Wednesday
2014 Drawing Week
If you are looking for information about the 2014 National Art School Drawing Week please go to drawingweek2014.wordpress.com/
ARTISTS' MULTIPLES
Read about Multiple Choice, a 2010 exhibition of artists' multiples at at GOMA in Brisbane.
As well as making multiples of their own objects, artists also make multiples of other artists' works (referred to broadly as a form of 'appropriation'). As examples, see artists such as Stephanie Syjuco and Sturtevant.
Monday
ELLSWORTH KELLY
Ellsworth Kelly (American, b. 1923). Ground Zero (2003).
Collage on paper (newsprint). 29.4 x 34.3 cm.
collaged and overpainted postcards by EllsworthKelly
1949 to 1984 (SOURCE)
CY TWOMBLY
Cy Twombly Apollo and the Artist 1975
Oil paint, wax crayon, pencil and collage on paper 142 x 128 cm
Oil paint, wax crayon, pencil and collage on paper 142 x 128 cm
Cy Twombly, Untitled, 1970.
Pencil, plywood, color pencil, oil paint, wax crayon and Scotch Tape
EDMUND DE WAAL
The collection is of 264 Japanese netsuke. It is the common thread for the story of its three Jewish owners and the three rooms in which it was kept over a period of a hundred and forty years.
Wednesday
OBJECTS MUSEUMS ARCHIVES AND COLLECTIONS
The workshop Objects Museums Archives and Collections will be run by Lynne Eastaway:
Museums (ethnological, scientific, historical and social etc) have always been a great source of ideas and materials for the artist. From the physical and material structure of objects to their latent and psychological and cultural/sociological meaning, artists have sought to harvest all this potential from the contents of museums and archives. How and why objects have been collected , the 'before' and 'after' research /story outside the public display of objets within the museum , are all part of the process of investigation.
Museums (ethnological, scientific, historical and social etc) have always been a great source of ideas and materials for the artist. From the physical and material structure of objects to their latent and psychological and cultural/sociological meaning, artists have sought to harvest all this potential from the contents of museums and archives. How and why objects have been collected , the 'before' and 'after' research /story outside the public display of objets within the museum , are all part of the process of investigation.
Fiona Hall - Cell Culture and Leaf Litter 2002
installation view
installation view
Fiona Hall Leaf Litter 2002
detail: Brassica cumpestris - turnip
gouache on bank notes
gouache on bank notes
CLICK to see more Leaf Litter
Saturday
MIRROR DRAWING
Anish Kapoor at the MCA Sydney till 1 April
(photo by Maureen Burns)
Julia Davis mirror field 2007 Peloton
Yayoi Kusama Tender are the stairs to heaven
FLUXUS DRAWING
Fluxus—a name taken from a Latin word meaning "flow, flux" (noun); "flowing, fluid" (adj.) (Wiktionary)—is
an international network of artists, composers and designers noted for
blending different artistic media and disciplines in the 1960s. read more
see more fluxus
see Flux Shop Blog
Daniel Spoerri, detail of Anecdoted Topography of Chance, 1962
In connection with a one man show of his snare-pictures at the Galerie Lawrence in Paris in 1962, Spoerri wrote his Topographie Anécdotée* du Hasard
(Anecdoted Topography of Chance). Spoerri was then living at the Hotel
Carcassone in Paris, in room number 13 on the fifth floor. To the right
of the entrance door was a table which his wife Vera had painted blue.
Spoerri drew on a ‘map" the overlapping outlines of all the 80 objects
that were lying on the table on 17 October 1961 at exactly 3:47 p.m.
Each object was assigned a number and Spoerri wrote a brief description
of each object and the memories or associations it evoked. The
descriptions cross referenced other objects on the table which were
related. The Topographie Anécdotée* du Hasard was printed as a
small pamphlet of 53 pages plus a fold out map and index and was
distributed as an advertisement for the exhibit. The Topographie Anécdotée* du Hasard
is more than just a catalog of random objects, however; read in its
entirety, it provides a coherent and compelling picture of Spoerri's
travels, friends and artistic endeavors. read more
see more fluxus
see Flux Shop Blog
THE WORSAAE DRAWINGS
Worsaae Drawing 1
Worsaae, under the commission of Christian VIII of Denmark, spent nine months travelling around Britain and Ireland during 1846 and 1847. One of the most famous Scandinavian antiquarians of the nineteenth century, he had spent time visiting Sweden, Austria, Germany and Switzerland during the preceding years. The terms of his royal commission, as they related to his tour of Britain and Ireland, primarily focused on an investigation of the Viking-age antiquities and monuments of Scandinavian character. He published the results of his work as Minder om de Danske og Nordmændene i England, Skotland og Irland in 1851 with an English translation, entitled An Account of the Danes and Norwegians in England, Scotland, and Ireland, appearing in 1852. In this work Worsaae virtually created the concept of the "Viking Age". This work contains 12 drawings in which his found objects are grouped and identified, and known as the Worsaae Drawings.
key to Worsaae Drawing 1
JOSEPH CORNELL AS COLLECTOR & ARTIST
Joseph Cornell: artist/collector/archivist
Joseph Cornell Taglioni's Jewel Casket 1940 MOMA
The first of dozens Cornell made in honor of famous ballerinas,
this box pays homage to Marie Taglioni, an acclaimed nineteenth-century Italian
dancer who, according to legend, kept an imitation ice cube in her jewelry box
to commemorate dancing in the snow at the behest of a Russian highwayman. The
box is infused with erotic undertones—both in the tactile nature of the glass
cubes, velvet, and rhinestone necklace (purchased at a Woolworth's dime store
in New York) and in the incident itself, in which Taglioni reportedly performed
on an animal skin placed across the snowy road. read more
Untitled drawing / collage by Joseph Cornell 1030-40
read more - Smithsonian American Art Museum
and more
and more
HILL END - GOING FOR GOLD
Bryant's Butchery
Hill End - Going for Gold will be run by Charles Cooper. Based at the National Art School’s studio in Bryant’s
Butchery, you will be able to identify and develop your own projects in
response to the historic Hill End precinct. Established in the heart of
Wiradjuri country during the mid 1800’s, the town was a flourishing gold mining centre for about 20 years,
later to become a subsistence community, particularly during the Great
Depression. From the late 1940’s, several artists such as Donald Friend and Jean
Bellette stayed and worked there, a
tradition that continues to the present day.
Drawing i.e. thinking with materials in hand, will underpin
the program. Choice of mediums will vary with each participant, from initial
research to final project and from various dry mediums to watercolours, while
experimental alternatives may be more suitable. Drawing boards will be
available. However, you will be expected to bring your own materials, paper etc.
It will be possible to print (dry- point) etchings for a modest fee at Hill End
Press.
digging site at Tambaroora
EXPANDED DRAWING AT MIDDLE HEAD
Expanded Drawing is run by Margaret Roberts. The workshop will introduce you to expanded drawing - including
site-specific, installation and performance drawing. After initial exercises, you will be asked to find a site within the vicinity of
the fortifications at the end of Old Fort Road (pictured above), make one or more drawings composed jointly of the found site + the materials you find (eg stones, leaves, wind, water) and/or the
materials you bring (eg string, mirror, foil). We will discuss the work, then document
it before removing all traces before we leave.
Satellite view of Middle Head
NSW National Parks & Wildlife Service accommodation
HOW CAN DRAWING EXPAND?
Beyond the aesthetically fundamental question of what a work of art is lies another of apparently more gnomic quality: the question, namely, of where a work of art is. Yet that question may be as basic as any in the attempt to come to terms with the condition of the arts generally: the attempt, that is, to specify the relations between art and the world, between art and ourselves. (Peter Leech) read more
Neil Dawson Echo 1981, Christchurch, NZ
Marinus Boezem Green Cathedral (1978-1996)
STRANGELY FAMILIAR
Strangely Familiar will be run by Tania Rollond: We all know that museums are buildings in which objects of historical, artistic or cultural significance are collected and exhibited. Perhaps you also know the origin of the word museum? Originally it was 'the seat or shrine of the muses', the word deriving from the Greek word mousa, 'muse'. This project explores the significance of object as muse.
see more strangely familiar collections here and here and here and here.
and see more artists doing strangely familiar drawings here, here, here, here, here and here.
UP CLOSE AND PERSONAL
Leonardo Da Vinci Ankle muscles of a paw
William Kentridge detail from Thinking Aloud
Albrecht Dürer Muzzle of an Ox
Up Close and Personal is run by Deborah Beck. It involves two
days of intense drawing at the Australian Museum in College Street, where
students will have access to all the public spaces to work on at least 10
studies. Students can take
advantage of the chance to get up close to the objects in the museum, and will
be given a choice of drawing closely cropped sections of heads of animals,
parts of skeletons, feet or claws, skin textures or architectural details of
the museum.
REPRESENTING BODIES
drawing by Sarah Simblet, a graphic artist, writer and broadcaster,
Representing Bodies is run by Maryanne Coutts, and will look at ways
that museums’ collections reflect our experiences of inhabiting physical
bodies. Taking two opposing points of view; art and science, it asks you to use
drawing to reflect on both subjective and objective ways of thinking about the
human form. This will involve finding relationships between representations of
figures in the Art Gallery of New South Wales and the archives of the J. T
Wilson Museum of Human Anatomy at Sydney University. Students will be
encouraged to consider material, cultural and social perceptions of our own
physicality.
Download pdf of images for the Representing Bodies workshop.
Download pdf of images for the Representing Bodies workshop.
EXPERIMENTS IN DRAWING
student drawing from from Cockatoo Island,
Drawing Week 2010
Experiments in Drawing will be run on Cockatoo Island by Joe Frost, who says:
One possible definition of drawing is that it is
the action of moving a piece of material across a surface, leaving a line. Like
speaking or walking it is simple and available to all people, but many
different factors have complicated our relationship to drawing, bringing
expectations of sophistication and artistic intention. This workshop will
proceed with the proposition that the most important resources for a vital
practice of drawing - curiosity and mindfulness - are already in your
possession. Working in response to some aspect of the Cockatoo Island
environment you will be encouraged to look and think purposefully and develop
images from first experiments to a clear resolution. Materials, size and number
of works will vary according to your interests. Your work might be
representational or move towards abstraction, and the week will begin with a
discussion of the tremendous potential in the relationship of these two
possibilities.
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