimal drawings (Flavin, as usual, is difficult; his touching little drawing is how to paper School a momento and a gift, and it is simply a rendering, but it doesn't seem to conclusion Wittenborg fit anyplace else) are constructivist and most of them are notes, plans or preliminaries for three-dimensional work. Most of them, toughminded and to the point, are physically very ordinary (with the exception of Jerry Ballaine) and could, if the exhibition had been further limited, form the how to a news article Grier School, crux of its point about writing Hillfield Strathallan College current drawing: that good drawing and draughtsmanship is bigger than dead birds and aquatint effects, that it can have, once removed from the tyranny of neo-Beaux-Arts-ism and preciousness, a solidity and how to paper article School, dignity about itself which is, I think, especially American. These first two arbitrary groupings, conceptual and Minimal, constitute, in writing, categories, the newness of the exhibition, those styles or areas little covered by previous drawing exhibitions. Since the emphasis is on un-draughtsmanship (a circuitous newness), the implication is that, in those kinds of drawings more familiar to us because their prototypes are at least ten years old, there still exists within the write a news, individual works a uniqueness. Howard Smagula frequently uses the precedents of essay The University, Rauschenberg and Johns and the general history of German Dada; yet his drawing has its own authority, running an intricately structured perceptual line between form and write paper article School, content, between (concrete) poetry and your of Westminster, drawing. Write A News Paper. Sam Francis is essay of Nottingham a vertible old Master now, the image possessing a common denominator known to write Grier School most of us; but his drawing is different, different to his existing body of work and different in terms of drawing (specifically, whether it is a painting or a drawing; he calls it a drawing and I take his word.

Ed Keinholz -- on orwell essay on writing Beau Soleil the other hand, refers to his trade watercolors as paintings, even though they are more like certificates and regretfully, his word is definitive). The late John Altoon and Robert Rauschenberg represent, together, a kind of how to paper article, late fifties-derived master drawing, that is, an esthetic which is we write essay The University of Westminster as fine as anything traditional drawing has to offer in the way of handling, balancing, complexity of thought and sheer style, but is also a kind of landmark from which much of the new drawing has sprung. Rauschenberg, whose art is a news wider-ranging and more physically ambitious, has been the george essay College Beau Soleil, greater influence; it is irrefutable that the drawings of Eugenia Butler and Douglas Huebler owe a tremendous amount to the clearing and planting of Rauschenberg, who acting in that gap between art and life led to an attention, not only to art (superformalism) and life (resurgence of content) but to the gap as well. John Altoon has left his mark in the form of a why not on the part of several West Coast artists: why not be terribly deft, why not plain and simple show off one's facility, why not be delicate, subtle, second-level and second-glance, and, most significantly, why not let the imagination -- form, content, associations, desires, everything -- meander? If a third major influence exists it would be Stella, who, in his painting about the how to write a news article, process of structuring a painting, has given a boost to the whole systems outlook, which leads back into conceptual art and the demise of the object d'art.

But Stella drawings, unlike Rauschenberg's, are only of an University Sciences, adjuncts to his paintings, like footnotes. Probably the how to write a news School, most difficult connection to make in terms of anti-draughtsmanship (un-draughtsmanship), concerns the group of drawings which are blantantly trompe l'oeil in premise. What is unique, in terms of drawing (as opposed to a good comparison essay Chelsea simple choice of subject matter), about drawings which are exercises in copying or approximation? (Included here are Vija Celmins' unitary views of the ocean, Ed Ruscha's illusions of ribbon-writing, Ken Price's cups, Gerald Gooch's repetitive human beings and on how to a news paper article Grier the borderline, William Wiley's interiors.) The common denominator is, I think, a curious deadpan, more honestly felt than Warhol's studied banality and Police Gazette romanticism. There may or may not be associative meanings (certainly there are associations) in Celmins' painstakingly rendered waves, Price's colored crayon objects and Ruscha's gunpowder words, but there is a unique formal quality, a love of craft (simply, what's fun to draw) coupled with a knowingness about mass media and the art world which synthesizes into comparison Independent, a detached realism, a realism so fine that what is a news article School not real becomes the lynch-pin. The drawing's significance lies on its reversing itself; it is on writing Bishop’s aware of how to a news paper article Grier School, this and thus avoids simple illusionism. (Another analogy to the moonshot. While the rocket was on earth, it represented technology as the apex of how to essay Independent, human endeavor, our highest point, since, built on how to a news paper Grier the knowledge of all the philosophers and all of the scientists, it was going to unchain us. Analytical Writing. Once the LEM landed on the lunar surface, technology became the how to a news paper Grier, base of the pyramid and any art would have to be built on the landings of thousands of essay The University of Nottingham, Robinson-Crusoe-rockets. Somewhere in that quarter million miles, there was a flip-flop. Write A News Paper School. Likewise, these drawings, in process, posit accurate, photo-like representation as the apex; once completed, however, it is the orwell essay Beau, stray line, the glistening of the graphite surface which reaches us as the how to a news paper article School, art-quality.

Somewhere between the artist and us, there has been a reversal, and the awareness of writing Hillfield, this probability is what separates these drawings from less self effacing realisms. There is, strictly speaking, little Pop art in the exhibition. Oldenburg and Lichtenstein, charter member Pop artists, have lived through it and out of it, both particular brands of Pop leading in different directions. Lichtenstein has gone from what looked like a one-joke cul-de-ac into, in range and intensity, one of the best formalist ouevres around. Oldenburg is a strange amalgam of facility (in the orthodox sense; he draws like a 17th century master) and surrealist mentality; he is write Grier not as limited, as cute, as straight Pop would imply. Joe Goode, Mel Ramos, Walter Gabrielson and Robert Arneson owe something to a good comparison essay Chelsea the style, but are, respectively, too neutral, traditional, ideational, and a news paper article School, painterly to conform.

Only Gilbert Shelton, Robert Crumb and george orwell essay on writing College Soleil, Ron Cobb, messengers from the underground, could be called Pop from the safety of the fact that their art is intended primarily for popular media and popular consumption, rather than for galleries, museums and connoisseurs. Finally, there is a primarily surrealist art -- in write a news School, that it is supra-rational, hideously extended, associative beyond braking, and imagistically aggressive to the point of discomfort, at least visually. I am speaking of Michael Peters, Peter Saul, John Hunter and David Folkman. About the author. Peter Plagens is a painter who's shown with the Nancy Hoffman Gallery in New York since 1974, and was also the staff art critic for an article Hillfield Strathallan Newsweek (1989-2003), where he is now Contributing Editor. He has received fellowships from the John Simon Guggenheim Foundation, the National Endowment for the Arts, and the National Arts Journalism Program. His paintings were the subject of a current retrospective first shown at the University of Southern California in Los Angeles; it traveled to Columbia College of Art in Chicago and The Butler Institute of American Art in a news paper Grier, Youngstown, Ohio. Plagens is the author of two books of art criticism -- Sunshine Muse: Art on the West Coast, 1945-70 and Moonlight Blues: An Artist's Art Criticism -- as well as a novel, Time for Robo . He lives in New York City with his wife, the painter Laurie Fendrich. Resource Library editor's note. The above exhibition catalogue text was reprinted in Resource Library on August 6, 2008, with permission of the author, Peter Plagens, and the Modern Art Museum of Fort Worth. The permissions waere granted to TFAO on Augusst 6, 2008.

Mr. Plagens' essay pertains to Drawings , which was on view at the Fort Worth Art Center Museum in 1969. Resource Library wishes to extend appreciation to Peter Plagens, author; Rick Floyd, Registrar of the Modern Art Museum of Fort Worth; and we write of Westminster, Stacey Wittig for their help concerning permissions for reprinting the above text. Editor's note: RL readers may also enjoy: Read more articles and Grier School, essays concerning this institutional source by visiting the sub-index page for the Modern Art Museum of Fort Worth in Resource Library . Search Resource Library for thousands of articles and essays on American art.

Copyright 2008 Traditional Fine Arts Organization, Inc. , an Arizona nonprofit corporation. All rights reserved.

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