Dear Claude
I'm a member of the network based in Dublin. Could you let me know it
there is a website or catalogue that I could get to see some of your
selection, as I would be unable to attend this conference. This area of
research is one that is of a lot of interest both to myself and a lot of
students in the Fine Art Department I work in.
I look forward to hearing from you
Regards
Brian
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>Dear John,
>
>I very much enjoyed your musical notation contributions a while ago, and
>would also be interested to see your photos of the workshop at Reading
(my
>email is: [log in to unmask]) Many thanks.
>
>I am not entirely sure if you or anyone from the list is interested in this
>kind of thing but I wanted to draw attention to a one day symposium
>happening at the Henry Moore Institute at Leeds, which is in conjunction
>with a show of sculptors drawings from their collections, a purely
personal
>selection made by myself. My own ideas about the show are highlighted
in the
>short text below which is taken from their Newsletter, and I thought that
>there may be some relationship to some of the discussions on the
network.
>Dance notation as a way of describing space, and scupltors drawings-
what
>these have in common was a lot to do with the selection of drawings.
>
>Claude Heath.
>
>
>
>SCULPTURE ON PAPER
>
>
>ŒSculpture on Paper: Works from the Leeds Collection1 exhibition
selected by
>Claude Heath
>
>and
>
>A Symposium on Sculpture & Drawing
>Henry Moore Institute, 19 March (9.30-5.30)
>------------------
>
>Julian Luxford (St. Andrews University)
>'Drawing on sculpture: An illustrated medieval manuscript and its
sculptural
>exemplars'
>Viccy Coltman (Edinburgh University)
>ŒDesigns on eighteenth-century sculpture1
>Philip Ward-Jackson (Courtauld Institute)
>ŒSide-stepping the microbe: 19th-century sculptors' drawings1
>Ada Raev (Humboldt University, Berlin)
>ŒDo sculptors see differently? Thoughts about sculptors' drawing
practices,
>with reference to Vera Muchina, Georg Kolbe and Ernst Barlach1
>Deanna Petherbridge (University of the West of England)
>ŒSigning and signalling: Some polemics around sculptors1 drawings1
>Eleanor Crook (Royal College of Surgeons)
>ŒRenewing a tradition whilst attempting to separate oneself from it:
>Contemporary sculptors draw from the body1
>Mary Doyle (The Drawing Room, London)
>on contemporary practice
>
>£10 / £5 concessions. (Cheques should be payable to ŒThe Henry
Moore
>Foundation1).
>To book a place contact Liz Aston, tel. 0113 246 7467, email
>[log in to unmask]
>
>-------------------
>
>9-9.30: Registration and opportunity to see ŒOther Criteria1, LCAG
displays
>and new ŒSculptor1s drawings1 display on mezzanine
>
>9.30: Introduction by Margaret Garlake and Jon Wood
>
>9.45-10.15: Julian Luxford (Cambridge Univ.) ŒDrawing on Sculpture:
An
>Illustrated Medieval Manuscript and Its Sculptural Exemplars'
>
>10.15-10.45: Viccy Coltman (Edinburgh Univ.) ŒDesigns on
eighteenth-century
>sculpture1
>
>10.45-11: Discussion
>
>11-11.30: Tea
>
>11.30-12: Philip Ward-Jackson (Courtauld Institute) ŒSide-stepping the
>Microbe: 19th century Sculptors' Drawings1
>
>12-12.30: Ada Raev (Humboldt Univ. Berlin) ŒDo sculptors see
differently?
>Thoughts about sculptors' drawing practices, with reference to Vera
Muchina,
>George Kolbe and Ernst Barlach1
>
>12.30-12.45/1: Discussion
>
>1-2: Lunch
>
>2-2.30: Deanna Petherbridge (Univ. of the West of England) ŒSigning
and
>Signalling: Some Polemics around Sculptor's Drawings1
>
>2.30-3: Eleanor Crook (Royal College of Surgeons) ŒRenewing a
tradition
>whilst attempting to separate oneself from it: contemporary sculptors
draw
>from the body1
>
>3-3.30: Mary Doyle (The Drawing Room, London) title tbc
>
>3.30-3.45: Discussion
>
>3.45-4.15: Tea
>
>4.15-5.30: Viewing of ŒSculpture on Paper: Works from the Leeds
Collection1
>exhibition selected by Claude Heath (artist) - then final discussion in the
>gallery
>---------------------
>
>accompanying text for the show:
>
>
>The Missing Third Dimension.
>
>
>In making a selection from the collection of sculptors drawings at Leeds
I
>aimed at a purely personal one looking for echoes of the things currently
>occupying me, perhaps even a solution or two. Much of my recent work
has
>been about how to look at and draw something in three dimensions,
using
>folded and shaped surfaces.
>
>I know from my own experience that tactile and visual sensation is very
>difficult to contain on the page: does a line veer towards the left or to
>the right to describe a contour, does it move up the page or down it to
>describe what is near or far?
>
>If a dance choreographer has to write down a record of a set of
movements
>for the dancers to be able to reproduce them, then the notation used is a
>set of symbols: these refer to a dancers traverse through defined space
>while taking account of what they call 'the missing third dimension'. This
>hint of frustration at the two-dimensionality of the sheet of paper is
>something that they would seem to share with the sculptor.
>
>In the sculptors drawings I saw at Leeds they seemed to show a strong
>awareness of that missing third dimension and how it is possible to
>compensate for it. Interestingly, to this end a single work may be pulled
in
>a number of different directions at the same time, for instance
horizontally
>versus vertically. For example in Bethan Huws' spiralling pools which are
>intersected by upright waves, or Paul Neagu's isometric tower
surrounded by
>circling marks. Most of the works chosen exhibit some degree of this
>revolving around or over their subject.
>
>The striving to compress onto the page results in a spectrum of
reactions:
>some will want to take us around the subject and show it from many
sides in
>a series of views, others will be inclined to take an architectural
approach
>and give us a plan and elevation, a few will want the drawing to be
>primarily a flat object. Sometimes there will be a jump into actual three
>dimensions, for example the cut paper of Terauchi, or the drawn marks
on
>Deacons maquettes, and the animated folded drawings of Thornycroft.
Noticing
>these differing ways in which two dimensions have been made to stretch
>around three, I hope allows us to use our eyes in more of a tactile way.
>
>Claude Heath. 2004.
>
>
>Henry Moore Institute
>74 The Headrow
>Leeds LS1 3AH
>
>T +44 (0)113 246 7467
>F +44 (0)113 246 1481
>www.henry-moore-fdn.co.uk/hmi
>
>
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Brian Fay
Department of Fine Art
DIT Portland Row
St. Josephs Convent
Dublin 1
Tel: 01-8765014
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