Drawing One a new book “Drawing Now” Between the lines of contemporary art

back from a week’s holiday I have come home to “Drawing Now” a recommended book by the OCA drawing course. My first instinct on reading the preface was to look for the webpage “TRACEY” which is run by some of the same group of authors.

http://www.lboro.ac.uk/departments/sota/tracey/journal/

unfortunately, although I am glad I have found it with its discussions of research themes and references in relation to drawing, it is far too long winded (for my liking) to read intently.

The selection of sketch books by artists from different parts of the world are worth further investigation:

http://www.lboro.ac.uk/departments/sota/tracey/journal/sketchbook.html

notes from “Drawing now”:by

considers the relationship between hand,drawing material & paper whilst touching the limits of drawing…extending typical subjects,abstraction and conceptualisation

considers the subjective nature of drawing-leaning towards naievety and the denial of “good drawing”

Challenges subject matter, beyond figurative.

Drawings capacity to reflect postmodernism: appropiation, fragmentation and indeterminancy, expression through gesture and allegory (ref :http://www.thefreedictionary.com “The representation of abstract ideas or principles by characters, figures, or events in narrative, dramatic, or pictorial form.”)

to challenge the aesthetic (ref: http://www.thefreedictionary.com :”Of or concerning the appreciation of beauty or good taste,,onforming to accepted notions of good taste.“)

mentions the MOMA exhibition: Allegories of Modernism,Contemporary drawing (ref:http://www.moma.org/docs/press_archives/7005/releases/MOMA_1992_0013_12.pdf?2010 ) -list of artists to look at saved in “drawing course -artists (MOMA)-

Gestural drawing Large scale work collage and montage (ref:wikepedia-=-a form of film editing)

aligning drawing with thinking and ideas rather than representation–drawing representing reflection rather than observation

Emphasising the performative and the speculative

Arthur Danto–the role of art changed in mid 20th century

Post modernism critiques rather than represents- Jean Baudrillard states art can only reiterate what has gone before.

Drawing is a tool of conceptualisation equivalent to language  –relationship between reason and intuition, sensory perception, interpretation and the process of understanding.

Close to conception of ideas and before refinement of methods–so retains a freshness —its simplicity—able to demonstrate the complexity of conceptual possibilities.

Driven by convention

Drawing is unstable balanced between abstraction and representation.      It is fluid.

drawing is authentic and therefore resists postmodernism( which is the exchange between the authentic and the copy).

Bergger: drawing =observation, communication and memory. Every drawing has an element of memory which filters observation and directs imagination–that is why it takes so long to learn.

Drawing oscillates between:seeing,thinking,remembering,imagining,controlling and being controlled.

reference to BBC series by Andrew Graham Dixon “The secrets of Drawing 2005”  (http://www.youtube.com/watch?v=4SbEW9VVa34)

pre Renaissance drawing-subjective knowledge of the substance of the world –symbolic pictures

drawing what we see is altered by what we know to be its use

Le Witt’s definition of conceptual art: “in conceptual art the idea or concept is the most important aspect of the work. When an artist uses a conceptual form of art, it means that all of the planning and decisions are made beforehand and the execution is a perfunctory affair. The idea becomes a machine that makes the art.” ref: http://en.wikipedia.org/wiki/Conceptual_art

naming things allows concepts to become forms,

Kant: relationships between understanding and imagining, demonstrable and not, explicable and not: rational (understanding) v aesthetic (distinct from concepts of understanding–imagination and subjective)

Aesthetic sensation may be more visceral then visual

Drawing is an immersion in reaction and anticipation and moves between conscious decision and unconscious compulsion

conscious experience depends on imagination to anticipate and remember. We separate elements of the perceptible from things we do not “see”

elements of experience are lost and as….words constrain and lose experience and become confined by previous explanation,…. so does drawing.

conceptual drawing: a journey around associative thought and does not have to be logical or resolved,provokes an aggregation of memories and impedes access to ….meaning–intangible and ambiguous.

imitation<———>invention

The drawings in the book represent the visible and invisible.

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