I'd say most artists draw as part of their practice, it just isn't always part of the end product, or in this case part of their degree show work.
--------------------------------------------
On Tue, 5/6/18, emma bolland <[log in to unmask]> wrote:
Subject: Re: Drawing in Fine Art Departments
To: [log in to unmask]
Date: Tuesday, 5 June, 2018, 15:22
I see a great deal
of good drawing based practice emerging from
contemporary/fine art courses. Alongside equally valid work
in the media you mention. I would dispute your view, and
also remark that drawing does not begin and end with the
life drawing.
Emma
Bolland
+44 7905695423
https://emmabolland.com/
@emmaZbolland
On Tue, 5
Jun 2018, 15:17 Stephen Farthing, <[log in to unmask]>
wrote:
Dear William You ask a good question - which I suspect
it would take at least a chapter in a book to properly
answer . That said , I suspect the short answer is first in
the 19th century with the invention of photography then by
the end of the twentieth century with first what we know as
abstract art then digital imaging,
All the
best Stephen
Sent from
Yahoo Mail for iPhone
On
Tuesday, June 5, 2018, 5:01 PM, Simon Downs <[log in to unmask]>
wrote:
Dear William
You could look at the Coldstream Report (1968) which marked
a formal educational move away from Fine Arts based on
material skill:
'Fine Art
Whilst painting and sculpture or a combination of the two
will, we expect, continue to be the main preoccupation of
students in this area, we do not believe that studies in
fine art can be adequately defined in terms of chief studies
related to media. We believe
that studies in fine art derive from an attitude which may
be expressed in many ways. Their precise nature will depend
upon the circumstances of individual colleges.’
Sir William Coldstream, 1968 (http://dera.ioe.ac.uk/13935/1/Structure_of_art_and_design_education.pdf)
You could look to the move from mediation that was
already underway when the Dadaists worked to undermine the
artefact. But I’m not an art historian, so I shouldn’t
comment.
Speaking for myself, I trained as a painter illustrator
and teach graphic communication at a course where we still
academically train draftspeople, from life drawing to
visualisations, analogue and digital. We are doing the sort
of work that Coldstream
wrote about in ’68:
'Graphic Design
To a very great extent this area which has no chief
studies already has the freedom to develop the variety of
emphasis and the flexibility of approach which we seek to
encourage. It should be noted that many developments in this
area have gone hand in
hand with a rapidly increasing interest in communication
media.’
(Ibid)
Best wishes.
Simon
Simon
Downs
Lecturer in Graphic Communication
School of Arts, English and Drama
Loughborough University
Lead Editor of The PosterEditor of
TraceyDirector of the Drawing Research
NetworkRep’ for the University and Colleges
Union
On
5 June 2018 at 14:39:37, William Mulraney ([log in to unmask])
wrote:
Hi
Serious Questions.
When did drawing become so devalued in Art Schools,
especially in Fine Art Departments.
Anecdotal evidence - an artist friend of mine was talking to
a Director of Fine Art at a leading Art School in the UK who
proclaimed, " well, of course we have computers now -
so there is no need for the students to learn how to
draw."
Another Art School tutor I know of got into trouble for
organising a life model and a life room session until he
declared that he was asked to do so by a group of students
who wanted to learn some of the rudiments of life
drawing.
How did we get to this situation?
Does anyone have links to reading around this change in Fine
Art Dept. culture or can anyone illuminate me from examples
of personal experience?
I don't want to be a hoary old reactionary but I'm
getting bored sick of attending degree shows and seeing 90
percent of the students making boring videos and displaying
banal photographs.
Many thanks
William
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