Early art education begins by teaching how to draw a single line, a foundational element of visual art. As we grow, those lines evolve into scribbles, shapes and, eventually, recognizable forms. But what truly defines art? Though a line may seem simple, in the hands of Bernar Venet, it becomes a profound exploration of time and space. Venet’s work — ranging from intricate drawings to monumental sculptures — urges viewers to look beyond the simplicity of a line and towards the relationship it holds with the world around us. The latest exhibition of his work, “The Drawing of the Line,” presented by La Maison Française, provides a platform for reimagining the possibilities of art in both the New York City and NYU visual art communities.
Known for his abstract sculptures and conceptual art, Venet’s work delves into the intersection of mathematics, language and form through the exploration of the simple line. After moving to New York City in the late 1960s, he became an integral artist in the contemporary art scene. Over the decades, Venet has gained international acclaim for his modern visual pieces, innovative large-scale sculptures and exploration of mathematical and philosophical concepts. The use of simple lines in his artwork leaves the meaning of his pieces up to the interpretation of the viewer and the self-referentiality of the basic forms.
A reproduction of a drawing titled “Collapse on Acute Angles 2021” is particularly captivating. The piece consists of interconnected lines that bend and contort in a seemingly chaotic way, yet draw the viewer’s eye towards a concentrated point. Created from latex ink on paper, the black and white monochrome piece reflects an interplay between the acute angles that dominate the piece and build the illusion of collapse. The sharp lines, deep shadows and three-dimensional illusion pull the viewer in towards the lines’ convergence point. Dramatic shadows cascade from the highest angle, almost as if the drawing is melting down the wall the artwork leans against. The work feels rigid, uncomfortable — true to the raw, compelling nature of Venet’s vision.
Walking further into the gallery, photographs of Venet’s striking installations and sculptures adorn the walls to highlight his global presence — he has exhibited his work in cities around the world such as Beijing, Paris, Tokyo and Berlin. While all of the sculptures implement the use of steel, the shape and form of each is distinct.
One photograph displays a sculpture in Seoul, South Korea from 2010 that appeared to float effortlessly in a tight coil, while another photo shows an installation from Austin, Texas, in 1956 that used the outdoor terrain to extend over an existing structure. Each photo demonstrates how truly unique the sculptures were, as they all embody the intersection of mathematics and art through architecture. They allow us to open our minds to how disciplines of art and science can concurrently blend and create tension.
The photographic reproduction of Venet’s 2011 sculpture at the Palace of Versailles, stands out among the collection of sculpture photographs for its large steel arcs stretching up into the sky, creating a contrast against the historic architecture and manicured gardens. The sculpture’s monumental scale and sweeping curves evoke a sense of movement and fluidity, while simultaneously establishing a relationship between contemporary art and the classical setting of Versailles.
Venet tests boundaries by replicating this contrast on a grand scale. It’s truly captivating to witness the convergence of contemporary and traditional art within a single frame. This approach challenges expectations, which is foundational to Venet’s philosophy of questioning what constitutes art, and turns basic forms into thought-provoking pieces. The exhibition invites viewers to rethink the role of structure and space in art, showcasing how even a single line can carry deeper meaning.
“The Drawing of the Line” exhibition runs through March 28th and is free for NYU students.
Contact Maya Santiago at [email protected].
