Filtering by Category: drawing
|Graphite and charcoal on paper|
60.5" x 128"
"The colossal orifices, pressed against glass, aim to convey a tension between intimacy and vastness that evokes conflicting aspects of modern life. They are vulnerable to scrutiny yet mysterious, unique yet anonymous, truthfully represented yet easily misread."
Richard Serra, "Drawings After Circuit"(1972), charcoal on paper
When I think of Drawing (with a capitol D) in this way, as an ever-growing, all-encompassing means of creating, I'm reminded of what Rosalind Krauss had to say about Sculpture in her famous 1979 essay "Sculpture in the Expanded Field." I won't go into details, but basically, what I mean to suggest by this is perhaps that Drawing has entered an 'expanded field' of its own. Perhaps the line culture has "drawn" between drawing and sculpture isn't quite as clear as we may think. The same could be said for drawing and performance (in which the drawing is a record of performance - see Tony Orrico), as well as many other overlapping categories of art-making. John Dewey, in Art as Experience, makes a clear argument for this idea, suggesting that the various media "form a continuum, a spectrum, and that while we may distinguish the seven so-called primary colors, there is no attempt to tell exactly where one begins and another one ends."
My intention in this post was originally to highlight Richard Serra's accomplishments in drawing, but it seems I've gotten off topic. I'm on the verge of delving into a lengthy discussion of categorical classifications in art-making - its effect on art education - and many relevant opinions on the subject (this topic is discussed at length in Art School: Propositions for the 21st-Century)... but perhaps I'll save that for another day.
|a site-specific drawing by Richard Serra|
"I am an artist. My job is to make drawings, not to make sense." WK
I just watched the PBS documentary on South African artist, William Kentridge, called Anything is Possible. I know I've seen it before, but I can't remember for the life of me when/where. If ever I teach a drawing class of my own, I will definitely show this film to my students. He pushes "drawing" like no artist I've seen. William Kentridge's work is quite amazing, involving so many factors yet flowing so smoothly. I particularly enjoy watching footage from the opera he staged and directed called The Nose.
3" x 8"
ink on paper
I'm onto some new-ish things in the studio. This drawing above is the start of something. It's primarily serving as one of many studies for some larger paintings I plan to do with polyurethane and oil paint... so we'll see about that! I've been looking at a lot of photos online of skin... all kinds of photos... but the really zoomed in ones of skin layers are by far the best. I found these at sciencephoto.com
I've been messing around with some new approaches, and I somehow ended up with a few drawings, which is something new for me. I started with a slice of this...
(the result of many layers of polyurethane-soaked fiberglass insulation made into a ball, dried, and sliced on a band-saw)
... and then I began drawing from observation. I based the forms off of the above image, but allowed them to evolve as I continued. And they eventually grew to become these organ/tumor-ish objects...
graphite on paper
appx. 5" x 4" each
Perhaps I'll do some more...
Perhaps I'll do some more...
I really like this quote I found HERE that discusses my very dilemma...
"Process, and the trace of that process, are integral to drawing. The action used to make a mark becomes that mark. The drawing is an image of an action. The visual marks made by sound, the doing and undoing of a mark, the space of a mark, at their core all have the essence of an action.
A drawing and a sculpture, there is no clear line between the two. Some sculptures are three dimensional drawings. What begins as a drawing can become a sculptural object. A conversation develops between the two dimensional and the three dimensional. Materials used for making sculpture are used for drawing - so plastic tubing used within a sculpture is then dipped in ink and used as a drawing tool - and the sculpture and the drawing become part of each other. Discovering how an object draws itself is a way of understanding the essence of that object."
So, this this brings me to the drawings/performances of Tony Orrico, which have ignited this entire dialogue. I wish I had been exposed to these in drawing class. One day when I'm a grown-up (ha), if I ever have to opportunity to teach a drawing class (or some sort of special topics class), I would love to assign projects that are performative and process-based. The possibilities are endless, and the creative potential is without bounds. Check out these videos of Tony Orrico... they are utterly mesmerizing.
This is a drawing I did as a final project for drawing class. It is the product of much deliberation, as drawing is not an active part of my creative process. Rather than draw something from observation, I wanted to make a piece that could potentially fit into my wider body of work. I went for a more process-based approach, which I won't even attempt to fully explain. I'll just say that it involved a number of steps, including reading aloud three definitions of "drawing" with a drawing utensil attached to my chin...
loose charcoal on panels
9" x 12" each