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[3]. From Concept to Object: The Artistic Practice of Drawing: Lynn Gumpert

In today’s contemporary art world, drawing is hot. Or, to

quote the subtitle of a recent cover story devoted to the

topic in ArtNews, “From fractured fairy tales to abstract

geometries to observations of the night sky, drawing is

becoming many artists’ primary medium.”1 In other words,

visual artists are not only drawing now more than ever,

but many are only drawing. Additional evidence also

testifies to the medium’s increasing importance in the

contemporary art scene. A few years ago, the exhibition

“Drawing Now: Eight Propositions”—organized by Laura

Hoptman at New York’s Museum of Modern Art-garnered

unusually ecstatic reviews.2 For example, Peter Schjeldahl,

writing in The New Yorker, described the show as “a

trailblazing event for an art world that has sorely needed

one,” noting that “it affirms that a search is on for renewed

standards of mastery, validity, and eloquence in a medium

[i.e. drawing] that has been the bedrock” of the visual

arts.3 Like the ArtNews cover story, the MoMA exhibition

examined drawing as an end in itself. Both the article

and the show propose that, in distinct contrast to the past,

artists are now unapologetically engaging drawing as a

“chosen medium” and not merely as a means to develop

ideas that ultimately would be realized as paintings,

sculptures, or installations.