Diana Cooper

MOCA Cleveland

Using acetate, acrylic, aluminum tape, corrugated plastic, felt, felt-tip markers, foamcore, ink, map pins, paper, photographs, pipe cleaners, 296 pom-poms, velour paper, and vinyl, Diana Cooper makes “three-dimensional drawings,” many of them extremely large. Her recent exhibition at the Museum of Contemporary Art featured a range of these hybrid constructions and wall reliefs, as well as two freestanding sculptures. The lush green construction Daphne, 2006, is based around a set of radiating forms that emerge from its center, while the sprawling Emerger, 2005–2007, joins a vast array of small elements into a fragmentary grid, and Hidden Tracks Sabotage the Random, 2001–2002, incorporates matrices that project onto the surrounding wall and floor.

Why does Cooper call these works “drawings”? We’re accustomed to thinking of drawings as modestly scaled, but much of this art is very large.

to keep reading

Artforum print subscribers have full access to this article. Please sign in below.

Not registered for Register here.

SUBSCRIBE NOW and save up to 65% off the newsstand price for full online access to this issue and our archive.

Order the PRINT EDITION of the February 2008 issue for $17 or the ONLINE EDITION for $5.99.

* This rate applies to U.S. domestic subscriptions.