Richard Serra, "Drawings After Circuit"(1972), charcoal on paper
When I think of Drawing (with a capitol D) in this way, as an ever-growing, all-encompassing means of creating, I'm reminded of what Rosalind Krauss had to say about Sculpture in her famous 1979 essay "Sculpture in the Expanded Field." I won't go into details, but basically, what I mean to suggest by this is perhaps that Drawing has entered an 'expanded field' of its own. Perhaps the line culture has "drawn" between drawing and sculpture isn't quite as clear as we may think. The same could be said for drawing and performance (in which the drawing is a record of performance - see Tony Orrico), as well as many other overlapping categories of art-making. John Dewey, in Art as Experience, makes a clear argument for this idea, suggesting that the various media "form a continuum, a spectrum, and that while we may distinguish the seven so-called primary colors, there is no attempt to tell exactly where one begins and another one ends."
My intention in this post was originally to highlight Richard Serra's accomplishments in drawing, but it seems I've gotten off topic. I'm on the verge of delving into a lengthy discussion of categorical classifications in art-making - its effect on art education - and many relevant opinions on the subject (this topic is discussed at length in Art School: Propositions for the 21st-Century)... but perhaps I'll save that for another day.
|a site-specific drawing by Richard Serra|