Hi David,
I, too, was at that conference and especially found George Gittoes
extremely fascinating. Something he said about his own drawing pricked
my ears up though.. He found that his quick sketches that documented the
war scenes were by far the more emotive and displayed the spontaneity of
the moment that film seems to lose and indeed his own paintings lost,
once he transferred the visual documentation to the canvas.
All this is helping me gather information for my research on "The
Relevance of Drawing in the 21st C" which is great. How do I gain access
to Steve Garners recent publication?
regards
Margaret Rolla
Lecturer Visual Communication (Design)
University of Newcastle
University Dve
Callaghan NSW 2304
0249216564
David Edgar wrote:
>
> Hi Becky, I would suggest that you start looking from the 1960’s
> onwards, as from my reading of drawing literature since this time
> suggests that there are countless reasons for drawings ‘resurgence’,
> from large scale, to redefining the boundaries of what drawing is and
> can be, conceptualism, process, etc etc., and yes to a degree through
> the use of new technologies. (If you haven't already, you should check
> out Steve Garner’s new publication ‘Writing on Drawing'. I think it
> would be most helpful for you) I heard a great example at a conference
> in Sydney a few months ago of Australian artist Mike Esson working
> with eye sensor technology that was tracking the movement of his eyes
> when he was drawing his self portrait with pencil in hand in the
> mirror to see where he is looking through the various aspects of the
> process. But he took using this technology one step further by then
> making a drawing through the use of the movement of his eyes, removing
> the hand and pencil altogether, tracking his self portrait reflected
> in the mirror. The computer tracked the conscious movement of his eyes
> retracing the self portrait onto a piece of paper. I found this a
> fascinating twist on ways of using technology to draw with, above and
> beyond much of the discourse of using technology to draw with through
> things like photoshop. Speaking of which and in response to a comment
> from someone about a recent graduate show featuring much drawing,
> sadly where I’m from at the recent graduate show there was minimal
> drawing but an obvious reliance on using computer technology to
> manipulate imagery to then transfer into mostly painting, with some,
> very secondary, drawing. I'm not saying that this is good or bad but I
> find it interesting that some places/institutions are more reliant on
> it that others. Oh well…
>
>
>
>
> Regards
>
> David Edgar
> Program Officer - Residencies
> Arts Tasmania
> 146 Elizabeth Street, Hobart
> Level 8, 22 Elizabeth Street, Hobart
> GPO Box 771, Hobart, Tasmania, Australia 7001
> M: 0438 345 529
> T: (03) 6233 7308 (Tuesday's only)
> F: (03) 6233 5555
> ---------------------------------------------------------------------
> http://www.arts.tas.gov.au/
> ---------------------------------------------------------------------
>
>
> To [log in to unmask]
> cc
> bcc
> Subject why has there been a swing back to drawing?
> Rebecca Brock <[log in to unmask]>
> Sent by: The UK drawing research network mailing list
> <[log in to unmask]>
> 21/11/2008 08:44 PM GMT
> <HR><font size=-1>Please respond to
> The UK drawing research network mailing list
> <[log in to unmask]></font><HR> <font size=-1></font>
>
>
>
> I am in the process of writing my 3rd year dissertation and my topic is
> drawing,
> asking the question...'Why has there been a resurgent into drawing, in the
> recent past?'
>
> I am looking into areas such as graphic design and whether the reason
> may be
> a reaction towards the computer and all the new digital arts.
>
> If anyone has any suggestions or opinions I would love to hear from
> you all.
> Thank you for your help
>
> Becky Brock
>
>
>
>
>
>
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