Hi Pam,
Thanks for your suggestions.
I don't know enough about the relationship between art directors and
designers and can only guess at what kind of exchange they'd be having.
I'm interested in the 'to and fro' of a drawing conversation and what might
be revealed both on the paper and to the individuals as the drawing
develops. At the moment I'm thinking of it as analogous to building a
relationship even if only for the time it takes to make the drawing. I'm
wondering is there a particular intimacy, possibly risk in communicating in
this way? Does the drawing then stand as testimony to this?
On another matter completely should we be concerned or delighted? I found an
'interactive drawing warning' to workshop leaders from the online 'Stress
Doc' .
For example, be careful of interactive drawing exercises that allow
participants to express real feelings, e.g., like those US Navy personnel
drawing sinking ships and menacing sharks circling the water or Army Corps
of Engineer participants blowing headquarters to smithereens as visual
metaphors of downsizing (or is it "frightsizing") organizational climates.
Angela Rogers
Drawing Dialogues
----- Original Message -----
From: "Professor Pam Schenk" <[log in to unmask]>
To: <[log in to unmask]>
Sent: Thursday, February 12, 2004 10:57 AM
Subject: Re: Drawing Dialogues
> Dear Angela
>
> I have done some research about the dialogue between art directors and
designers but I don't think that is the type of collaboration you are
talking about.
>
> Have you considered the type of drawing clients get from builders and
carpenters that typify the development of small scale building work?
>
> Pam Schenk
> > from: Angela Rogers <[log in to unmask]>
> > date: Wed, 11 Feb 2004 12:18:31
> > to: [log in to unmask]
> > subject: Re: Drawing Dialogues
> >
> > Hi colleagues I wonder if anyone can help?
> >
> > I have recently finished the Drawing as Process MA at Kingston and am
embarking on a Drawing Dialogues initiative. I'm making a funding
application for research to support the initiative, investigating dialogues
where drawing is the language of communication. Such as John Berger's
experience in a cafe in Istanbul where he spent an evening conversing with
someone else, neither of them speaking each other's language, by drawing on
table napkins. Or Raymond Carver's description of a blind man experiencing a
drawing of a catherdral by feeling all over and round the edges of a piece
of paper, then holding another man's hand whilst he drew.
> >
> > I'd be grateful for any information or examples of the following.
> >
> > Collaborative drawing activities that probably involve an artist and
non-artists although any examples of a long term collaborative drawing
relationship between two artists would be valuable.
> >
> > I am also interested in accounts of the experience of being drawn,
especially by individuals who are not 'professional models', friends of the
artist or part of the art world. I am curious about whether the kind of
experience Frederick Franck describes when drawing people and objects is in
any way reciprocated by those being drawn.
> >
> > Many thanks
> > Angela Rogers
> >
|