Description
Book SynopsisExamines the centrality of drawing to the art of the late 1960s and early 1970s. Focuses on the work of Mel Bochner, Rosemarie Castoro, Sol LeWitt, Dorothea Rockburne, and Richard Tuttle.
Trade Review“Drawing Degree Zero is well researched, provides unique contributions to the discourse, and includes both color and black-and-white images of exhibitions, installations, and ephemera. This text is an important addition to any library that supports advanced scholarship in postmodern/contemporary art, poststructuralism, or modern French literature.”
—Andrew Wang ARLIS/NA Reviews
“This exceptionally astute, detailed study reconfigures our understanding of Minimalist and Conceptual art, demonstrating the importance of drawing to the deconstruction of subjectivity that these movements pursued. Deft, nuanced, and thought-provoking, Drawing Degree Zero explores its material with an unfailing sensitivity to the visual and material properties of artworks and an unwavering sense of their political importance.”
—Tamara Trodd,author of The Art of Mechanical Reproduction: Technology and Aesthetics from Duchamp to the Digital
“In the 1960s, the ‘less is more’ of the minimalist aesthetic approached drawing in a whole new way. Virtuoso gestures ceded to repetitive mark-making; convention supplanted invention; the strictures of the grid system ruled supreme. Yet as Anna Lovatt brilliantly argues, rather than destroy drawing, such tactics gave it new life.”
—Anne M. Wagner,author of A House Divided: American Art Since 1955
“Anna Lovatt makes a compelling argument for the centrality of drawing to Minimal and Conceptual art in the 1960s. Through a series of illuminating case studies, Lovatt reveals the ways in which artists reconfigured the terrain of drawing as dynamic, critical, and utterly contemporary.”
—Jo Applin,coeditor of London Art Worlds: Mobile, Contingent, and Ephemeral Networks, 1960–1980
