Cover image for Drawing today : draughtsmen in the eighties
Drawing today : draughtsmen in the eighties
Godfrey, Tony.
Personal Author:
Publication Information:
Oxford [England] : Phaidon ; New York : Phaidon Universe, 1990.
Physical Description:
128 pages : illustrations (some color) ; 29 cm
Format :


Call Number
Material Type
Home Location
Item Holds
NC95 .G63 1990 Adult Non-Fiction Non-Fiction Area-Oversize

On Order

Reviews 2

Library Journal Review

Godfrey here counters the traditional definition of drawing as art work on paper, proposing that drawing ``should be defined more by the activity that initiates it rather than by the material it leaves its traces on.'' By this definition the marks left on a fence by a child dragging a stick across it form a drawing, as do black skid marks on a road or the stain of spilled coffee. This is a purposely provocative, argumentative, and paradoxical book, as much concerned with dialectics as it is with art. Godfrey uses examples of over 60 artists, including the conceptual art of Bruce Nauman, life room studies of Kitaj and Hockney, and the work of Twombly and Jasper Johns. Some will see this as a refreshing view of an old art form, though nonspecialists will prefer John Elderfield's The Modern Drawing: 100 Works on Paper from The Museum of Modern Art (The Museum of Modern Art, 1983).-- Daniel J. Lombardo, Jones Lib., Inc., Amherst, Mass. (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

Choice Review

This book might be considered a pendant to Godfrey's The New Image; Painting in the 1980s (CH, Jan'87), which attempted to find some common ground in the content of the work of a number of contemporary figurative painters. In this new book Godfrey seeks the connections in the concepts of the drawing medium as employed by a number of contemporary artists. Several of the same artists are discussed in both books, and a few of the same (Marden, Baselitz, Le Brun) are emphasized in each. Both books have excellent illustrations, and each an annoying error in the illustrations (Plate 4 is upside down in The New Image, and Plate 77 does not exist in Drawing Today); both have a short bibliography and an index. What is most interesting in this new volume is not so much the answers about the nature of contemporary drawing as the questions that are raised by seeking these answers among so many and such different artists. Recommended to advanced undergraduates (especially studio students) as a useful, although not indispensable, companion to The New Image. -G. Eager, Bucknell University