It’s not hard to imagine that Andy Warhol wanted to “be a machine” and “machine-like” in how he made his art, a claim he made in a 1963 interview with Gene Swenson, New York editor of London-based magazine Art and Artists. Warhol’s rationale? Because “you do the same thing every time. “ Draw Like a Machine: Pop Art, 1952-1975”
Two new exhibitions at the Menil Drawing Institute assemble works in which drawing holds its own as a medium with full expressive powers. Like the squat that makes a plié possible. Like the major and minor scales in classical music. The process and the destination are of note, something that’s also central to The Menil Drawing Institute as it explores and studies modern and contemporary drawings to challenge conventions, definitions and assumptions of the medium's role in art and its opportunities and limitations-or lack thereof.įor many, drawing is subservient to painting, a stepping stone providing the fundamentals that make other mediums possible. It was artist Paul Klee who said that a “drawing is simply a line going for a walk.” In his mischievous statement, he evokes both the simplicity of the practice and the possibilities of where it can take both the artist and the viewer.
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