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  • Provenance

    Paula Cooper Gallery, New York

  • Catalogue Essay

    Drawing for me is a process. It’s true that my paintings in a lot of ways are as much drawing as they are paintings. I think my involvement from the beginning has been very linear in terms of how I work, and I’ve never been involved in paint the way a lot of painters are. It’s been a way of coloring a surface or a step, but drawing is the starting point. It’ll start with a little sketches where I get an idea about fitting one from within another or I’ll do some thumbnail sketches and then I’ll go through a process of picking and choosing or deciding if it’s a good idea or not a good idea, and making larger drawings and finally drawing with color so basically I have a pretty strong idea of what I’m going to do. That’s pretty well established in the drawing state. Because I work in shaped canvas, I have to have the idea worked out so that I can build the stretchers, because there’s a cost commitment when you build a stretcher. You want to get if figured out ahead of time so you don’t waste too many stretchers, so there’s a sense in using the drawing in that way. Drawing is central to the work. (Robert Mangold in conversation with John Yau, The Brooklyn Rail, March 2009)

146

One 72" square with 6 distorted rectangles

1979
Graphite on six sheets of paper.
210 x 192.5 cm. (83 x 75 3/4 in).

Estimate
£40,000 - 60,000 

Contemporary Art Day Sale

17 Oct 2009
London