Certainly Maureen,
Thank you for your most welcome feedback. The nice thing about talking about art and practice, is that one does not have to be "right" but simply to find some resonance. Please feel free to cite those words.
All best wishes
SHaron
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From: The UK drawing research network mailing list [[log in to unmask]] On Behalf Of Simon Mee [[log in to unmask]]
Sent: Thursday, 1 November 2012 8:42 PM
To: [log in to unmask]
Subject: Re: [DRAWING-RESEARCH] Re-emergence of Drawing
Here here
Simon Mee:
Collections Curator, Associate Lecturer Gallery Studies ( and artist)
Creative Arts
University of Southern Queensland
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From: The UK drawing research network mailing list [[log in to unmask]] On Behalf Of Maureen Kendal [[log in to unmask]]
Sent: Thursday, 1 November 2012 8:10 PM
To: [log in to unmask]
Subject: Re: Re-emergence of Drawing
Sharon - thank you for your inspiring words
"The "expanded field" of drawing, in terms of different media and the use of space, is a departure not so much from drawing, as from surface. When we think about drawing, we tend to think, for example of line and gesture, inscription and tracings, but we think the support separately: there are the mark making things, and there is the support. Spatial configuring for drawing, is really just pushing this support away; dance is to use the body instead of the usual linear tool, and to translate imaginary ground to real ground. Perhaps the term "drawing" is no longer descriptive of what artists do in its name. Maybe we should consider an art of line and surface, or line and space - or a melding of the two words to make "lace". 30 October 2012 03:32, Sharon Jewell
May I quote your words - with credit to you - to Computer Animation students I teach at LondonMet University, UK?
Thanks
Maureen Kendal
On 30 October 2012 03:32, Sharon Jewell <[log in to unmask]<mailto:[log in to unmask]>> wrote:
Hello Carolyn,
It is excellent that you are asking these questions. It is curious that while disciplinary modes of practice appear to be a thing of the past, drawing remains a powerfully singular tool. Tracy Emin, for instance, whose most recognised practice is installation, is professor of drawing at the Royal Academy as I am sure you know and has produced thousands of drawings. I think this "re-emergence", however, is not such a new thing, but is strongly linked to the process artists of the sixties and seventies, including Robert Morris and Richard Tuttle, and also performance artists who used drawing, such as Carolee Schneeman. For these artists, and in those times, it seems it was the immediacy and the presencing of an action that drawing served so well: the tools were basic, the impulse unimpeded by technique or labour, and thus drawing was a process much suited to conceptual art and to the phenomenological concerns of many of that era. It appears what is making a come-back, is a kind of drawing where the care and intricacy of which the tools of drawing are capable, from Toba Khedoori to Sandra Cinto and Julie Mehretu, and so many others, invites fascination, while remaining clear. I wonder if our computer addled brains and eyes are so used to the crisp and clean "figure-ground" images and text that we encounter every day, that drawing provides a relief from this while at the same time maintaining a clean "ground". Well it is hard to find general answers, because drawing is so very diverse.
The "expanded field" of drawing, in terms of different media and the use of space, is a departure not so much from drawing, as from surface. When we think about drawing, we tend to think, for example of line and gesture, inscription and tracings, but we think the support separately: there are the mark making things, and there is the support. Spatial configuring for drawing, is really just pushing this support away; dance is to use the body instead of the usual linear tool, and to translate imaginary ground to real ground. Perhaps the term "drawing" is no longer descriptive of what artists do in its name. Maybe we should consider an art of line and surface, or line and space - or a melding of the two words to make "lace".
The other thing is that what we see in the art world is what we are shown or advised - to a large extent. Equally cohesive in a disciplinary sense is painting, and sculpture. Phaidon's wonderful series is testimony to this. As far as identifying with any particular medium "I am a painter" "I am a sculptor" I don't know if this ever was the case: Matisse was as much sculptor as drawer, as painter, and so too Picasso. What would Matthew Barney call himself? The possibility to move around media in the name of creative expression, where formal concerns are not linked to disciplinary modes but spatial ones, seems more productive to me. My guess is if you asked most artists, they would identify not on the basis of discipline - seems counter creative - but as artists.
All the best with your studies Carolyn
Best wishes
Sharon
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From: The UK drawing research network mailing list [[log in to unmask]<mailto:[log in to unmask]>] On Behalf Of Carolyn Roberts [[log in to unmask]<mailto:[log in to unmask]>]
Sent: Monday, 29 October 2012 8:53 PM
To: [log in to unmask]<mailto:[log in to unmask]>
Subject: [DRAWING-RESEARCH] Re-emergence of Drawing
As a 3rd Yr Fine Art student I am in the process of writing my dissertation. I am looking at the re-emergence of the popularity of drawing and how contemporary artists are pushing the boundaries of what is considered conventional drawing. I would like to ask a) why you feel there has been a re-emergence of drawing as a medium in its own right and b) why contemporary artists, I am thinking of, perhaps Sian Bowen, Catherine Bertola, Monika Grzymala, i.e artists who use unconventional drawing materials or processes, qualify their work as drawing?
I would be interested to know peoples' responses
Carolyn Roberts
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Maureen Kendal
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