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Rogerian Argument Topics Essays and Research Papers. For hundreds of years there had been only one excepted way of written argument , which was Aristotle’s model. Now there are several more, . Media Essays? including Rogers and the Toumlin Rhetoric’s. Every day we face different situations, some good some bad. When the one situation comes up where you are left in disagreement with another person, have you ever thought of how you can argue over introduction help the matter?
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Currently, there are only thirteen states that do not enforce the death penalty; meaning over half of the media essays nation agrees with . it. To this day, this subject remains very controversial. Paper? The main opposing view in this argument is that the death penalty is immoral; claiming that it under values human life. Also, many people with religious view oppose capital punishment because their religion preaches against the killing of any human being. In The? Is seems this is an issue in university roommate essay, which. Capital punishment , Crime , Death row 430 Words | 2 Pages. Ashley Suter Coffey WR-122 Rogerian Argument Male Sports Dominate Female Sports An issue that I have always been concerned . with is violence media how much attention male sports get, while female sports get pushed aside. Males and females put forth the same amount of effort and the same amount of hard work towards the sports they play, and in return males dominate the binge in college limelight. Arguments opposing this show that males are obviously better athletes than females.
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The. Capital punishment , Capital punishment in the United States , Crime 3062 Words | 8 Pages. As defined by The American Heritage Dictionary, free will means “The power of making free choices that are unconstrained by introduction for essays external circumstances or by an . Essays? agency such as fate or divine will.” My stance on the topic : Free will? I don’t think it’s “free” if perhaps everything one does has a purpose behind it. Thoughts/ Quotes about free will: “The will is never free- it is always attached to an object, a purpose. It is simply the a proposal engine in in the essays, the car- it can’t steer.” – Joyce Cary Support: . Causality , Choice , Experiment 862 Words | 2 Pages. Rogerian Argument of author in thesis, Genetic Engineered Foods. Rogerian Paper: Genetically Modified Food “Biotechnology has been used for more than 6,000 years for lots of interesting and media essays, practical . purposes: making food such as bread and cheese, preserving dairy products and drinking, fermenting beer” (Biotechnology - Promising a Brighter Future for media the World). Although we do not always realize it, biotechnology is a huge part of our everyday lives, from the medicine we use to custom service, keep us healthy, the fuel we use to take us where we need to go, and even the food we. Food industry , Genetic engineering , Genetically modified food 1154 Words | 3 Pages.
Rogerian: Parenthetical Referencing and Position. ?English 112 / Guidelines for the Rogerian Paper 1. Select a topic from List of Topics under Course Documents . and write a 2 ? - three page, (maximum) Rogerian argument . Present your paper orally to the class from the projector screen for critiquing by your peers and in the, final grading by the instructor. Study Chapter Six (pages 145 - 153) and university roommate essay, refer to Chapters One through Eleven for in the media many specific details and examples of the effective argumentation as needed. Include the Opposing Position, Common Ground. Bibliography , Citation , Error 919 Words | 3 Pages.
addressing our argument to stanford roommate essay, a group of representatives from corporate companies in the country. In 2011 we successfully held a fundraising event . which helped us raise enough funding to support the media activities of our organization. We used the on declaration of independence funding to buy the healthiest vegetables from local farmers and violence in the media, purchase only the naturally raised meat. While our goal is to a proposal paper, fight hunger in the country, we also maintain an in the essays eco-friendly outlook. A clear statement of purpose for the argument After the second paper in thesis financial. Argument , Arguments , Donation 1286 Words | 4 Pages.
Rogerian Argument For Legalization The cannabis plant has been the topic of violence in the media essays, much debate throughout the history . of this country. Many people don't know that it was not the effect of essay, cannabis that originally spurred its banning. It was actually originally the work of the cotton industry who put big money behind illegalization for the plant's mind altering effects. The cotton industry was afraid that hemp, a product of the cannabis plant, would soon overpower the in the media strong hold of cotton since it. Cannabis , Drug , Drug addiction 1174 Words | 3 Pages. An Intro To Argument Week 1 Discussion 1. ?English 122: Composition II An Intro to Argument Argument and Rhetoric An argument's a method for in college communicating a singular . position w/evidence, logic, persuasion. There are essential elements to all valid arguments , though they may take different forms.
1. Claim 3. Counterargument 2. Evidence 4. Rebuttal A successful argument depends upon the balance between these elements. The claim is the basis of the argument . A big opposing viewpoint, called the counterargument, is constantly pushing. Argument , Arguments , Critical thinking 932 Words | 2 Pages. Samantha Clanton Instructor Jade Bittle ENG 112-452 23 March 2013 No Child Left Behind? Or all Children Left Behind?
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Also, because there may be multiple versions. Christopher Nolan , Critical thinking , Following 27425 Words | 66 Pages. There are many presentation topics that college students can select. However, a successful presentation is determined by a number of factors, . thus it is important for a student to understand that an drinking in college students interesting presentation topic will not be enough. To start with, students should be armed with the necessary skills to create a captivating presentation. Using images in your college presentation Balance of graphics in your presentation is very important. Although images and beautiful fonts cannot. Coca-Cola , College , Decriminalization 724 Words | 3 Pages. that all living beings strive for violence in the media biological success.
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When working collaboratively, you must consider views and ideas of author paper, others working within a specific topic or project. This collaboration should consist of each participant’s ideas or thoughts. These ideas and thoughts should equally contribute to the final outcome or result of. Collaboration , Logic , Rhetoric 1758 Words | 5 Pages. Solving Spring 2013 Assignment 1 Short Argument (10%=Constructing A Short Argument ) Purpose of Assignment • . This is an individual assignment. • This assignment will help students understand the argumentation process involved in in the media essays, critical thinking.
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You can talk about many speech topics , but always refer back to - reinforce - that theme or a thesis. It's the only way the audience will remember your message. 2. Capture the central idea of media, your extemporaneous in one full sentence. Paper In Thesis? It should be a single, declarative sentence. Make sure that you make a specific statement. What do you want.
Critical thinking , Phrase , Point 716 Words | 3 Pages. CORE Arguments, Opinions and suggestions. Each group must select ONE of the Topics below: Research the Topic and Write an essays essay. In preparing their assignments, . students are expected to do a thorough research on the chosen topic and also provide case examples to how to write paper example, illustrate/defend their arguments . Where possible, students are encouraged to use UAE/GULF OR Middle-East organizations as an example. In agreement with the lecturer, they may also change the topic slightly to suit a special topic -area in their organization. . Critical thinking , Human resource management , Management 497 Words | 2 Pages. 2013) RNTREF002 Essay topic three The important problems of the mind module are: how do we understand the in the media nature of mental events, their . relation to the physical world and physical events and author in thesis, fundamentally the problems with other minds. This essay essentially serves to evaluate whether the Zombie argument against Cartesian Dualism is sound by: criticising the Zombie argument through analysing the violence in the media validity of each premise of the Zombie argument , defending the write Zombie argument against one of its objections. Argument , Consciousness , Mind 1641 Words | 4 Pages. Euthanasia: The Argument Euthanasia is defined as; “the intentional killing by act or omission of a dependant human being for his or her . alleged benefit. Media Essays? (The key word here is “intentional”. If death is not intended, it is how to write a proposal paper example not an in the media act of euthanasia.)” Source: www.euthanasia.com/definition The act of euthanasia is a very controversial issue which has many supporters, both for university roommate essay and against and has been a topic of the world’s media, time and time again. There are arguments both for and against.
Argument , Arguments , Euthanasia 2012 Words | 6 Pages. [pic] PCR0025 Critical Thinking All Foundation ONLINE NOTES Topic 3: Argumentation . In The Media Essays? • Argument is a claim put forward and defended with reasons. Argumentative Essay? • Arguments are composed of: 1. Violence Media Essays? Premises 2. Conclusion • Statement: A sentence that can sensibly be regarded as either true or false. • 2 things about statements: 1. A sentence may be used to express more than one statement. 2. Not all sentences are statements. Analogy , Argument , Critical thinking 919 Words | 6 Pages. University and Argument Essay Topic. Argument essay Topic : Any student caught cheating in school or college exams should be automatically dismissed. Do you agree or . disagree?
I. Introduction General statement: Students in university, these days have followed the path of trying to do anything to achieve best grade. And they may think cheating on violence in the an exam might seem like an easy way for a student to get a good grade and get ahead in his or her career. Thesis statement: Although there are many. Argument , Argument map , Cheating 519 Words | 2 Pages. Research Paper and Argument Topics.
1 The University Writing Center “Because writers need readers” Research Paper and Argument Topics Race and a proposal example, Ethnicity . Gender and Sexuality Multiculturalism and Diversity Advertising and Marketing Economic Issues Environmental Issues Media Issues Consumerism and Convenience Culture TV and Film Sports and Entertainment Race and Ethnicity • • • • • • • • • • • Should racial profiling be a legitimate law enforcement policy in in the essays, some areas? Should Affirmative Action for state university enrollment. Argument , Education in the United States , Federal government of the United States 4459 Words | 15 Pages. ?Andrew Jones 10.25.13 EN140 MWF 8-8:50 Ethical/ Evaluation Argument Health benefits from banning smoking Smoking should be banned on . college campuses because it is in the best interest of public health to do so. Argumentative Of Independence? For this ethical/ evaluation argument assignment I have chosen the topic of the media increase of health benefits from the write a proposal paper example ban of smoking on violence in the media college campuses. Second Author Paper? I chose this topic because I feel very strongly about the fact that there is an increased number of college students that smoke. Nicotine , Passive smoking , Smoking 1314 Words | 4 Pages. ? Three arguments Word critical argument analysis essay, focuses on three professional essays and essays, how these authors . Introduction? construct their arguments using opinion and evidence. There are many different ways in which authors can construct their arguments . Violence In The? In the highly controversial topic of legalizing marijuana I found three very different styles of arguments in which the authors backed up their opinions with facts.
In my reading of these arguments each writer had there own style. The. Cannabis , Global Marijuana March , Hashish 734 Words | 5 Pages. Essay Topics for CPHL 550 – Knowledge, Truth and Belief “Plan your work, work your plan”. – Vince Lombardi General Instructions Make sure to . How To Write Example? consult the violence in the media essays Basic Style Guidelines Document and the Tips for Writing an Effective CPHL 550 Essay Document in order to confirm the details for each assignment (both the writing service minor and the major essay) especially with respect to in the essays, the minimal length requirement. Since there is no final exam in this course, your essay assignments need to be treated with the same attention.
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The Influence Of Media Violence On …
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Violence In The Media: essays …
drawing essays Figure 1. Donald Judd, Untitled , 1967. Graphite on paper, 10 3/4 x 13 1/4 inches (27.3 x 33.7 cm) Art © Estate of Donald Judd/Licensed by VAGA, New York, NY. System, Seriality, and the Handmade Mark in Minimal and Conceptual Art. The exhibition Notations: Contemporary Drawing as Idea and essays Process presents drawings produced by seminal American artists associated with Minimal, Postminimal, and Conceptual art, as well as a selection of works by artists of subsequent generations who continue to engage with the aesthetic strategies and procedures of their predecessors.
1 In some cases the drawings on view are self-contained and autonomous, but often they are studies for how to proceed to make a sculpture, an how to example, installation, or a site-specific work. The grid, the diagram, and essays serial ordering (all methods of drinking de-skilling or noncomposition) are regularly employed as foils to subjective decision making. Yet the examination of a broad array of drawings by violence essays these practitioners reveals distinctive bodies of work that, far from being impersonal or uniform, are as diverse as the artists are innovative. While some artists tended to foreground thought and knowledge as the essential components of an artwork, others focused on the materials themselves with an equal degree of concentration. On Declaration Of Independence? In both instances the visual and physical allure of their drawings is no less important than the violence in the ideas that they convey. Central to the exhibition is the paradoxical compatibility between the stanford essay use of a priori systems and the individual touch of the artist in an artistic environment that embraced an antiemotive “serial attitude” as something akin to an ethos. In The? 2 Much has been made of the purported purging of authorial intentionality and subjectivity in Minimal and Conceptual art, which placed a heightened emphasis on analytic rigor, systematic planning, and serial methodologies. This move is often characterized as a “cool” reaction to the “hot” psychologically transparent practices and rhetoric of heroic individualism associated with modernist abstraction in the United States in the post–World War II era. 3 The purported shift from in college students essay, hot to cool—from gestural disclosure to rational, antiauthorial approaches—was, however, never definitive or clear-cut.
Drawing, a medium long associated with both the violence in the media activity of ideation and the manual act of creation, played a central role in attempts by artists associated with the process-based and conceptually rigorous practices of Minimal and Conceptual art to author in thesis, open up established understandings of aesthetic production as well as a generative site for the ongoing negotiation of the violence relationship between subjective and objective approaches, between touch and measured distance. Binge Drinking In College Essay? Drawing thus offers a compelling means through which to reexamine the received narrative of the art of violence in the media essays this period. Artists engaged in a variety of strategies and agendas—including Dan Flavin, Eva Hesse, Barry Le Va, and Sol LeWitt—readily embraced drawing’s salient attributes—its mobility and elasticity, its economy and antimonumental character, its exploratory nature, and its facility for acting as a mediator, translating abstract concepts into form—to produce works that are notational, diagrammatic, and argumentative essay reductive. Often small in media scale, delicate, playful, and service highly nuanced, these drawings suggest a level of intimacy and direct encounter with the artists’ thoughts and violence essays intentions that is less readily apparent in their work in other mediums. How To Write Paper Example? Drawing is approached here as a powerful if underrecognized lens through which to explore the productive tensions between rational calculation and subjective expression, concept and in the essays material form, and precision and stanford university roommate essay disorder that animate much of the in the media essays work on view in this exhibition.
Industrial Fabrication / Individual Notation. Employing basic forms, industrial materials, and serial repetition, artists associated with Minimalism, such as Donald Judd and Dan Flavin, sought to free art from symbolic emotional content and pretensions about its transcendent quality. While the established narrative of Minimalism emphasizes an in thesis, obscuring, even an erasure, of the artist’s hand through the use of industrial fabrication and readymade materials, the preparatory and working drawings (necessities given that their art objects were fabricated industrially) produced by violence in the media these artists reintroduce the drinking in college hand into the movement’s legacy. 4 By revealing the idea of the system and the plan for construction, these drawings expose the violence media essays process of creation and stand as vital counterpoints to the sterile perfection of the standardized industrial Minimalist object. The “literalist” position held by Minimalism in the mid-1960s is exemplified by the work of Judd, whose 1965 essay “Specific Objects” set out the basic tenets of his approach: creating self-sufficient and self-referential objects based on material specificity. Using industrial materials such as Plexiglas, aluminum, and rolled steel rather than fine art materials, Judd placed his work in a continuum with the mass-produced commodity as opposed to the history of sculpture. The artist employed drawing to work out structure, proportion, and spatial relationships for sculpture but never considered his works on paper as anything other than technical instructions, a type of introduction language used to convey information for the execution of standardized three-dimensional forms. In The? Hand-drawn works providing dimensions and material specifications, such as his untitled drawing of 1967 (fig. How To A Proposal Example? 1), paradoxically support his decidedly hands-off management style of delegation and violence media supervision. 5. While Judd understood his working drawings as necessary supporting material for the creation of stanford university roommate his serial sculptural works, drawing played a more essential role in the practice of his Minimalist contemporary Dan Flavin.
The artist drew incessantly and for a variety of purposes: to notate an idea or create working drawings for artworks in violence in the media other media; to make quick renderings of nature; to execute finished presentation drawings for sale; and to commission “final finished diagrams”—drawn in colored pencil on how to a proposal paper, graph paper by his wife, son, and studio assistants—which acted as records of his site-specific fluorescent light installations. 6 The act of violence media essays drawing increased in importance once Flavin’s practice shifted, around 1963, to making works employing readymade fluorescent lamps bought from the hardware store and installed by technicians. He used commonplace materials (ballpoint pen, office paper) to sketch and document possible arrangements for site-specific installations. Although he tended to downplay the graphic value of these drawings, they were essential to his practice, existing as residues of roommate thought. Flavin was always careful to save and date each of these works on paper in order to record the sequence in which they were made.
Drawing thus became a way of projecting and violence in the essays planning situations and a means of archiving those plans, relating both to the future and to the past. 7. Figure 2. Dan Flavin, Four drawings for the John Weber Gallery, Feb. 7, 1973; Feb. 8, 1973; Feb.
12, 1973; Feb. 14, 1973 , 1973. Ballpoint pen on typing paper, 4 sheets, each 8 1/2 x 11 inches (21.6 x 27.9 cm) © 2012 Stephen Flavin / Artists Rights Society (ARS), New York. Four Drawings for author, the John Weber Gallery, Feb. 7, 1973; Feb. 8, 1973; Feb. Violence In The Media Essays? 12, 1973; Feb.
14, 1973 (1973; fig. 2) is representative of these working drawings. Rendered in pen on white typing paper, these minimal graphic renderings are composed of a series of what Flavin described as “impetuous marks, sudden summary jottings . . . those of a kind of intimate, idiosyncratic, synoptic shorthand (by now, mainly my ‘style’).” 8 The four drawings that make up this group were produced over the course of a week. Flavin scribbled over and rejected the earliest drawing in the series (Feb. 7, 1973), while the word final is written and underlined in his expressive handwriting at the top of the sheet dated February 14, 1973. Memos run all over these pages, supplying information such as color, location, and dimensions. Fluorescent tubes are represented by writing out the name of the color horizontally and vertically (daylight, warm white, cool white, red, yellow, etc.), literally drawing with words.
One drawing includes a series of introduction help for essays dedications to friends: “to Kay Foster,” “to Donna.” Personal dedications were common in Flavin’s practice, referring not only to friends but also to art historical figures such as Barnett Newman and to political events, as in a 1970s drawing dedicated “to the essays young woman and men murdered in Kent State and Jackson State Universities and to their fellow students who are yet to be killed.” The inclusion of author paper in thesis these personal notes lends Flavin’s work a poetic and political dimension not normally associated with the technical, industrial look of Minimalism. Drawing proved less well suited to the overall goals of media essays other artists associated with Minimalism, for whom the medium gave undue preference to the conceptual over the physical and temporal experience of their sculptural work and the ambiguities of that experience. The emphasis on the gap between conception and perception, or between the idea of the work and the experience of essay on declaration of independence its physical form, inherent to drawing, troubled artists such as Carl Andre, who rejected a conceptual label for his practice, framing it instead as overtly materialist. 9 The viewer of his floor pieces, exemplary works of Minimalist art, was meant to be ambulatory: “My idea of a piece of sculpture is a road. That is, a road doesn’t reveal itself at any particular point or from any particular point. . . In The? . Most of how to write a proposal paper my works—certainly the successful ones—have been ones that are in violence essays a way causeways—they cause you to make your way along them or around them or to move the spectator over them.” 10 An Andre floor sculpture is intended to provide a phenomenological encounter, extending into and articulating its surroundings; viewers can stand on top of and move across his horizontal works and not see them, experiencing a given piece through a tactile rather than an optical relationship.
Figure 3. Carl Andre, Blue Lock , 1966. Colored ink and felt-tip pen on graph paper, 8 3/4 x 9 3/4 inches (22.2 x 24.8 cm) Gift of Sally and how to a proposal paper example Wynn Kramarsky, The Museum of Modern Art, New York. Art © Carl Andre/Licensed by media VAGA, New York, NY. Given the importance that he placed on introduction for essays, both the materiality of the sculptural object and the viewer’s spatial encounter with it, Andre was resistant to violence in the essays, resolving a given work in a single, fixed image, be it in the form of a preparatory drawing or an installation photograph. In Blue Lock (1966; fig. Second? 3), for example, he attempted to violence essays, work against introduction help, the static properties of drawing in order to convey both the conceptual simplicity and the perceptual complexity of the sculptural work to in the media essays, which it relates. 11 Working on graph paper, he registered his idea for a floor sculpture as both a square and a rectangle made up of repeated rectangular units.
In two adjacent grids he filled the regimented squares of the paper with handwritten letters that spell out the on declaration of independence words lock and violence essays blue . Written in all caps, the stanford roommate letters run in multiple directions, suggesting manifold views—the viewer is in the essays compelled not only to read across the grids but also to turn the sheet around to view it from diverse vantage points. 12. Richard Serra similarly grappled with the disjunction between the fixed nature of the preparatory sketch and the physical experience of his large-scale sculptural work in space and time. Argumentative On Declaration? Early in his career, the artist produced small working drawings executed in graphite on paper, denoting a process at once notational and in the projective. Untitled (Preliminary Drawing for L.A.
County Museum) (1971; fig. 4) provides a bird’s-eye view of an initial concept for a sculpture made of industrial sheets of write example steel, one that was destined to remain unrealized. While the drawing offers an overview of the violence essays form of the sculpture, it remains unconcerned with the on declaration of independence perceptual shifts unfolding over time and the transient experiences of a specific site, which would become a major feature of Serra’s monumental sculptural projects. 13 The artist soon rejected such working drawings altogether, stating: “I never make sketches or drawings for essays, sculptures. I don’t work from an university roommate, a priori concept or image. Sculptors who work from drawings, depictions, illustrations, are more than likely removed from the working process with materials and construction.” 14. Figure 4. Richard Serra, Untitled (Preliminary Drawing for violence in the media, L.A. County Museum) , 1971. Graphite on paper, 17 3/4 x 23 1/2 inches (45.1 x 59.7 cm) © 2012 Richard Serra / Artists Rights Society (ARS), New York. Figure 5. Richard Serra, Titled Arc , 1986. Oil crayon on custom writing service, paper, 19 x 24 1/2 inches (48.3 x 62.2 cm) © 2012 Richard Serra / Artists Rights Society (ARS), New York.
Drawing would remain a fundamental practice for Serra nevertheless. Essays? He began to reverse the medium’s traditional role, however, sketching his sculptures after they were completed as a means of of independence thinking through formal problems and understanding what he sees and in the encounters. 15 With Tilted Arc (1986; fig. 5), one in a series of sketches in notebooks made with oil crayon, drawing becomes a means to revisit a piece, in this case his work of public art of the same title constructed in 1981 at drinking in college essay, Federal Plaza in New York. While photographs of the sculpture fulfill the roles of violence documentation and dissemination, Serra’s drawing—consisting of a few bold, black lines in oil crayon—performs another function, that of distilling his physical experience of the piece on-site. The process of making the write a proposal paper work is palpable: the violence in the media essays actions of the hand, its movement and pressure, are visible and introduction for essays felt on the surface of the paper. Much like the quick notations and personal dedications found in Flavin’s work—which subvert the cold, detached character of his light installations—Serra’s physically expressive and gestural drawing works to destabilize the aggressive character of violence media his monumental sculptural practice.
Begun during the prolonged public hearings and how to paper example lawsuits relating to Tilted Arc , which would result in the removal and ultimate destruction of the sculpture in 1989, this series of sketches also retains what Yve-Alain Bois has described as a “sense of mourning,” a sober look back at a project that can never again be experienced in real time and space. 16. Prescribed Procedures / Amorphous Results. By the late 1960s, the emphasis on in the media, materiality and physicality of experience, evinced in both Andre’s and Serra’s distinctive approaches to drawing and sculpture, was pervasive. Many artists attempting to extend or, in some cases, react against the principles of Minimalism explored process, performance, installation, and site-specific approaches to creation. Barry Le Va’s opening up of the boundaries of sculptural experience with his antiformal dispersals of stanford roommate nontraditional materials exemplifies a larger shift away from the pristine, manufactured look of Minimalism toward an exploration of the ways in which a work of art literally comes into being. The term Process art encompassed practices like Le Va’s, in media which the importance of a work of art is understood to lie more in in college its materiality and violence how it was made than in the final product. Process-based works frequently took the form of ephemeral actions, such as the performance of common tasks detached from introduction, subjectivity, as well as temporary, site-specific installations. Preparatory and presentation drawings are often the only remaining witnesses (besides documentary photographs) to the transient events that these artists enacted and the materials that they engaged with.
Figure 6. Barry Le Va, Wash , 1969. Ink on graph paper mounted on paper, 18 1/2 x 22 inches (47 x 55.9 cm) © 2012 Barry Le Va. In 1966 Le Va began producing his distribution pieces, floor-based installations that rejected traditional notions of violence media essays a strictly ordered composition. Essay? These works exploited the properties of everyday materials—felt, chalk, flour, broken glass, mineral oil, iron oxide—and the relative relationships established through loose juxtaposition. Despite the accidental nature of Le Va’s mutable compositional strategy, drawing remained central to violence in the, his sculptural practice, in the form of diagrammatic sketches or flexible blueprints that brought order to the formlessness that characterizes his contingent installations.
17 He drew “to be alone with myself,” “to discover and clarify my thoughts,” “to visualize my thoughts,” and binge students “to convince myself some thoughts are worth pursuing.” 18 Certainly one can detect a sense of disegno in his conception of drawing—that is, a projective and idealist belief in the medium as uniquely capable of revealing the artist’s mind at work and exposing the mechanism of the creative process. Yet Le Va’s employment of the diagram (a form typically associated with architecture, engineering, and mathematics rather than with art) in essays works such as Wash (1968; fig. Introduction For Essays? 6), a study for a distribution piece, complicates the violence media romantic idea of drawing as an unmediated reflection of the mind of an individual as registered through the university roommate autographic mark. His methodical ordering of space on violence media, the page belies the accidental appearance and unstable dispersal of materials that define his distribution pieces by revealing the predetermined nature of the overall arrangement of the work. Second Author? 19 Orderly and precise in process and appearance, his works on paper enact a reversal of the traditional understanding of drawing as a flexible site for spontaneous creation. In Le Va’s case, spontaneity is ultimately deferred onto the unfolding of events occurring in the space of the gallery itself. Wash (1968) exemplifies the generative tension between the in the essays random and the orderly that Le Va actively cultivated in his early works. The drawing includes passages of graph paper on university, which the artist first mapped out the media distribution of pieces of felt and binge drinking essay shards of glass. Le Va and many of his contemporaries frequently used graph paper, not so much for its look as for its suitability for the transfer of ideas into form. As the artist Mel Bochner reasoned, “graph paper reduces the tedious aspects of drawing, and permits the easy and violence media immediate alignment of random thoughts into conventionalized patterns of reading and forming.” 20 Le Va cut up the uniform graph paper into random shapes, repositioned the fragments atop a sheet of white paper, and connected the pieces through a series of colorful stains made using red, black, and gray ink.
The artist’s handwritten inscription placed under the drawing makes it clear that the stains are meant to reference specific materials: red or black iron oxide and mineral oil. This diagram was apparently never realized in sculptural form but is related to paper, a series of impermanent installations that Le Va would complete at violence, the Walker Art Center in Minneapolis in 1969. These installations involved minerals in custom essay writing different states of saturation (wet, damp, and dry) and their potential chemical reactions. Substances were poured directly on the gallery floor and were allowed to dissolve and run into essays one another, eventually drying, cracking, and staining over time. 21 The strict formal economy of Le Va’s drawn plan simultaneously contradicts and enhances the flux, flexibility, and physical damage unleashed in essay of independence the space of the gallery. Figure 7. William Anastasi, Untitled (Subway Drawing) , 1973. Graphite on paper, 7 5/8 x 11 1/8 inches (19.4 x 28.3 cm) Mildred Lane Kemper Art Museum, Washington University in St. Louis, Gift of Mr. and essays Mrs.
Gary Wolff, 2011. © 2012 William Anastasi. Figure 8. William Anastasi, Untitled (Subway Drawing) , 2009. Graphite on on declaration, paper, 8 x 11 1/2 inches (20.3 x 29.2 cm) © 2012 William Anastasi. William Anastasi’s subway drawings (figs. 7, 8) engage a similar process-driven dynamic—highly prescribed yet open to unforeseen occurrences—while reflecting a very different intention from the deliberate, diagrammatic approach employed by Le Va.
Beginning in the late 1960s, Anastasi developed his unconventional series of “unsighted” works—blind drawings, pocket drawings, and subway drawings—as means of abdicating rather than establishing control by submitting the graphic process to chance. To create his ongoing series of subway drawings, he sits on a subway train, places a sheet of paper on a board on violence in the media essays, his lap, takes a pencil in each hand, rests the points on the paper, closes his eyes, dons headphones to block out all ambient sound, and lets the movement of his body in transit determine the composition of each work. Rather than relying on vision, he creates the work by assigning himself a simple task and arbitrary limits: each drawing is produced in the time it takes him to university roommate essay, get from point A to point B on the subway and is finished when he gets off the train at a predetermined destination. By drawing blind and incorporating chance, Anastasi subverts the tradition of drawing as a synthesis of vision, knowledge, and manual skill. In carrying out this prescribed act, which is both meditative and absurd, the artist places his focus squarely on phenomenology.
Phenomenological impact became a key aspect in some strains of Minimalist sculptural production in in the essays the late 1960s as artists such as Carl Andre, Robert Morris, and essay service Richard Serra were preoccupied not only with the process of production but also with how a work was perceived by the viewer in real time and violence media space. 22 These artists often forced the spectator’s body into introduction help a confrontation with an object or a visual field as a form of defamiliarization, exhorting viewers to become conscious of their own processes of perception in order to see beyond the prevailing conventions of art. With Anastasi’s more modest drawings, however, it is not the spectator’s active experience of a sculptural work that is highlighted but that of the artist himself. His body becomes a key instrument in the overall performance, serving as a passive implement that absorbs and media records motion. Always consisting of two scribbled clusters of lines that move in all different directions, the subway drawings read as residues of a durational performance and as records of Anastasi’s travels across New York, revealing the temporal experience of the artist. Systematic in help for essays approach and detached in procedure, this brand of embodied mark making nevertheless proffers a significant reopening to the bodily subject. Sol LeWitt pushed the process- and systems-based approach to artistic production in still another direction. Rejecting any focus on violence in the media, the performing body of the artist, he elevated the working through of an how to write a proposal, idea to a position of importance, which he understood as equal to violence media, that of the resulting work.
Though initially associated with Minimal art, LeWitt emerged as one of the leaders of Conceptual art. In his “Paragraphs on stanford university roommate, Conceptual Art” (1967), which became in violence in the media effect a manifesto for the movement, he crystallized a radically divergent move in postwar art toward praxis as idea based: “If the artist carries through his idea and makes it into visible form, then all the university essay steps in the process are of violence in the essays importance. The idea itself, even if not made visual, is as much a work of art as any other aesthetic product. All intervening steps—scribbles, sketches, drawings, failed works, models, studies, thoughts, conversations—are of interest.” 23 Given the importance LeWitt placed on introduction, the “intervening steps” in the manifestation of an violence media, idea, both drawing and language (visual experience and linguistic experience) hold a privileged place in his body of work. Figure 9. Sol LeWitt, Three-Part Variations on Three Different Kinds of Cubes 331 , 1967. Ink and graphite on paper, 11 3/4 x 23 3/4 inches (29.8 x 60.3 cm) © 2012 The LeWitt Estate / Artists Rights Society (ARS), New York. Three-Part Variations on Three Different Kinds of author paper Cubes 331 (1967; fig. 9) is a drawing of a series of three-dimensional structures related to concurrent sculptural explorations.
LeWitt plotted different permutations on three-cube constructions or, as he wrote at the top of the drawing in capital letters: “three three-part variations in which the violence top and bottom cube have one side removed (3) while the introduction help for essays middle cube is solid (1).” The artist replaced traditional principles of violence in the media essays sculptural organization and in college essay compositional relational order with a chosen permutational system that can be rationally calculated and violence in the media thus understood by the viewer either mentally or in material form. The cubes are drawn in introduction help isometric perspective (a technique commonly employed in technical or engineering drawings) on a hand-drawn grid. The use of the grid emphasizes the media essays uniformity of the cubes: each cube is two grid squares tall and two grid squares wide. The grid and the technical rendering give the binge in college appearance of an ordered sequence intended to provide objective visual information, expressing a universalizing vision of industrial-age perfection based on serial production. It appears that LeWitt used this language of efficiency in order to subvert it, however. 24 The seemingly endless potential for variation implied in in the essays his system gives the essay on declaration of independence lie to the fundamental arbitrariness of his concept and the subjective decision making that orders it. He employed the grid, the cube, and serial structure as checks to violence, subjective choices, yet his drawing and its system of stanford roommate rules paradoxically work to reaffirm the creative role of the artist. 25.
Although the serial is commonly associated with the rationalism found in violence Minimalist works by artists such as Judd, Andre, and Flavin, it always holds within it a relationship to write paper example, its opposite: the random or antirational. LeWitt acknowledged as much in his second text on Conceptual art, “Sentences on Conceptual Art” (1969), making a distinction between the logical approach of in the media essays scientific or industrial production and that of aesthetic experience: 1. Conceptual artists are mystics rather than rationalists. Write Paper? They leap to conclusions that logic cannot reach. 2. Rational judgments repeat rational judgments.
3. Irrational judgments lead to new experience. 4. Violence Media Essays? Formal art is essentially rational. 5. Irrational thoughts should be followed absolutely and logically. Introduction? 26. LeWitt uses the word irrational loosely in this text. Violence? Employed in this context as a means of signaling the polar opposite of rational judgment and sound logic, the binge drinking students essay term also implies a type of action that is completely beyond human control, a meaning that seems to move outside the bounds of the dichotomy that he strives to set up between the violence in the media essays rational and the subjective.
While LeWitt held on to a systematic approach to artistic production, he recognized that only by moving past the tautological thinking of rationalist aesthetic approaches could one arrive at new forms and experiences. Figure 10. Eva Hesse, Untitled , 1967. Ink on graph paper, 11 x 8 1/2 inches (27.9 x 21.6 cm) © The Estate of Eva Hesse, Hauser #038; Wirth Zurich London. Eva Hesse also probed the relationship between order and disorder, between serial methodology and essay antirational processes, yet her work delineates an opposing limit of this practice. Although she was part of the circle of media Minimalist and Conceptual artists who worked and socialized in introduction New York in the 1960s and 1970s, her artistic production is often characterized as Postminimal, a term that acknowledges her move to open up the constrained structures of Minimalism by giving geometric form an organic and bodily dimension. Hesse’s work is notable for the way in violence in the media which it implicates the body in new ways—the body understood as a psychic site rather than the help for essays neutral or passive one of Anastasi’s subway drawings and much Minimalist art. Drawing played a central part in this expansion of in the media essays boundaries. By 1966 Hesse began making a series of binge drinking in college essay drawings using black ink on graph paper. She worked with the controlled grid, but was equally interested in the potential for in the media, accident, embarking on what has frequently been described as a form of compulsive repetition and accumulation.
The artist herself gave credence to such an interpretation with statements such as, “Series, serial, serial art, is another way of repeating absurdity.” 27 Her untitled drawing of 1967 (fig. 10) is exemplary of this series of works in which the basic element of the circle is repeated over and over to binge essay, fill in the form of the violence essays grid. Although relatively sparse, the drawing exudes a concentrated intensity that works to heighten the psychological dimension of Minimalism’s embrace of geometry and repetition. Help? The recurrence of the circle involves a mechanical gesture, yet the end result is decidedly uneven; upon closer inspection, the irregularities of each circle reveal themselves. Diversity and variation are achieved not as a function of rules of permutation, as in LeWitt’s drawing, but as a result of the uneven pressure of the artist’s hand on the paper. This endows the drawing with a decidedly personal, tactile dimension that opposes the strict reductivism of LeWitt, her Conceptualist contemporary. Minimal and in the media Conceptual Drawing and its Legacy. Although their approaches and agendas were notably distinct, all the artists discussed here were working through the fallout of paper in thesis a modernist vision of art and society, self-consciously rethinking and challenging established traditions of in the media essays artistic practice. Created during a liminal moment between modernism and postmodernism, their drawings represent less a stylistically coherent body of work than an intensive mode of thinking about redefining the binge material and conceptual conditions of art-making.
While attempting to move away from the emotive claims of violence essays their Abstract Expressionist predecessors, artists associated with Minimal, Postminimal, and Conceptual practices wanted to uphold the freedom of experimentation with form and materials initiated by artists such as Jackson Pollock. Argumentative Essay On Declaration Of Independence? The climate of analysis and material experimentation of the 1960s and violence essays 1970s in the United States not only addressed the artwork and standards of artistic production but also extended to writing service, the critique of institutions, the role of the artist and essays audience, the dissemination of stanford university roommate essay artworks in the market, and the industrial conditions of modern society. 28 Drawing was certainly not the only medium to in the media essays, reflect these tendencies, but its diverse implementation, immediate character, and ability to convey process made it a particularly apt means of registering the generative tension between analytical strategy and individual creation that underpins much of the author paper in thesis art produced at this time. Figure 11. N. Dash, Commuter , 2011. Graphite on paper, 14 3/4 x 9 3/4 inches (37.5 x 24.8 cm) In the four decades since the 1970s, several significant paradigm shifts have reshaped the political and social world in which we live, including the rapid rise of the digital age and an increased global connectedness accompanied by greater mobility, standardization, and homogenization. Art has continued to adapt to these new conditions. Many of the violence in the media essays issues that motivated the artistic struggle to second paper in thesis, work through and against modernist endgames—the idea that art is in the essays predicated on a progressive model of invention or the essentialist notion that something like the absolute essence of painting or sculpture exists—are of little interest to second author paper, subsequent generations of media essays artists. 29 They no longer feel compelled to how to paper, grapple with the rules of violence essays such a limited approach; nor are they constrained by postmodernism’s negative and nostalgic appraisal of the modernist past. Rather, artists working today openly reference and revise the art historical past, including the history of how to a proposal modernism, exploiting the possibility afforded them of media freely engaging with the creative process to argumentative, arrive at new forms and ideas.
Figure 12. Jill O’Bryan, 40,000 Breaths Breathed Between June 20, 2000 and March 15, 2005 , 2000-05. Graphite on paper, 60 x 60 inches (152.4 x 152.4 cm) The artists N. Violence Media Essays? Dash and Jill O’Bryan, for instance, adopt a range of service modernist strategies, including repetitive and serial processes as well as body and media essays performance art, all of which emerged in the 1960s and early 1970s. They take these strategies down markedly different paths, however, placing overt emphasis on aesthetic gratification, material exploration, and individual gesture coupled with a strong engagement with the tasks and rhythms of daily life. Essay Of Independence? Rather than explicitly linking the practice of drawing to large-scale sculptural installations and other conceptual projects—as was the case in the work of Flavin, Serra, Le Va, and LeWitt—both artists embark on highly hermetic forms of creation through which the properties of violence in the essays drawing are probed and second author developed. They highlight labor-intensive methods of in the essays manual craft and the materiality of the specific medium being employed yet also implicate the on declaration artist’s body. N. Dash’s Commuter Works (ongoing since 2010) move beyond the violence in the essays notebook, the preparatory sketch, and the traditional form of pencil on paper (fig. 11). Her works appear conceptually in stanford essay line with Anastasi’s subway drawings in that they record the in the media artist’s bodily movements while riding public transportation in stanford roommate New York, but they are created without the use of a drawing implement, revealing a desire for a more immediate connection between the maker’s hand and the materials.
Dash produces these works by folding, rubbing, creasing, and refolding sheets of paper and then applying pigment (graphite or indigo powder) to them by hand in order to highlight the progressive accumulation of wrinkles and marks. Her practice is based less on violence in the media essays, an exploration of automatic processes, chance occurrences, or a sublimation of the subjective self, as are Anastasi’s subway drawings, and more on an examination of the means by which bodily expression can be embedded into the support materials associated with painting, sculpture, and drawing. Jill O’Bryan’s large-scale 40,000 Breaths Breathed between June 20, 2000 and March 15, 2005 (2000–2005; fig. A Proposal Paper? 12) also turns drawing into essays a recording device as the artist meticulously tracked her individual breaths over the course of five years, using only pencil marks on paper. In a manner similar to the accumulative gestures seen in Hesse’s gridded drawing, the graphic patterns that emerge across O’Bryan’s large sheet are not rigid or precise but rather organic and irregular, undulating with a gradation of essay tones based on the amount of pressure the artist exerted on the paper. The final drawing appears as nothing less than a test of endurance, one that resonates with certain approaches to body art and feminist agendas.
With its emphasis on time and repetition, the work emerges as a fragile, obsessive attempt to explore the conditions of selfhood and register something of the daily experience of art. Figure 13. Janet Cohen, San Francisco at New York, 10-8-2000, Mets win 4-0 , 2004. Graphite on paper, 9 1/4 x 13 inches (23.5 x 33 cm) © Janet Cohen, 2004. Janet Cohen’s ongoing practice of meticulously charting popular activities such as the seemingly random events of a baseball game offers yet another variation on violence, this internal and indexical approach to mark making, one that appears to speak simultaneously to the fragmentation of contemporary life and nostalgia for a sense of second paper completeness. Her clustered diagrams of overlapping numbers and letters in black and white pencil are the media result of her own idiosyncratic system for estimating locations where pitches cross the custom essay service strike zone and the results of the actual pitches during a given baseball game. Works such as San Francisco at New York, 10-8-2000, Mets win 4–0 (2004; fig.
13) exist as both abstract representations of media these events and as highly individual catalogs of time and thought whose underlying system is understood by the artist alone. What exactly is at stake today in this intertwined desire for an immediacy of touch within prescribed limits? Marking up a blank piece of paper—experiencing a concrete and immediate way of making art within an evolving digital landscape that often removes us from experiencing “the real” and ourselves—appears to offer itself as an inherently human activity. Stanford University? The use of predetermined parameters complements such individual efforts, providing a means of organizing thought, tracking time, and perhaps bringing a sense of order and consistency to the disorder of daily events. Drawing has always served as a vital means of violence in the media making sense of the world around us and the forces that animate it, mediating rather than mirroring our lived condition. In the binge drinking 1960s and 1970s artists grappled with industrial conditions then shaping their everyday lives by engaging systematic and programmatic procedures to violence media essays, guide their work. In many instances, the how to write a proposal example pronounced engagement with seriality and repetitive marking, charting, and diagramming offered a means not of adopting the rational logic of industry but of highlighting art’s potential escape from it.
It seems apt in today’s contemporary climate of ongoing upheaval and perpetual advancement of digital technologies that the desire to draw, to mark, to track is embraced by artists who, much like their historical predecessors, seek to expand the capacities for invention while working to regain a sense of human experience. 1. All the works in the exhibition are drawn from the collection of Sally and Wynn Kramarsky, New York; several of them have been donated by the couple to The Museum of Modern Art, New York. Over the past few decades, the violence media Kramarskys have amassed a collection that provides an stanford university roommate, impressive overview of in the media essays canonical Minimal, Postminimal, and Conceptual art, while continuing to second author in thesis, collect works by emerging artists whose work is in line with this core aesthetic. 2. The term comes from Mel Bochner, “The Serial Attitude,” Artforum 16 (December 1967): 28–33. 3. See Irving Sandler, “The New Cool-Art,” Art in America 53 (February 1965): 96-101, and violence media Pepe Karmel, “An In-Between Era,” in New York Cool: Painting and a proposal paper example Sculpture from the NYU Art Collection (New York: Grey Art Gallery, New York University, 2008), 21–35. In recent years, several scholars have begun to media essays, rewrite the received history of postwar American art. See, for example, Catherine Craft, An Audience of Artists: Dada, Neo-Dada, and the Emergence of Abstract Expressionism (Chicago: University of Chicago Press, 2012). 4. Write A Proposal Example? The language of late capitalist efficiency and violence media essays organization informed many of these projects as artists mimicked the division of labor into mental and manual realms by commissioning others to realize their ideas or, in essay some cases, sidestepping actual material production altogether. Essays? For an in-depth analysis of the relationship between artistic production, labor, and the shifting socioeconomic context in 1960s America, see Helen Molesworth, Work Ethic (Baltimore: Baltimore Museum of Art, 2003), and university roommate essay Julia Bryan-Wilson, Art Workers: Radical Practice in the Vietnam War Era (Berkeley: University of California Press, 2009).
5. Judd’s drawings, and the significant revision of the role of the artist that they suggest, would meet with controversy later in his career, when the Italian collector Giuseppe Panza authorized the fabrication of sculptures from the artist’s working drawings without Judd’s permission. Judd declared these works forgeries, insisting that his oversight was required in the fabrication of his work. See Susan Hapgood, “Remaking Art History,” Art in America 78 (July 1990): 114–17. See also Molesworth, Work Ethic , 163. 6. In The? Numerous publications since the 1970s have explored the role that drawing played in custom writing Flavin’s artistic practice. See Emily S. Rauh, Dan Flavin: Drawings and Diagrams, 1963–1972 (Saint Louis: Saint Louis Art Museum, 1973); Dan Flavin: Drawings, Diagrams, and violence essays Prints, 1972–1975 (Fort Worth, TX: Fort Worth Art Museum, 1977); and stanford university roommate Dan Flavin Drawing (New York: Morgan Library, 2012). 7. Briony Fer, “Nocturama: Flavin’s Light Diagrams,” in Dan Flavin: New Light , ed. Jeffrey Weiss (Washington, DC: National Gallery of violence in the media Art, 2006), 46. 8. Dan Flavin, statement on view at the Kunstmuseum Basel in service the exhibition Zeichnungen, Diagramme, Duckgraphik, 1972 bis 1975, und Zwei Installationen in fluoreszierendem Licht von Dan Flavin (1975), reprinted in Dan Flavin (1976), 6. 9. Media? In a 1970 interview with Phyllis Tuchman, Andre states, “I am certainly no kind of write example conceptual artist because the physical existence of my work cannot be separated from the idea of it….My art springs from my desire to have things in the world which would otherwise never be there.” See Phyllis Tuchman, “An Interview with Carl Andre,” Artforum 8 (June 1970): 60.
10. Violence Media? Andre, ibid., 57. 11. Drinking Students? The drawing relates to Andre’s planar floor sculptures Blue Lock Trial (1966), Blue Lock (1967), and Black Lock (1967). The latter two works have since been destroyed. 12.
Christine Mehring provides a compelling reading of this drawing. See Mehring, “Carl Andre: Blue Lock, 1966,” in Drawing Is Another Kind of Language: Recent American Drawings from violence in the media essays, a New York Private Collection , by drinking in college students Pamela M. Lee and Christine Mehring (Cambridge, MA: Harvard University Art Museums, 1997), 28–29. 13. Yve-Alain Bois, “Descriptions, Situations, and Echoes: On Richard Serra’s Drawings,” in Richard Serra: Drawings, Zeichnungen, 1969–1990 (Bern, Switzerland: Bentelli, 1990), 17. 14. Richard Serra, “Interview: Richard Serra and Bernard Lamarche-Vadel,” New York, May 1980, first published in Artistes (November 1980), reprinted in Richard Serra: Interviews, Etc., 1970–1980 (Yonkers, NY: Hudson River Museum, 1980), 146. 15. For an in-depth analysis of Serra’s approach to drawing across his career, see Bernice Rose, Michelle White, and Gary Garrels, eds., Richard Serra Drawing: A Retrospective (Houston: Menil Collection, 2011). 16. Bois, “Descriptions, Situations, and Echoes,” 28.
17. Klaus Kertess has aptly described Le Va’s drawings as having “the clarity and conviction of a topographic map or a computerized analysis of atmospheric turbulence.” See Klaus Kertess, “Between the Lines: The Drawings of media essays Barry Le Va,” in binge in college students essay Barry Le Va, 1966–1988 (Pittsburgh: Carnegie Mellon Art Gallery, 1988), 27. 18. Barry Le Va, “Notes” (undated), reprinted in Accumulated Vision: Barry Le Va (Philadelphia: Institute of Contemporary Art, 2005), 89. 19. Ingrid Schaffner has perceptively noted that while Le Va’s installation photographs might tell us “how Le Va sees his installations,” it is his drawings that “tell us how to read them.” See Ingrid Schaffner, “Accumulated Vision and Violence, Barry Le Va,” in Accumulated Vision , 61. 20. Mel Bochner, “Anyone Can Learn to media, Draw,” press release for Drawings , Galerie Heiner Friedrich, Munich, 1969, reprinted in Bochner, Solar System #038; Rest Rooms: Writings and Interviews, 1965–2007 (Cambridge, MA: MIT Press, 2008), 61.
21. Marcia Tucker describes the 1969 installations in Tucker, “Barry Le Va: Work from essay on declaration of independence, 1966–1978,” in Barry Le Va: Four Consecutive Installations and violence essays Drawings, 1967–1978 (New York: New Museum, 1978), 12. For photographs of the installation, see ibid., 24, 25. 22. See particularly Robert Morris’s series of essays, “Notes on Sculpture” (February 1966) and author paper in thesis “Notes on Sculpture, Part II” (October 1966), reprinted in Continuous Project Altered Daily: The Writings of Robert Morris (Cambridge, MA: MIT Press, 1993). 23. Sol LeWitt, “Paragraphs on Conceptual Art,” in violence in the essays Open Systems: Rethinking Art, c. 1970 , ed. Roommate Essay? Donna DeSalvo (London: Tate Modern, 2005), 180; originally published in Artforum 5 (Summer 1967). 24.
James Meyer, Minimalism: Art and media Polemics in the Sixties (New Haven, CT: Yale University Press, 2001), 187. 25. Stanford? In the 1960s LeWitt was attracted to the cube and the square as “grammatical devices from which the violence work may proceed.” He went on to elaborate: “They are standard and universally recognized, no initiation being required of the viewer. . . . Help? The use of a square or cube obviates the necessity of inventing other forms and reserves their use for invention.” See Sol LeWitt, untitled statement in violence in the essays Lucy Lippard et al., “Homage to the Square,” Art in America 55 (July–August 1967): 54. 26. LeWitt, “Sentences on Conceptual Art,” in Sol LeWitt: Critical Texts , ed.
Adachiara Zevi (Rome: I Libri di AEIOU, 1994), 88, originally published in 0–9 (New York, 1969). 27. Eva Hesse, quoted in Lucy Lippard, Eva Hesse (New York: De Capo, 1976), 96. 28. Josef Helfenstein, “Concept, Process, Dematerialization: Reflections on second in thesis, the Role of Drawings in Recent Art,” in Drawings of Choice from a New York Collection , ed. Josef Helfenstein and Jonathan Fineberg (Champaign, IL: Krannert Art Museum, 2002), 13. 29. Yve-Alain Bois examines the end of modernist painting in terms of play and gaming, suggesting that painting is never an endgame but a game comprising different matches. Violence In The? See Yve-Alain Bois, Painting as Model (Cambridge, MA: MIT Press, 1990), 241–42. Jordan Kantor also takes up Bois’s analogy in her essay “Drawing from the Modern: After the Endgames,” in binge students Drawing from the Modern, 1975–2005 (New York: Museum of Modern Art, 2005), 53–54. Error: Twitter did not respond.
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