Tag Archives: drawing

Call for Papers: DRAWING

Friday 18th & Saturday 19th November 2016

University of Chester, Riverside Innovation Centre

This is a call for papers for researchers, artists, practitioners and educators. The following suggestions may help delegates in preparing their papers:

  • Drawing as research/research through drawing
  • Drawing and the senses
  • Drawing and affect
  • Drawing futures
  • The therapeutic power of drawing in education
  • Contemporary approaches to drawing
  • Drawing as an expanded practice
  • Drawing as a socially engaged practice
  • Inclusive/exclusive practices through drawing
  • Generating knowledge through drawing
  • Collaborative practices in drawing
  • Drawing in the context of co-design practices
  • Pedagogies of drawing
  • Interdisciplinary drawing practices
  • Technology as drawing
  • Digital drawing
  • Politics of drawing
  • Aesthetics and the assessment of drawing
  • The body and drawing
  • Drawing as a reflective practice
  • Visualisation and drawing
  • Theorising drawing/drawing and its relationship to theory
  • Drawing and comics/graphic novels
  • Drawing and material culture
  • Exploring the relationship between drawing and space
  • Thinking through drawing

80 – 100 WORD ABSTRACTS TO BE SENT TO [email protected] BY 31st JULY 2016

Fees

For Delegates (Including Speakers )

Early registration by 31st August 2016

£200 (£180 NSEAD members, £100 students and unwaged)

Registration from 1st September 2016

£225 (£200 NSEAD members, £100 students and unwaged)

Fee includes all day Friday and Saturday sessions, refreshments and lunch, but does not include accommodation or evening dinners.

There is no single day rate.

For questions about the conference or to make payment via invoice please contact:

[email protected]

There will be a £15 cancellation fee and no refunds can be given after 31st September 2016. Please note that the conference is non-profit making and all fees are used for conference costs.

Please book via the following link:

http://storefront.chester.ac.uk/index.php?main_page=product_info&cPath=6&products_id=97

Theatre & Performance Design – Call for Submissions

Volume 3, Issues 1&2: Drawing & Design

The editors, Arnold Aronson and Jane Collins have pleasure in calling for submissions to the journal Theatre and Performance Design Volume 3, Issues 1&2 spring and summer 2017. The volume will consist of general articles on scenography but we are also interested in receiving articles that address the specific theme of Drawing and Design.                                             

 ‘Drawing… is at once medium and process, performative act and idea, it is sign, symbol and diagram. It is a space of negotiation for both established meanings and what is yet to be known, defined and articulated. It is a medium for analysis, for the acquisition and facilitation of understanding. It is observational tool and recording practice.’ Flavia Loscialpo[1]

There is a substantial canon of writing about drawing in fine art but relatively little on drawing in theatre and performance.  In the 2017 spring and summer issues of the journal we are keen to explore how drawing works across the full range of scenographic practices.  As a means of making ideas concrete and as a discursive tool drawing is instrumental in theatre, costume and performance design, spatial design and architecture. Articles might consider; how precisely does drawing work as ‘a space of negotiation’ in these practices? What kind of drawings do designers make and how are they evaluated? In a recent edition of the journal David Bisaha, with reference to the New Stagecraft movement early in the last century, has argued that ‘‘Renderings’ depiction of composed dramatic moments afforded designers greater control and autonomy over the completed stage picture…’’ [2]  What is the status of drawing as scenographic artefact and process in contemporary theatre and performance practice? As work has moved beyond theatre buildings and into diverse sites, both urban and rural, have performance scores and maps replaced ground plans and renderings? What materials and tools, including the digital, do designers use to draw? What kind of drawings do sound and lighting designers make? How might a close analysis of the drawings of designers from the past help us to understand the visual culture and the professional context in which they were made?  Can a close study of different approaches to drawing help us to understand the evolving role of the designer?

We welcome articles on drawing of between 5000-8000 words. Contributions from practitioners talking about their own use of drawing, articles on CAD and its applications as well as visual essays that explore the currency of drawing as design practice past, present and future.  In addition we continue to encourage submissions on issues relating to scenography in general.

Submissions to Nick Tatchell, Editorial Assistant: [email protected]   

Deadline: October 31st 2016

[1] Drawing and The Body, Exhibition Catalogue KG52 Gallery, Kammakargatan 52, Stockholm, 18April -14 May 2011published by The Swedish School of Textiles, University of Boras and London College of Fashion, University of the Arts, London.

[2] Bisaha, David. 2015. Robert Edmund Jones’ scenic rendering as design artefact and professional tool. Theatre and Performance Design 1 (3): 220-235 (p.220)

Jo Love at GiG Munich

GiG Munich is happy to introduce the work of Jo Love, MA Visual Arts: Printmaking Course Leader at Camberwell College of Arts and Senior Lecturer at the University of Brighton. Love has recently completed her PhD at CCW, entitled Dust: Exploring new ways of viewing the printed photographic image. The research project explored how the visual presence of dust shifts the perception of temporality and materiality within the printed photographic image, thereby opening up new avenues for thought.

Her show at GiG Munich marks the continuation of her research into the viewed surface, the materiality and the time of the printed photographic image. Her work combines drawing with printmaking and photography, and uses the specks of dust found on the surface of the photographic image as the starting point of her investigations.

At GiG Munich Love shows two bodies of work. The first consists of a series of landscape drawings made in collaboration with a senior scientist at the Natural History Museum in London. In this series she re-draws the electron microscope images of marble and graphite particles in order to reclaim the tactile materiality lost to modern technology. She also imbues the image with a different kind of temporality to that of the digital experience. In the second body of work, Love draws over a digital print of a video still, covering the inkjet surface with a layer of graphite. Only small pockets of saturated colour are left exposed. Taken together, the two different layers create an optically unstable image, disturbing and disrupting the act of viewing.

Both drawings operate at the limits of human perception and invoke ideas of the technological sublime. As Love states, ‘My interest lies in constructing images which are resonant with my experience and perception of the world: more fractured, open and complex than the more coherent image can convey, and one that offers an arena within which we can contemplate themes of time, memory and mortality.’

Colour and Abstraction

Dean of Chelsea, George Blacklock has a new book out from 26 October, Colour and Abstraction. ‘The book is written from a methodological point of view. It begins by briefly charting how the use of colour in painting was liberated from a “support” role to drawing in the construction of traditional pictorial space. This around  the turn of the 20th Century – particularly with Fauvism. This sense of liberation allowed significant advances in pictorial dynamics. It discusses (again briefly) how in tandem with this, drawing itself was radically shifted through Cubism.

The book then uses these twin bases to look at the development of abstract (and abstracted) pictorial space and how artists have used various methods and devices to construct their work.  The next section moves on to discuss how the “stuff” of paint (its materiality) affects pictorial dynamics and choices. Finally, it uses examples of my own paintings to illustrate how complex or simplistic pictorial choices can be, and how they can be derived.’

It is now on available from Amazon.

Drawing the World

On Sunday 11th October from 1-4pm Rootstein Hopkins Chair of Drawing and CCW Professor Stephen Farthing will be working with 30 postgraduate students from across the University, a drone pilot and a film maker to film the performance of a drawing. The work is called Drawing the World and is part of The Big Draw festival, which will be held in Granary Square, King’s Cross.

In this video Farthing talks about how the work/performance will be made and then erased.

Jerwood Drawing Second Prize Winner, Elisa Alaluusua

The winners were announced on 15 September of the Jerwood Drawing Prize 2015. The Second Prize of £5,000 was awarded to Elisa Alaluusua for her 7-minute video, Unconditional Line. She completed MA degrees at Manchester Metropolitan University and the University of Lapland before commencing her PhD at CCW. Her prizewinning video drawing depicts the take-off and landing of a flight.

Alaluusua said, ‘My drawing practice varies from graphite on paper to videoworks – both of which have played a part while I have been conducting my PhD research at UAL on the topic of sketchbooks. Often my work explores restrictions set around particular parameters, such as my large-scale 24h Drawings, completed in that time without sleep and pushing physical and mental boundaries. Unconditional Line “explores a line across the skies and recreates it on screen. This particular trip belongs to a continuum of invisible lines drawn between London and Luusua in Finnish Lapland. The lines on the ground speak their own foreign language of order and safety that should not be compromised. The video is a reminder of the experiences of our own journeys.”*

I have been using video for a long time now. At the beginning of the 1990s, in my art school we were the first year group completing our moving image projects on video rather than in film. Renting the cumbersome equipment was expensive, and we would use the linear editing machines around the clock. Over the years video has become an effortless means of expression for me where I work on my own on a project, planning, shooting and editing everything by myself. It is very much like composing a drawing with a more traditional media on paper – every mark or change works in a relation to the marks around it, the whole composition capturing time in the process. On the other hand, I truly enjoy collaboration such as running video projects – for example the Film/Video workshop for Westminster School’s annual PHAB course – or interviewing people for my videoworks. My final PhD exhibition will include thirteen such videoworks, and I look forward to putting that installation together in the spring of 2016.

There will be related events coming up on Friday 25th (SLAM FRIDAY: Artists’ Floor Talk) and Monday 28th September (SCREENING & PANEL DISCUSSION: A Singular Line) when I will be taking part in panel discussions.’ Tickets are free but need to be booked in advance on their website, using the links above.

EXHIBITION INFORMATION:

Jerwood Drawing Prize 2015
16 September–25 October 2015
Jerwood Space, 171 Union Street, London SE1 0LN
Mon–Fri from 10am–5pm, Sat & Sun from 10am–3pm Free
www.jerwoodvisualarts.org
Twitter: #JDP15 @JerwoodJVA

FROM LONDON THE EXHIBITION GOES TO:

  • Cheltenham Art Gallery and Museum: The Wilson (21 November 2015 – 31 January 2016)
  • Sidney Cooper Gallery, Canterbury (11 February – 9 April 2016)
  • Falmouth Art Gallery (23 April – 25 June 2016)

* Jerwood Drawing Prize 2015 press release

Top image: still from Unconditional Line, Elisa Alaluusua

Drone on the Range or “Step Away From Your Shadow”

CCW Professor and Rootstein Hopkins Chair of Drawing Stephen Farthing is exhibiting prints and paintings at the Royal Academy Summer Exhibition 2015. He is working to explain why Native American culture is infinitely more resilient today than it was at the end of the nineteenth century. This is part of Farthing’s research into Native American drawing.

‘I have been following a track that I hope will enable me to better understand how and why eighteenth and nineteenth century colonialists encouraged the indigenous people they encountered to illuminate their oral histories by drawing. I started in Australia and New Zealand with Maori and Aboriginal drawing, then this last year I shifted my inquiry to the Smithsonian Archives in Washington DC, where my focus has been the Native American collections. At the centre of my interest are the Native American narrative drawings known as “Ledger Drawings”. These were mostly made during the mid to late nineteenth century by Plains Indians during their detention in US army forts.

As an artist researcher, my work simultaneously heads off in two directions – on one side there is the written, on the other the drawn and painted. On this occasion my writing explores the conventions of Ledger Drawings, while my drawings and paintings manipulate images that are concerned with the conventions of warfare, the subject matter of most Ledger Drawings. Each of my drawings starts with “the brave” and end with “the  sneaky”. Together they become a narrative that takes us from the bald eagle to the drone. The writing, which has quite different ambitions, explores the effects of a European education and the introduction of paper and pencil on Plains Indian drawing. I envisage the drawn side of my research growing into a much bigger project that will in the end be painted and have little to do with its starting point. The writing however, has stayed true to its starting point and will soon be done.

This summer, as a way of testing some early results, I have turned four images – Step Away From Your Shadow and Drone on the Range, Wounded Knee and Dance – into hand finished digital prints that I’m showing at the Royal Academy Summer Exhibition. I find showing at the Summer Exhibition useful. Even if not a critical word is exchanged, it enables me to see what I have done  beyond the context of my own studio and in the company of my peers.

Ticking away in the background, beyond the writing and drawing, I have a third direction which is a result of my Chairmanship of the Royal Academy Exhibitions Committee. Two years ago I was asked by my committee to explore the possibility of mounting a large scale exhibition of Native American Visual Culture. Since then I have been involved in a journey and lengthy consultation process that has taken me to museums, archives, Native American reservations and  meetings with scholars. The aim? To begin to understand and shape an exhibition that will represent Native American visual culture in London as a resilient contributor to twenty-first century global culture.’

Farthing has been a Royal Academician since 1998.

Top Image: 818 – STEP AWAY FROM YOUR SHADOW #2, hand-finished digital print, Stephen Farthing

Strange Attraction

Dear A, I’m attracted to you, and I don’t know why.

            Shall we be friends?

Artworks can write letters too, inasmuch as they reach out, make lines of contact with other artists, and forge an aesthetic of correspondence. In Strange Attraction, a group exhibition of six artists working in a variety of media at APT Gallery, curated by Emily Purser, that correspondence is curated and archived, as the works speak to one another through their shared preoccupations. Sometimes the works’ closeness can be found in the processes in which they have been made, or the materials that have been manipulated, and sometimes it is found in the works’ ideas, its postscripts and its messages.

Many of the artists gathered here are interested in biography, not as a mapped out narrative, but as an affective pool: a script to be rewritten and performed, as pliable as paper. And even when the life is not visible in the works’ imagery, it exists in the frenetic states of matter and experience that the work has endured.

The abject body is a marginal unclean thing, potentially transgressive in its borderline subversiveness. In Lana Locke’s work, the sculptor references this body, but fragments it, creating sculptural installations that suggest, or indeed perform, a loose and perverse corporeality. Heads float. Limbs are scattered about like twigs on the ground. Bloody sheets fall from flowers on plinths. Locke returns to APT Gallery having previously exhibited there in the Creekside Open 2013, where she won Paul Noble’s Selector’s Prize. Her works in Strange Attraction include the pictured sculpture, Bridal Piece III (2014). Locke says, ‘I am thrilled to return to APT Gallery to be part of this beautiful exhibition curated by Emily Purser. My own work in the show is very personal, and it is clear that all the artists have very different approaches. Yet as you walk around the exhibition, many subtle, organic underlying threads emerge between the artworks of the group and they seem to speak to each other. It is a haunting, strangely uplifting exhibition that I am proud to be a part of.’

This mode of identity performance is similarly found in Lady Lucy’s paintings, which draw on documentary and interview research, to create portraits of layered and collaged material, often incorporating art historical gestures and tropes. Defiantly appropriated, the self is rendered a composite artificial object.

Andrew Mania makes art akin to the obsessive habits of a collector, transcribing people and objects. In his work, the autobiographical is recast in small, coloured pencil drawings, and even smaller paintings: a public re-reading of the intimate. The blue eyes of a young boy gaze out from the canvas, affective and abject: it is a look of innocence, melancholy, desire and love.

In Vanessa Mitter’s paintings, the personal is also treated as a pliant material, a source of affect and investigation, but also of fiction and performance. Collage, paint and pigment find a way on to the canvas in ephemeral expressive gestures. There is an abject narrative at play – of lost childhood and drifting brides – but it is a narrative that wanders in and around the artifice of the material.

In Hannah Campion’s work, painting is made into a happening, and then an installation, as her worked on canvases are then reworked into ambiguous three-dimensional forms, which are strewn on the floor or pinned to the wall. The paper or canvas undergoes all kind of processes: it is crushed, trampled, nailed, repaired, collaged. It is an active, performative mode of painting, which is also a site-specific response to the surrounding space.

Eleanor Moreton is similarly interested in painting as performance. In her work, narrative is not so much read as experienced. She provides the protagonist and the prop, often drawing on her own personal histories; but with the medium and its application (part abstract, part figurative), comes an ambiguous appropriation of the primary material. As in the work of the other five artists, the raw is remoulded as an artistic event.

In Strange Attraction, the viewer will find six distinct but correspondent practices, whereby narratives relating to the bodily and the biographical are re-made in painting, sculpture and installation. In these intimate objects, the personal evades our grasp when the performance takes over.

The exhibition is at A.P.T Gallery, 20th March – 5 th April 2015, with a private view on 19th March, 6.30pm to 8.30pm. Curator’s panel discussion and SLAM (South London Art Map) last Fridays opening 27th March, 6.30pm to 8.30pm.

Gallery Opening Hours: 12.00-5.00pm, Thursday to Sunday

Just for the Day

Just for the Day is a presentation of drawings at The National Gallery by nine students studying on the MA Drawing course at Wimbledon College of Arts. The students are a diverse group originating from different countries such as the UK, India, China, Hong Kong, Portugal and Gibraltar and are from the varied previous practices of graphic design, publishing, fine art and watercolour painting.

Supported by Colin Wiggins, head curator of The National Gallery, their works have been made in response to their individual reflections in The National Gallery. Working across a diverse range of media, they have responded to either particular works in the collection, or to the galleries and environment of The National Gallery itself, and collectively demonstrate the impact of direct encounters with art of the past, on art of the future. They are making a wide range of references to the iconic great works inside the gallery such as Rubens, Reynolds, Titian and Degas, to the unnoticed tiled mosaic floors and the chatter of passers-by outside The National Gallery in Trafalgar Square.

“We are very privileged as students to have this exciting opportunity and to be presenting our work alongside the Great Masters, in one of London’s most prestigious galleries. Having individual tutorials with Colin Wiggins where we discussed the work that we will be displaying has been inspirational and an experience I would not have wanted to miss,” explained student Georgina Talfana.

The presentation will be open to public viewing from 10am – 7.30pm in the Drawing Studio, situated on Level 1 of the Sainsbury Wing in The National Gallery on Friday 20th March 2015.