making a mark: comments on the draw of drawing
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AArrttiisstt aanndd wwrriitteerr KKaatthheerriinnee TTyyrrrreellll wwrriitteess aabboouutt aarrtt ffoorr aarrttiissttss aanndd aarrtt lloovveerrssRead about: drawing, painting, artists and painters, art news, art competitions, art exhibitions, the art business, art economy, marketing art, art history; artblogs, art techniques and tips, and making a mark with pastels, coloured pencils and pen & ink
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DDaavviidd MMuussggrraavvee:: TTrraannssppaarreenntt HHeeaadd, 2003 [MUSGD031148]Materials: framed graphite on paper
Dimensions: 29 x 24cmCourtesy of: greengrassi
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Yesterday I went to the lecture Michael Archer was giving on The Draw of Drawing. Thiswas the second in the Diversity of Drawing series of lectures at the National Gallery.
Michael Archer is the Head of School at the Ruskin School of Fine Art at Oxford University.The Ruskin and Dorling Kindersley are both sponsoring these events. I've just noticed thatthis post and the Sarah Simblet one might make my blog look like some sort Ruskin/DorlingKindersley spin off this week -‐ but no such luck!
It was an interesting lecture and erred on the side of the conceptual and a differentperspective on the act of drawing. It also involved rather different images of drawing fromthose we might be used to.
I certainly found the lecture interesting and stimulating and I'm highlighting some of thepoints he made below together with artists and images I've found links for. I've alsoincluded comments and observations by me in italics. What follows is from my notes so allerrors of interpretation are mine alone. Those who want to expand their horizons re thepractice of drawing -‐ read on!
a reminder of the Paul Klee observation that a drawing is about taking a line fora walkdrawing is part of the process of negotiating our relationship with the externalworlddrawing involves making a representation of our external world -‐ but this canbe done in different ways and can involve sculpture
drawing pathways is a drawing of a human relationship with theworldlandscape architects may design an environment and include pathsbut people will walk where they want to walk. We can observe (ormake) a line across grass made by walking (Richard Long 1967) -‐ areal path across real grass is a desire line (although I'd also observeit's often the shortest line between two points when people areshort of time -‐ which also makes it a practical line within allpossibilities!).another way of drawing a line or lines is by removing part of theenvironment -‐ such as by mowing through the daisies (You can seemore examples of lines in the landscape on Richard Long's website)the drawing for and sculture of Alberto Giacometti's L'homme quimarche' shows how a very insistent additive process of a manwalking in a line, making marks as he goes with the samemovements again and again, can be reduced to almost nothing (Youcan see other drawings and sculpture by Giacometti in the MOMAcollection; Tate Modern and at Artcylopedia)
looking at the ways people make marks and lines in their environment -‐ some
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examples:
Francis Alys, a Belgian artist living in Mexico, took his dog for a walkon a lead. His dog is metal and magnetised and it collects all thelittle bits of metal along its path as it moves through the city. Hedraws a line by walking and makes a mark -‐ where the metal is nolonger.(In addition, here are some links I found on the internet to otherprojects of Francis Alys involving taking a line for a walk -‐ whenfaith moves mountains and the _lagpole and its shadow in MexicoCity)
drawing is dealing with the very primary making of marks. Those marks may bevery representative of how an individual sees the world. Another Richard Longexample -‐ mud hand circles (1989) -‐ more examples here.In making a mark one can also be obscuring or covering up -‐ only the artist canunveil the _inal work. John Beldesarri's work "I will not make any more boringartwork" cited as an example where what he was writing could not be seen untilhe _inished. (Further comments about "I will not make any more boring art" andhere.)a mark might be about making progress across a surface. It might not beconnected to anything else in the world, it might just be about getting from oneside to the other using movements which are as satisfactory as possible.(Simblet suggests in her book that the drawing also suggests letters beingwritten over and over again)
Cy Twombly, an abstract expressionist painter created a drawing ofswirling loops moving from one side to the other(This blog post has got an image of the drawing which wasdiscussed as an example. There are other versions eg of horizontalcircles being repeated. Here are links to more drawings by CyTwombly -‐ in MOMA)
an example of a drawing by Santiago Sierra was highlighted as fundamentallychallenging the ethics of drawing practice (and isn't getting a link from thisblog!)an example by Basquiet called 'Charlie Parker Reeboppers'. This was apparentlya joke about iconic images of minimalism (the simple black square) and howyou can take it and play with it (You can see more examples of drawings by JeanMichel Basquiet at the Brooklyn Museum's exhibition of Basquiet's work andfrom reference links on wikipedia)Giacomo's Balla's (Futurist) painting "Bankruptcy"(1902) -‐ is an example of theway people draw and leave echoes of themselves. They inscribe themselves ortheir marks on the door, these are rubbed out, more marks get made ontop......and so it goes on. The drawing physically represents people taking
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Posted by Katherine Tyrrell on Thursday, October 11, 2007 Categories art, art education, Art Galleries and Museums, drawing, making a mark, mark making
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advantage of a situation and acting sel_ishly (I guess the equivalent nowadaysare the graf_iti artists who work on the streets -‐ Basquiet was an example in theUSA)How do you decide what to draw? A drawing might appear to be an example ofgood drawing technique -‐ however there might also be an alternativeperspective.
Archer used the example of David Musgrave's drawing "TransparentHead" (2003). This looks likes a carefully constructed head as if onewere looking straight through it -‐ but is actually the drawing of thecellophane which Musgrave had just removed from a CD andscrumpled up in his hand. (It struck me as possibly also being acomment on the modern version of the art school exercise ofdrawing paper bags. Musgrave also curated A Drawing Roomexhibition about "Waste". and also did a similar drawing in 2005called "Transparent Animal")
Finally -‐ drawing is essentially about "I'm here and I need to go there. How am Igoing to get there?"
NNoottee aabboouutt tthhee sskkeettcchh:You can see more about the three sketches I made on this visit to the National Gallery on myother blog in Drawings from the National Gallery. None are very conceptual!
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David Musgrave is represented by greengrassi.
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2 comments:
aarrttyytthhiinngg Friday, October 12, 2007
Hi katherine!a very interesting blog as always, the term drawing, these days does not just mean useing apencil or pen and paper as i am _inding out with my own research.may I use your bogg for research/education purposes/ I will nees to print at least at leastone post, it is about the use of bloging and situatiions for allowing artworks to come intobeing...I am doin a Fine Art Degree as a mature student at Portsmouth
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KKaatthheerriinnee Sunday, October 14, 2007
Christopher -‐ if it's just research for educational purposes that's _ine. It's certainly the casethat drawing is done by more than just pencil or pen on paper. You might also want to see ifyou can _ind some of the books I'm reviewing this month in a library as they also show youdifferent ways people make drawings.
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