The 1990s: Drawing Circles
A question seems to be how far can you see through things?
Throughout the 1990s, Taylor expanded his sources of inspiration, turning the most unexpected objects into series at once absurd and playful. Among these objects, circular forms dominate—coiling wire, wheels, hula hoops, rubber tubes, tin cans—because, Taylor explained, “round things don’t have a traditional edge; they look pretty much the same from a lot of different angles.” Curious as to how things appear from various vantage points, he often explored in his drawings the same subjects from several per- spectives. In contrast to the rudimentary materials of his sculptures, Taylor’s drawings display a rich and sensuous surface, enlivened by bold contrasts of light and dark.
Fish Parts (#1 and #2)
One day, Taylor retrieved from a trash bin a six-foot-long swordfish replica that had once decorated a bar. He sawed it into five sections and hung them on the wall. The drawings he made of these isolated fish parts, suspended simply with wire and nails, have an unusual poignancy. The fluid handling, especially where the solvent used to fix the toner ran down the lower part of the sheet, gives the impression that the fish has just been pulled out of water and is still dripping.
Al Taylor (1948–1999)
Fish Parts (#1 and #2),
14–15 January 1992
Ink, xerographic toner fixed with solvent, and graphite
The Morgan Library & Museum. Gift of Debbie Taylor in Honor of Isabelle Dervaux; 2019.90a
© 2019 The Estate of Al Taylor
Fish Parts (#3)
Al Taylor (1948–1999)
Fish Parts (#3), 14–15 January 1992
Ink, xerographic toner fixed with solvent, and graphite
The Morgan Library & Museum. Gift of Debbie Taylor in Honor of Isabelle Dervaux; 2019.90b
© 2019 The Estate of Al Taylor
Greek Puddles (with Fish Parts)
Al Taylor (1948–1999)
Greek Puddles (with Fish Parts), 1992
Gouache and ink
Private Collection, London; Promised Gift, British Museum, Department of Prints & Drawings
Photography Glenn Steigelman. © 2019 The Estate of Al Taylor
Pea Passing Device
Al Taylor (1948–1999)
Pea Passing Device, 28 March 1992
Gouache, colored ink, and graphite with collage of a photographic print
Collection of Doug Woodham and Dalya Inhaber
Photography Glenn Steigelman. © 2019 The Estate of Al Taylor
Untitled (Tide Tab)
The luscious colors and painterly handling of this drawing contrast with the banality of its subject. A typical example of Taylor’s aptitude for finding artistic motifs in the most insignificant details of everyday life, it was inspired by the tabs of Tide laundry detergent boxes, which curl when pulled to open the carton.
Al Taylor (1948–1999)
Untitled (Tide Tab), ca. 1993
Grease pencil, wax crayon, graphite, and gouache
The Estate of Al Taylor
Photography by Glenn Steigelman. © 2019 The Estate of Al Taylor
Untitled (100% Hawaiian)
This drawing relates to a sculpture that features two open cans suspended from wires between a pair of vertical wooden boards. Combining materials to heighten the rich contrasts of light and dark, Taylor made effective use of each medium’s properties. On the lid at bottom left, for instance, he drew in pencil over gouache, exploiting the characteristic sheen of graphite to render the metallic surface.
Al Taylor (1948–1999)
Untitled (100% Hawaiian), April/May 1994
Gouache and graphite
The Morgan Library & Museum. Gift of Hamish Parker; 2019.53
© 2019 The Estate of Al Taylor