As both an architect and a drawing practitioner, I work at the intersection of the real and the construction of reality, where the theatricality of the acts between the unthought, the unsaid, and the unseen or unfathomed move towards learning the how to of embodiment. We can never be certain, but only objectively vague, as to how the drawing process happens in space and time, and, in my case, how it will enact and embody movement before architecture. Drawing from examples of modernist, experimental art practices, which embodied movement into drawing by employing indeterminate strategies – for example, László Moholy-Nagy and Marcel Duchamp – I introduce movement as an instrument of preparation, arrangement, transformation and simulation. Starting from what is made, drawn or borrowed transforms carefully prepared scenes into an unexpected reality in which the author makes all possible preparations but cannot fully control the outcome.
{"title":"Drawing movement before architecture: Theatricality of the objectively vague","authors":"I. Wingham","doi":"10.1386/drtp_00106_1","DOIUrl":"https://doi.org/10.1386/drtp_00106_1","url":null,"abstract":"As both an architect and a drawing practitioner, I work at the intersection of the real and the construction of reality, where the theatricality of the acts between the unthought, the unsaid, and the unseen or unfathomed move towards learning the how to of embodiment. We can never be certain, but only objectively vague, as to how the drawing process happens in space and time, and, in my case, how it will enact and embody movement before architecture. Drawing from examples of modernist, experimental art practices, which embodied movement into drawing by employing indeterminate strategies – for example, László Moholy-Nagy and Marcel Duchamp – I introduce movement as an instrument of preparation, arrangement, transformation and simulation. Starting from what is made, drawn or borrowed transforms carefully prepared scenes into an unexpected reality in which the author makes all possible preparations but cannot fully control the outcome.","PeriodicalId":36057,"journal":{"name":"Drawing: Research, Theory, Practice","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90625618","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}
{"title":"walking the line / out of the line / lining up / outline","authors":"A. Ionascu","doi":"10.1386/drtp_00101_2","DOIUrl":"https://doi.org/10.1386/drtp_00101_2","url":null,"abstract":"","PeriodicalId":36057,"journal":{"name":"Drawing: Research, Theory, Practice","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74081463","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}
This article focuses on my video Drawing Breath and Remaining Visible, an artwork featured in the exhibition ‘Drawn to time’. Drawing Breath and Remaining Visible was made as attempt to create a continuous line drawing using video. The aim of my analysis is to explore how Drawing Breath and Remaining Visible can be read as dialogic, and how the ‘complex interplay of cognitive, somatic, and material conventions’ (Lovatt 2021: 10) that converge in this drawing can provide insights into the dialogic dynamics of this artwork and drawing more broadly. Drawing, claims art Historian Anna Lovatt, ‘is fundamentally relational and deceptively complex’ (2021: 10); it is the complexity and fundamental relationality that I seek to explore through my analysis of this drawing in relation to those of other artists, including Cy Twombly, Richard Long and Lygia Clark. Theorist Roland Barthes’ writing on Twombly supports an exploration on how bodies, surfaces and marks interact to create drawings; and art historian Cornelia Butler’s discussion of how ‘idea-space’, as realized by Clark, is used alongside Barthes’ formulations. In essence, this paper seeks to convey a sense of moving inside and outside drawing in a dialogic process that entangles intentions, marks, mediums and reflective analysis.
这篇文章的重点是我的视频《吸入呼吸和保持可见》，这是一个在“吸入时间”展览中展出的艺术品。绘制呼吸和剩余的可见作为尝试创建一个连续的线条绘制使用视频。我分析的目的是探索《呼吸》和《可见》如何被解读为对话，以及在这幅画中融合的“认知、躯体和物质惯例的复杂相互作用”(Lovatt 2021: 10)如何为这幅艺术作品和更广泛的绘画提供对话动态的见解。艺术史学家安娜·洛瓦特(Anna Lovatt)认为，绘画“从根本上讲是相互关联的，而且具有欺骗性的复杂性”(2021:10);这是我试图通过分析这幅画与其他艺术家(包括Cy Twombly, Richard Long和Lygia Clark)的关系来探索的复杂性和基本关系。理论家罗兰·巴特(Roland Barthes)在Twombly上的写作支持了对身体、表面和标记如何相互作用以创造绘画的探索;以及艺术史学家科妮莉亚·巴特勒(Cornelia Butler)关于如何将克拉克所认识到的“思想空间”与巴特的构想结合起来的讨论。从本质上讲，这篇论文试图在一个涉及意图、标记、媒介和反思分析的对话过程中传达一种内外移动的感觉。
{"title":"When drawing speaks: The dialogic traces of a continuous line","authors":"Steve Fossey","doi":"10.1386/drtp_00094_1","DOIUrl":"https://doi.org/10.1386/drtp_00094_1","url":null,"abstract":"This article focuses on my video Drawing Breath and Remaining Visible, an artwork featured in the exhibition ‘Drawn to time’. Drawing Breath and Remaining Visible was made as attempt to create a continuous line drawing using video. The aim of my analysis is to explore how Drawing Breath and Remaining Visible can be read as dialogic, and how the ‘complex interplay of cognitive, somatic, and material conventions’ (Lovatt 2021: 10) that converge in this drawing can provide insights into the dialogic dynamics of this artwork and drawing more broadly. Drawing, claims art Historian Anna Lovatt, ‘is fundamentally relational and deceptively complex’ (2021: 10); it is the complexity and fundamental relationality that I seek to explore through my analysis of this drawing in relation to those of other artists, including Cy Twombly, Richard Long and Lygia Clark. Theorist Roland Barthes’ writing on Twombly supports an exploration on how bodies, surfaces and marks interact to create drawings; and art historian Cornelia Butler’s discussion of how ‘idea-space’, as realized by Clark, is used alongside Barthes’ formulations. In essence, this paper seeks to convey a sense of moving inside and outside drawing in a dialogic process that entangles intentions, marks, mediums and reflective analysis.","PeriodicalId":36057,"journal":{"name":"Drawing: Research, Theory, Practice","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75942087","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}
{"title":"Digital drawing as a mediating device between artistic and intellectual practice","authors":"K. Andjelkovic","doi":"10.1386/drtp_00093_7","DOIUrl":"https://doi.org/10.1386/drtp_00093_7","url":null,"abstract":"","PeriodicalId":36057,"journal":{"name":"Drawing: Research, Theory, Practice","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74932551","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}
On 21 February 2021 at 9.00 p.m., the performance Three Turns was featured as part of a curated series of works in The Performance Arcade (PA2021), a festival that brought together live art, music and performance on Wellington’s Waterfront. In a shipping container transformed into a temporary stage, three artists: a drawer, a dancer and a musician, celebrated the immediacy of their mediums. In an hour-long performance, a dialogue across disciplines was formed, a dialogue that evolved intuitively. Over three turns, each artist took the lead, with a note, a mark and a gesture offered up as provocation – forms, actions, colours and chords followed. The sonic surface, the stage and the page merged into a single space in which the artists explored velocity, rhythm and repetition. This encounter created a place where gravity and levity pushed and pulled, space was devoured and patterns emerged, accumulated and dissipated. The collaborative performance of Three Turns allowed three artists to form a dialogue across disciplines and ask: what new knowledge can emerge from a conversation between drawing, dance and music? This report, written in the first person from the drawer’s perspective, with contributions from The Dancer/Sacha Copland and The Musician/Simon Eastwood, reflects upon the event and posits that whilst on an individual level the performance produced new drawings, new sounds and new movements that individually had value, it was the relation between the three artists and their mediums, that emerged to be the most significant aspect of the work.
{"title":"Three Turns: A dialogue across disciplines","authors":"Lisa Munnelly","doi":"10.1386/drtp_00097_1","DOIUrl":"https://doi.org/10.1386/drtp_00097_1","url":null,"abstract":"On 21 February 2021 at 9.00 p.m., the performance Three Turns was featured as part of a curated series of works in The Performance Arcade (PA2021), a festival that brought together live art, music and performance on Wellington’s Waterfront. In a shipping container transformed into a temporary stage, three artists: a drawer, a dancer and a musician, celebrated the immediacy of their mediums. In an hour-long performance, a dialogue across disciplines was formed, a dialogue that evolved intuitively. Over three turns, each artist took the lead, with a note, a mark and a gesture offered up as provocation – forms, actions, colours and chords followed. The sonic surface, the stage and the page merged into a single space in which the artists explored velocity, rhythm and repetition. This encounter created a place where gravity and levity pushed and pulled, space was devoured and patterns emerged, accumulated and dissipated. The collaborative performance of Three Turns allowed three artists to form a dialogue across disciplines and ask: what new knowledge can emerge from a conversation between drawing, dance and music? This report, written in the first person from the drawer’s perspective, with contributions from The Dancer/Sacha Copland and The Musician/Simon Eastwood, reflects upon the event and posits that whilst on an individual level the performance produced new drawings, new sounds and new movements that individually had value, it was the relation between the three artists and their mediums, that emerged to be the most significant aspect of the work.","PeriodicalId":36057,"journal":{"name":"Drawing: Research, Theory, Practice","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79158641","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}
This paper makes critical reflections on a performance titled The Partly Present Mother, which traced acts of nurturing and loss at the Kosar Contemporary Gallery, Bristol, in 2019. The research reflects upon the silence of pregnancy without birth or ‘miscarriage’ as a Matrixial space, where the union of both mother and other are in flux. This changeableness or uncertainty embedded within the maternal is critiqued by making parallels between the becomings of drawing and mothering by positioning them both as verbs or acts. Derrida’s Memoirs of the Blind and the Greek myth of Pliny’s shadow are used to consider loss as interwoven within drawing practice, where the corporeality of drawings practices wavers amidst discovery and loss. The project takes these experiences of loss answering Cixous et al.’s call to ‘write the body’, performing them through touch and repositioning textuality as live and physical. The parallels of becoming imbedded in the acts of drawing and mothering look to Elena notional of the maternal as a verb and the process of becoming subjectivity as embedded within drawing (; ; ; )to reclaim the flux of the maternal notwithstanding pregnancy without birth.
{"title":"The partly present mother","authors":"Lucy O’Donnell","doi":"10.1386/drtp_00089_1","DOIUrl":"https://doi.org/10.1386/drtp_00089_1","url":null,"abstract":"This paper makes critical reflections on a performance titled The Partly Present Mother, which traced acts of nurturing and loss at the Kosar Contemporary Gallery, Bristol, in 2019. The research reflects upon the silence of pregnancy without birth or ‘miscarriage’ as a Matrixial space, where the union of both mother and other are in flux. This changeableness or uncertainty embedded within the maternal is critiqued by making parallels between the becomings of drawing and mothering by positioning them both as verbs or acts. Derrida’s Memoirs of the Blind and the Greek myth of Pliny’s shadow are used to consider loss as interwoven within drawing practice, where the corporeality of drawings practices wavers amidst discovery and loss. The project takes these experiences of loss answering Cixous et al.’s call to ‘write the body’, performing them through touch and repositioning textuality as live and physical. The parallels of becoming imbedded in the acts of drawing and mothering look to Elena notional of the maternal as a verb and the process of becoming subjectivity as embedded within drawing (; ; ; )to reclaim the flux of the maternal notwithstanding pregnancy without birth.","PeriodicalId":36057,"journal":{"name":"Drawing: Research, Theory, Practice","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75239651","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}
Review of: Observational Drawing for Students with Dyslexia, Qona Rankin and Howard Riley (2021) London and Philadelphia, PA: Jessica Kingsley Publishers, 93 pp., ISBN 978-1-78775-142-2, p/bk, £16.99
{"title":"Observational Drawing for Students with Dyslexia, Qona Rankin and Howard Riley (2021)","authors":"P. Thomas","doi":"10.1386/drtp_00099_5","DOIUrl":"https://doi.org/10.1386/drtp_00099_5","url":null,"abstract":"Review of: Observational Drawing for Students with Dyslexia, Qona Rankin and Howard Riley (2021)\u0000 London and Philadelphia, PA: Jessica Kingsley Publishers, 93 pp.,\u0000 ISBN 978-1-78775-142-2, p/bk, £16.99","PeriodicalId":36057,"journal":{"name":"Drawing: Research, Theory, Practice","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74538407","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}
This exegetical analysis of performance drawing highlights its character as an interdisciplinary process. Specifically, I demonstrate that the interrelation of drawing and performance, that occurs in the active, live-audience drawing processes, is a unique interdisciplinary exchange. This analysis utilizes the concept of ‘intra-action’, as defined by Karen Barad, to reveal the multidirectional and emergent processes of the interdisciplinary exchange exhibited through drawing as performance. Furthermore, this interdisciplinary exchange is likened to a Möbius loop. Exploring ‘intra-action’ and the Möbius loop analogy, I examine the interdisciplinary drawing process through the cooperative performance drawing work initiated by myself, Kellie O’Dempsey (Australia) and Jennifer Wroblewski (United States): Resistance Movement (2017–18). This work exemplifies the interdisciplinary process of performance drawing as the initiator for creative exchange. To examine this proposition, I isolate the components of drawing, performance and the spatio-temporal, and analyse how these components operate through Resistance Movement. While Barad’s theory of intra-action relates to the entanglement of matter in the universe, I use the theory to explore the entangled aspects of performance drawing that create a single, unified experience for both artists and viewers. The three elements – drawing, performance and the spatio-temporal – combine, resulting in intra-action. Thus, creating a unique, interdisciplinary event.
这种对表演绘画的注释性分析突出了它作为一个跨学科过程的特征。具体来说，我证明了绘画和表演的相互关系，发生在活跃的现场观众绘画过程中，是一种独特的跨学科交流。这一分析利用Karen Barad定义的“intra-action”的概念，揭示了绘画作为表演所展示的跨学科交流的多向和紧急过程。此外，这种跨学科的交流被比作Möbius循环。我通过与Kellie O ' dempsey(澳大利亚)和Jennifer Wroblewski(美国)合作的行为绘画作品:Resistance Movement(2017-18)探索“内部行动”和Möbius循环类比，考察跨学科的绘画过程。这件作品体现了行为绘画作为创意交流发起者的跨学科过程。为了检验这一命题，我分离了绘画、表演和时空的组成部分，并分析了这些组成部分是如何通过“抵抗运动”运作的。巴拉德的“内作用”理论与宇宙中物质的纠缠有关，而我则用这一理论来探索行为绘画中纠缠的方面，为艺术家和观众创造一种单一的、统一的体验。绘画、表演和时空这三个要素相互结合，形成了“内作用”。因此，创造一个独特的，跨学科的活动。
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This project adopts the concept of a dance diagram such as Andy Warhol’s Fox Trot (1962) introduced by Rosalind Krauss in her writing on the relationship of material forces in a diagrammatic structure to create a model of notation with actions and objects derived from Edgelands. Coined by Marion Shoard, Edgelands are post-industrial cityscapes, a typology of abandon, dereliction and decay. Shoard notes these sites are characterized by creative cultural practices of photography and graffiti; urban explorers, parkour. My Blubilds project aimed to challenge these cultural practices of parkour and graffiti to provoke new engagement in those sites. To this end, I apply the concept of Rosalind Krauss’s resistant diagram and gravity I adapted from Formless: A User’s Guide (). Gravity is a force of undoing to remake spaces – and I draw with my body and equipment to facilitate gravity within a dance diagram to create a new space. This contrasts the cultural practices such as Graffiti and parkour and breaks with those existing activities to tag, mark and leave a new trace in Edgelands. Blubilds draw a live embodied diagram, based on the movement patterns found in Edgeland sites, since ‘action’ is to draw a line with the body. Tim Ingold’s approach to drawing informs my perspective that lines of movement that draw (in) place engage with the lived narratives of those places. Ingold suggests that the narratives that make place are created by entangled lines created by movement; furthermore, to ‘draw out’ – as in Douglas phrase – suggests that drawing in place ‘draws-out’ new spaces. Blue is emblematic as a nod to Krauss’s ‘rude noise, the blueprint and the acts of Graffiti’, it becomes Blubilds – a dynamic diagrammatic stain.
这个项目采用了Rosalind Krauss在她关于图解结构中物质力量关系的文章中引入的Andy Warhol的《狐步》(Fox Trot, 1962)的舞蹈图解的概念，创造了一个来自edgellands的动作和物体的符号模型。“边缘地带”这个词是由Marion Shoard创造的，是后工业时代的城市景观，是一种被遗弃、被遗弃和腐朽的类型。Shoard指出，这些网站的特点是摄影和涂鸦的创造性文化实践;城市探险者，跑酷。我的Blubilds项目旨在挑战这些跑酷和涂鸦的文化习俗，以激发这些地点的新参与。为此，我应用了Rosalind Krauss的阻力图和重力的概念，我改编自Formless: A User 's Guide()。重力是一种解构空间的力量——我用我的身体和设备在一个舞蹈图中促进重力来创造一个新的空间。这与涂鸦和跑酷等文化活动形成了对比，并打破了这些现有的活动，在Edgelands上留下了新的痕迹。Blubilds根据在Edgeland遗址发现的运动模式绘制了一个活生生的具体图表，因为“行动”是与身体画一条线。Tim Ingold的绘画方法让我认识到，画(在)地方的运动线条与这些地方的生活叙事有关。因戈尔德认为，构成地点的叙事是由运动产生的纠缠线创造的;此外，用道格拉斯的话来说，“draw out”意味着在适当的地方“draw out”新的空间。蓝色象征着克劳斯的“粗鲁的噪音，蓝图和涂鸦行为”，它变成了Blubilds——一种动态的图解染色。
{"title":"Blubilds – drawing diagrammatic stains","authors":"Joanna Leah","doi":"10.1386/drtp_00095_1","DOIUrl":"https://doi.org/10.1386/drtp_00095_1","url":null,"abstract":"This project adopts the concept of a dance diagram such as Andy Warhol’s Fox Trot (1962) introduced by Rosalind Krauss in her writing on the relationship of material forces in a diagrammatic structure to create a model of notation with actions and objects derived from Edgelands. Coined by Marion Shoard, Edgelands are post-industrial cityscapes, a typology of abandon, dereliction and decay. Shoard notes these sites are characterized by creative cultural practices of photography and graffiti; urban explorers, parkour. My Blubilds project aimed to challenge these cultural practices of parkour and graffiti to provoke new engagement in those sites. To this end, I apply the concept of Rosalind Krauss’s resistant diagram and gravity I adapted from Formless: A User’s Guide (). Gravity is a force of undoing to remake spaces – and I draw with my body and equipment to facilitate gravity within a dance diagram to create a new space. This contrasts the cultural practices such as Graffiti and parkour and breaks with those existing activities to tag, mark and leave a new trace in Edgelands. Blubilds draw a live embodied diagram, based on the movement patterns found in Edgeland sites, since ‘action’ is to draw a line with the body. Tim Ingold’s approach to drawing informs my perspective that lines of movement that draw (in) place engage with the lived narratives of those places. Ingold suggests that the narratives that make place are created by entangled lines created by movement; furthermore, to ‘draw out’ – as in Douglas phrase – suggests that drawing in place ‘draws-out’ new spaces. Blue is emblematic as a nod to Krauss’s ‘rude noise, the blueprint and the acts of Graffiti’, it becomes Blubilds – a dynamic diagrammatic stain.","PeriodicalId":36057,"journal":{"name":"Drawing: Research, Theory, Practice","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74241460","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}
Review of: The Value of Drawing Instructions in the Visual Arts and Across Curricula: Historical and philosophical arguments for drawing in the digital age, Seymour Simmons (2021) New York and London: Routledge, 396 pp., ISBN 978-1-13847-997-5, h/bk, £96 ISBN 978-1-35106-418-7, e-book, £30
回顾:绘画指导在视觉艺术和跨课程的价值:数字时代绘画的历史和哲学争论，西摩西蒙斯(2021)纽约和伦敦:劳特利奇，396页，ISBN 978-1-13847-997-5, h/bk，£96 ISBN 978-1-35106-418-7，电子书，£30
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