Pub Date : 2021-10-02DOI: 10.1080/14702029.2021.1980278
Howard Riley
ABSTRACT This article reviews 20 years of attitudes to drawing pedagogy and looks forward with a studioful of post-pandemic optimism. It reiterates the importance of drawing in art schools as the most direct and economic means of nurturing our intelligence of seeing. Throughout the period, neoliberal policies directing the UK higher education curricula towards market-oriented criteria of success have eroded the foundation of a visual arts pedagogy: the exploration of the perceptual and its communication through visual language; educative activities of wider import than market concerns. An articulacy in drawing – visualcy – is fundamental to human culture, let alone preparation for professional practice in the visual arts and design disciplines. A remedial pedagogy is proposed, structured upon the two fundamental theoretical bases of visual perception and visual communication, illustrated with students’ drawings and the author’s efforts to practise what he preaches.
{"title":"A contemporary pedagogy of drawing","authors":"Howard Riley","doi":"10.1080/14702029.2021.1980278","DOIUrl":"https://doi.org/10.1080/14702029.2021.1980278","url":null,"abstract":"ABSTRACT This article reviews 20 years of attitudes to drawing pedagogy and looks forward with a studioful of post-pandemic optimism. It reiterates the importance of drawing in art schools as the most direct and economic means of nurturing our intelligence of seeing. Throughout the period, neoliberal policies directing the UK higher education curricula towards market-oriented criteria of success have eroded the foundation of a visual arts pedagogy: the exploration of the perceptual and its communication through visual language; educative activities of wider import than market concerns. An articulacy in drawing – visualcy – is fundamental to human culture, let alone preparation for professional practice in the visual arts and design disciplines. A remedial pedagogy is proposed, structured upon the two fundamental theoretical bases of visual perception and visual communication, illustrated with students’ drawings and the author’s efforts to practise what he preaches.","PeriodicalId":35077,"journal":{"name":"Journal of Visual Art Practice","volume":"1 1","pages":"323 - 349"},"PeriodicalIF":0.0,"publicationDate":"2021-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88866129","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-10-02DOI: 10.1080/14702029.2021.1995928
J. Birkin, Edgar D'Souza, S. Manghani
ABSTRACT This editorial introduction marks the 20-year anniversary of Journal of Visual Art Practice. It sets out the vision of the newly established editorial team, who took up the editorship of the journal at the start of 2021, which happened to be the journal's 20th year. The article sets out the editors’ commitment to an international and diverse approach, which also recognises the rich history and archive of the journal. At its core, the journal remains steadfastly focused on visual art practice. Thus while cognisant of shifting trends and modalities of academic publishing and research, the editors renew the journal's ethos and practical undertaking in presenting the best in new visual art practice research.
{"title":"A visual, journal practice: Journal of Visual Art Practice, twenty years on","authors":"J. Birkin, Edgar D'Souza, S. Manghani","doi":"10.1080/14702029.2021.1995928","DOIUrl":"https://doi.org/10.1080/14702029.2021.1995928","url":null,"abstract":"ABSTRACT This editorial introduction marks the 20-year anniversary of Journal of Visual Art Practice. It sets out the vision of the newly established editorial team, who took up the editorship of the journal at the start of 2021, which happened to be the journal's 20th year. The article sets out the editors’ commitment to an international and diverse approach, which also recognises the rich history and archive of the journal. At its core, the journal remains steadfastly focused on visual art practice. Thus while cognisant of shifting trends and modalities of academic publishing and research, the editors renew the journal's ethos and practical undertaking in presenting the best in new visual art practice research.","PeriodicalId":35077,"journal":{"name":"Journal of Visual Art Practice","volume":"7 1","pages":"299 - 315"},"PeriodicalIF":0.0,"publicationDate":"2021-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78616168","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-07-03DOI: 10.1080/14702029.2021.1951585
Gemma Anderson
ABSTRACT Artist researcher Anderson shares a series of drawings developed through the experimental interdisciplinary project ‘Representing Biology as Process’. In this project Anderson and collaborators have developed a new approach to depict natural history through ‘relational process drawing’. With focus on the dynamic patterns of the processes of life and guided by principles of choreography, they draw together relationships between energy, time, movement, and environment at the molecular, cellular, and organismal scale. The drawings discussed are a kind of hybrid representation – composed to varying degrees of visual, numerical and linguistic expressions – that both provide new insights and generate new questions for future research.
{"title":"Forking paths: depicting mitosis through process-based diagramming","authors":"Gemma Anderson","doi":"10.1080/14702029.2021.1951585","DOIUrl":"https://doi.org/10.1080/14702029.2021.1951585","url":null,"abstract":"ABSTRACT Artist researcher Anderson shares a series of drawings developed through the experimental interdisciplinary project ‘Representing Biology as Process’. In this project Anderson and collaborators have developed a new approach to depict natural history through ‘relational process drawing’. With focus on the dynamic patterns of the processes of life and guided by principles of choreography, they draw together relationships between energy, time, movement, and environment at the molecular, cellular, and organismal scale. The drawings discussed are a kind of hybrid representation – composed to varying degrees of visual, numerical and linguistic expressions – that both provide new insights and generate new questions for future research.","PeriodicalId":35077,"journal":{"name":"Journal of Visual Art Practice","volume":"49 10","pages":"275 - 281"},"PeriodicalIF":0.0,"publicationDate":"2021-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72432238","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-07-03DOI: 10.1080/14702029.2021.1951582
C. Scanlon
ABSTRACT This is the introductory article by the guest editor of a special issue of Journal of Visual Art Practice, under the title of ‘Demands of the Diagram’. It addresses the work of the six contributing artists who explore different aspects of the ‘diagram’ at the intersection of history, philosophy, science, semiotics and art, in relation to their own and others’ creative practices. The article addresses emerging themes of embodiment, evolution and ethics arising out of the discussions, situating them with reference to C. S. Peirce and his theory of creative abduction. In conclusion, the author calls on the work of Isabelle Stengers to argue for the diagram as a commons, where heterogenous knowledges might co-create, helping to make us fit to respond to the demands of our time.
{"title":"Demands of the diagram: creative abduction in artists’ research and practice","authors":"C. Scanlon","doi":"10.1080/14702029.2021.1951582","DOIUrl":"https://doi.org/10.1080/14702029.2021.1951582","url":null,"abstract":"ABSTRACT This is the introductory article by the guest editor of a special issue of Journal of Visual Art Practice, under the title of ‘Demands of the Diagram’. It addresses the work of the six contributing artists who explore different aspects of the ‘diagram’ at the intersection of history, philosophy, science, semiotics and art, in relation to their own and others’ creative practices. The article addresses emerging themes of embodiment, evolution and ethics arising out of the discussions, situating them with reference to C. S. Peirce and his theory of creative abduction. In conclusion, the author calls on the work of Isabelle Stengers to argue for the diagram as a commons, where heterogenous knowledges might co-create, helping to make us fit to respond to the demands of our time.","PeriodicalId":35077,"journal":{"name":"Journal of Visual Art Practice","volume":"55 1","pages":"165 - 176"},"PeriodicalIF":0.0,"publicationDate":"2021-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85790996","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-07-03DOI: 10.1080/14702029.2021.1951587
N. Gaskins
ABSTRACT Around 1905, W.E.B. Du Bois wrote about the ‘Megascope’, a device through which its wearers could see ‘the Far Great and the Near Small but not the Great Near.’ The Great Near refers to realities that are simultaneously so near and powerful that they are usually imperceptible. Du Bois’ speculative short-fiction has become a reality in the multiverse era where virtual gateways don’t have to remain tied to traditional notions of technology in the physical world – they can be imaginative realms with different physics. We can see this demonstrated in the cosmogram, a cultural diagram of the Universe. This essay considers the function and style of this design across cultures and in virtual worlds. Artists such as Houston Conwill, Jean-Michel Basquiat, Xenobia Bailey, Sanford Biggers and Saya Woolfalk incorporate cosmograms in their works. Artists simulate the algorithmic qualities of the design that include physical, spiritual or ritual performances. They use the cosmogram – a diagram usually in the form of a circle – to make connections between the archetypal world of invention and the multidimensional nature of time. This essay explores these symbolic occurrences and various connections, looking to uncover a set of principles underlying and guiding Afrofuturistic production.
大约在1905年，W.E.B.杜波依斯(W.E.B. Du Bois)写了一篇关于“Megascope”的文章，通过这种装置，佩戴者可以看到“远的大的和近的小的，但看不到近的大的”。“大近”指的是同时如此近而强大，以至于通常难以察觉的现实。杜波依斯的推测性短篇小说在多元宇宙时代已经成为现实，在这个时代，虚拟网关不必与物理世界中的传统技术概念保持联系——它们可以是具有不同物理特性的想象领域。我们可以在宇宙图中看到这一点，宇宙的文化图表。本文考虑了这种设计在不同文化和虚拟世界中的功能和风格。休斯顿·康威尔、让-米歇尔·巴斯奎特、Xenobia Bailey、桑福德·比格斯和Saya Woolfalk等艺术家在他们的作品中融入了宇宙学。艺术家模拟设计的算法质量，包括身体，精神或仪式表演。他们使用宇宙图——一种通常以圆圈形式呈现的图表——在发明的原型世界和时间的多维本质之间建立联系。这篇文章探讨了这些象征性的事件和各种联系，试图揭示一套原则的基础和指导非洲未来主义生产。
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Pub Date : 2021-07-03DOI: 10.1080/14702029.2021.1951584
Mick Whittle
ABSTRACT This essay discusses how diagrammatic modes of representation are a distinct subset of images that coevolved with the scientific project to visually embody key ideals from the philosophy of science. In making diagrammatic art, artists have found various means to appropriate, exaggerate and subvert this set of characteristics unique to the diagram as part of their processes of creation and production. This is in an approach that I refer to as Romantic Objectivism. As a practicing artist with a background in biomedicine, my drawing and sculptural praxes are presented as an ongoing project to develop a visual poetics of science beyond its purely factual and functional modes, in the spirit of the Romantic-period German scientist, philosopher and poet Novalis, and his recently rediscovered, unfinished project, the Romantic Encyclopedia.
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Pub Date : 2021-07-03DOI: 10.1080/14702029.2021.1951588
M. Ritchie
ABSTRACT This essay proposes that the intricate but sprawling evolution of diagrams might be looked at through a single graphic system. It is further proposed that this system might reconcile diverse definitions of ontological and temporal minima, in a sequence of 25 types of historical diagram that concludes with a kind of meta-diagram of diagrams. The ‘demon’, a historical form of hypostatic abstraction, is introduced as an eidetic body useful for exploring this diagrammatic space. The complete sequence was exhibited in a complex installation, titled ‘The Demon in the Diagram’, which is also discussed.
{"title":"The demon in the diagram: towards a theory of evolving diagrammatic embodiment","authors":"M. Ritchie","doi":"10.1080/14702029.2021.1951588","DOIUrl":"https://doi.org/10.1080/14702029.2021.1951588","url":null,"abstract":"ABSTRACT This essay proposes that the intricate but sprawling evolution of diagrams might be looked at through a single graphic system. It is further proposed that this system might reconcile diverse definitions of ontological and temporal minima, in a sequence of 25 types of historical diagram that concludes with a kind of meta-diagram of diagrams. The ‘demon’, a historical form of hypostatic abstraction, is introduced as an eidetic body useful for exploring this diagrammatic space. The complete sequence was exhibited in a complex installation, titled ‘The Demon in the Diagram’, which is also discussed.","PeriodicalId":35077,"journal":{"name":"Journal of Visual Art Practice","volume":"17 1 1","pages":"215 - 257"},"PeriodicalIF":0.0,"publicationDate":"2021-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83414824","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-07-03DOI: 10.1080/14702029.2021.1951586
Dean Kenning
ABSTRACT Exploratory diagrams can be distinguished from statistical and explanatory diagrams in that they do not merely communicate what already exists, but provide a method of discovery, experiment and creative invention. As such, they are recommended as productive modes which can be utilized for art, education and philosophy. This paper seeks to draw out a number of key concepts and approaches to exploratory diagramming by examining three powerful diagram theories. First, A.J. Greimas’ invention of the ‘semiotic square’; second, C.S. Peirce’s semiotic account of the diagram as icon; and third, Gilles Châtelet’s retelling of scientific and mathematical discovery through diagrammatic devices. Respectively, these theories can each be identified according to a primary operative principle: opposition, relation and gesture.
{"title":"Exploratory diagramming and diagram theory: Greimas, Peirce and Châtelet","authors":"Dean Kenning","doi":"10.1080/14702029.2021.1951586","DOIUrl":"https://doi.org/10.1080/14702029.2021.1951586","url":null,"abstract":"ABSTRACT Exploratory diagrams can be distinguished from statistical and explanatory diagrams in that they do not merely communicate what already exists, but provide a method of discovery, experiment and creative invention. As such, they are recommended as productive modes which can be utilized for art, education and philosophy. This paper seeks to draw out a number of key concepts and approaches to exploratory diagramming by examining three powerful diagram theories. First, A.J. Greimas’ invention of the ‘semiotic square’; second, C.S. Peirce’s semiotic account of the diagram as icon; and third, Gilles Châtelet’s retelling of scientific and mathematical discovery through diagrammatic devices. Respectively, these theories can each be identified according to a primary operative principle: opposition, relation and gesture.","PeriodicalId":35077,"journal":{"name":"Journal of Visual Art Practice","volume":"122 1","pages":"177 - 195"},"PeriodicalIF":0.0,"publicationDate":"2021-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87659017","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-07-03DOI: 10.1080/14702029.2021.1951583
C. Scanlon, N. Gansterer
ABSTRACT This article takes the form of an email dialogue between the artist Nikolaus Gansterer and Claire Scanlon – guest-editor of the special issue journal ‘Demands of the Diagram’, in which this article features. The conversation is motivated by five of the most recent Objects yet to Become in Gansterer’s ongoing series of hand-drawn image-text provocations. In the exchange, Scanlon takes up the challenge set by each Objects yet to Become in turn, thereby situating in practice a broader discussion of the diagrammatic as ‘an experimental system of notation and reflection’ in Gansterer’s wider oeuvre. The conversation is punctuated by five, full-page illustrations of each of the chalk-on-blackboard Objects yet to Become, reproduced for the reader from their give-away postcard format.
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Pub Date : 2021-04-03DOI: 10.1080/14702029.2021.1925852
T. Forde
ABSTRACT This article explores the co-curation of the ‘Marion Adnams: A Singular Woman’ exhibition at Derby Museum and Art Gallery (December 2017 to March 2018). The process of co-curation is a productive and challenging way to engage with an artist’s work. The discussion adopts a feminist perspective to consider the act of curation and the considerations involved in organising and engaging with an artist’s life and work. The place of an artist within narratives of art history can be problematic and challenging and the process of drawing together a body of work for exhibition raises as many questions as it answers. However, this discussion considers the extent to which this is a constructive and significant activity and the ways in which co-curation can contribute to reincorporating artists such as Marion Adnams into art history and recuperating her work and its contribution to British art history and beyond. The approach to feminist co-curation includes a consideration of how to present a female artist’s work and the issues involved in curating an exhibition as a representation of their practice.
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