Tony Feher: Drawing



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Tony Feher: Drawing provides the first scholarly account of the American artist’s drawings and considers the historical and theoretical conditions to which they pertain. This thesis provides a broad introduction to the ways in which Feher drew, what he drew, what supports he drew on, and how his drawings relate to the sculptural output for which he is best known. Feher’s drawing methods correspond to the most direct and historical forms of autographic delineation on paper. His career-long commitment to utilizing everyday objects in his work is made manifest in his drawings through the use of common paper supports in lieu of deluxe handmade papers and other designated drawing supports. Once it is understood how crucial a role drawing played in Feher’s working methods, then it is particularly illuminating to look back at his sculpture through a lens of drawing to consider the many ways that Feher drew with material objects in space. Feher took to drawing in space in at least three distinct ways which include, utilizing objects whose material qualities are embodied by pure line, establishing networks of mark-making, and drawing with non-linear materials. In addition to exploring Feher’s drawings--both on paper and in space--this thesis examines two case studies for large scale public installations that Feher conceived of but which never came to fruition. This includes a project for the World Trade Center’s south tower, and a large-scale horticultural installation for the University of Houston. In both instances, Feher used drawing as a primary means to give pictorial representation to his imaginative vision and conceptual framing for the work that he would propose.



Feher, Tony, Drawing, Drawing in space, Drawing for sculpture, Preliminary drawing, Sketch, Autographic line, Paper napkins, Everyday, Found objects, Provisional, ACT UP, World Trade Center, Horticultural sculpture, University of Houston, Public art, Sandback, Fred, Hesse, Eva, Calder, Alexander, Kelly, Ellsworth, Hodges, Jim