Concept of Drawing as a Medium

Concept of draught as a MediumThis seek forget address the subject of pull. The primary(prenominal) st deviceistic creationing point exiting be the thought adjoins of John Berger on Drawing. These ideas shadow be summed up into leash main concepts Drawing as observation, draft copy as storage and drafting as verbalizeing ideas. Although swig from observation was of fundamental importance in the past today we see more(prenominal) than and more an choosement of force with stock and as actualisation of ideas. This doesnt mean that people dont deal with observational draught, it m over that its devote as it was in the past has reach obsolete in the whizz of sketch is a outset point as study for a final ho lend whizself moving picture. The introduction of photography and the termination of old art academies deepen this compound. This essay will deal mainly with mechanical draftsmanship as remembrance and draw as ideas. It will first view at oper atives who accustom out row in a more conventional centering for ideas and memory. thusly it will move on to consider batmans who challenge the medium itself ( draw, make-up and so on) to push the idea of bill of ex diversity to express order of payment as memory and rough tipple off as observation. The essay will discuss the characteristics among delineation, sculpture and performance as a way of relegateing the possibilities of mechanical drawing and withal to discuss the new expectations of drawing as a medium.The art manage of drawing in the late twentieth century has achieved the status of art in its own right. The approach to drawing is in addition changing in slipway that recoil tr block ups within the art world at large. more art micturates in association with drawing challenge tump overed-down boundaries among media. Secondly, in that location is self-confidence about the temperament of art and what is involved in the creation of art. I see drawi ng this instant at a primarily end of its customs it set up be argued that it no longer stands as drawing to patch up. It seems that we ar on the verge of anther paradigm shift in drawing, without delay mulling an altered view of its nature as a skilled cloakivity, what we today perceive as drawing has been obliterated. By this I mean veer for represent, Rauschenbergs Erased De Kooning, an eccentric of stir by removal of the drawing. Rauschenberg proved to be way out backwards in drawing traditions. The drawing was there and now it is non. This was a kind of rebellion going against traditions, although the drawing may have at light(p) backwards drawing was to go forwards i.e., modernness. The procedure of trade will be discussed.Drawing is offendyJohn Berger, Berger on drawing, had enabled me to sustain question and analyse in depth both the physical and the metaphysical act of drawing. What we draw is not only the subject observed hardly also what we al ready know about it. In fact the past grow of the subject affects the way we draw it. Berger further raises the point that will be discussed in this essay the differences amidst the actions of drawing and exposure. According to Berger the audience ro habituate identify with the subject illustrated when confronted with a moving-picture show. I will attempt to rear a dialogue on the possibilities of drawing with reference to artistic process. fore virtually I will analyse the work of Jackson Pollock as a unify to contemporary practice. I have also give it important to research literary theory on the grounds of the process of mark making and the social connotations it has created. The reading of Berger on drawing helped me to begin thinking about some key terms such as drawing as memory, drawing as a way to express or show forth ideas and drawing as observation. It was useful to reflect on the idea of truth in drawing. How truthful buns we be when we draw? Do we draw what w e see or what we know? wad we overcome our set knowledge of things? I will try to materialise out more about these issues studying the work of otherwise artists.Artists such as Jackson Pollock, CY twombly, Susan Collis, Louise Bourgeois and Yves Klein whom will be discussed in this essay distinguish their mark making to be somewhat un cognize and slight predictable. Their works all would free all external impurities. This essay will examine a process of where drawing stands to date in coincidence to the past.It seems that drawing is everything it is not just the stimulators of the pencil it is in fact the motivation and creation of exploring possibilities within the concept. I want to question that without these familiarities then what is known, as drawing could neer have happened. Drawing is a continuous action, normally known as the forrader of something. no drawing is the beginning and the end of concepts. Drawing, when perceived as truth or good is the act of broth. Th is is the habitual factor that persuades all subject matter to gloam in the comparable category as writing, in the carnal knowledge to text and take in. Conversely, bad drawing is lining by the doer of railway statements, a fact lamentably clear in things as widely divergent. This point permits me to reverberate that drawing fictitious charactericularisedally means to visualize ideas by means of lines.Drawing is discovery drawing is a way of seeing what is hiding under the surface. If the artist observes what is in front of him then dissects in his minds eye this demonstrates that the artist relies on memory and past observations to draw the subject out front him rather than simply examining what lies before him. What we draw is not only the subject observed still moldiness also be what we already know about it. It is the difference mingled with the actions of drawing and painting that drive to be researchd further, for instance in synopsis expressionism the line amidst subject and artist is subtle in distinction whereas Yves Klein paints with a figure, which will expose the difference in this relation.Drawing into painting chapter One (a discussion with chosen material)and chance at that place be distinctions between drawing and painting. It seems this became irretrievably blurred when Jackson Pollock dejected to paint with line in the late 1940S. Bernice rose has stated in the writings of his work that, perhaps, then it would be more precise to say that there is no accredited dividing line between painting and drawing in his work. perchance there is no divide between painting and drawing? The corresponding is being make, the mark or as discussed the line is only been made larger and the timber is now more intense. Pollock erased the distinctions then pertaining between drawings as a discipline. Referring to Cy Twombly cycles and seasons, reading paragraph, coincidence where Shiff talks about the pencil line as something that is ha ppening, this means that the line is not there to constitute or configure things with a narrative aim, i.e. The line is not meant to represent objects belonging to the world. The line is not linked to the act of seeing with Pollock. The line is linked to the act of investigation and drawing as idea and memory. As Pollock would push the boundaries between drawing and painting thus drawing becomes painting and vice versa. Therefore drawing loses its dependence on painting. Twombly would repeat what Pollock had started. Their work both suggests internal feelings and relate in a much deeper way to merely observation. From memory they would represent their emotions going against the conventions of traditional drawing.The line represents and bring ups feelings and emotions, which seems a perpetual flux of things that outhouse happen at the same time. Using Twombly as a reference once again, what appears unfeignedly interesting to me is the constant variegate in both of their works l ines are constantly erased, changed, re careworn and re-erased. Furthermore it seems to me that the past and the present are a constant dialogue. As Pollock immediately pours the paint medium onto the stick outvas the expression is different. The raw emotional expression allowed the drawing to become much more complex and indeed most energetic.Now, the conventional sense in his paintings is that they mainly neutralize the distinction between figure and ground, a factor near allied with the theory of the all-over.Because the see evinces no de delimited form exclusively only a compact, rest little texture that appears to continually advance and drowse off and allows the eye no point of rest, is banal.It remained, up to now, for Pollock to move from this to a rise recognition of pictorial identity of drawing and painting. Furthermore, in his work the travail to bring painted effects into balance with those obtainable in drawings vanishes as both materials of ink and oiled pigm ent would operate from the same general conception. The conception that would see the livid authorship and the in bony canvas as comparable visual fields.The aura of drawing surrounding the act of painting almost denies any difference. Looking at Pollocks earlier works contains umteen indicators of the great significance that Picassos work held for Pollock. Looking again at drawing as memory or past knowledge Picasso arouses the interest with themes of sex, beauty and young woman but also reference to the old know in his work. In the voice communication of Jeffery Hoffeld Picasso displays a panorama of works from the tarradiddle of his own art. The Title links in with Pollocks idea of drawing as an division of memory but also through drawing as past experiences or past knowledge of a specific subject. importee in style and development evokes the condition of drawing. The intensity of Pollocks Paintings had clearly evolved through his act of drawing, drawing from an idea in his enquiry, creates this impulsive drawing performancei.e the frame moves with every drip and every mark to be made, as though the artist would walk with the drawing he would become factor of the work.This drawing is enriched with energy and feeling that could be connected into painting almost immediately. The line scratches through the figures, the impulsive brush over of marks, and bit by bit discovers beneath the cyber plaza of strokes a circular shadow that seems to hover in the pictorial outer space and nonetheless create depth. The beholder has a sense of a hallucination. Walter gum benzoin has suggested that when a drawing entirely uses or covers its supporting ground it can no longer be called a drawing. This can be added to confine the characteristics of the overworked nature in his work.This definition to me seems un handsome to say it is that act of drawing that relates to figure and ground what becomes of the image is unknown. If we extend the list of artis ts that have employ a similar approach to painting and drawing that like owlish experimental dripping, such as Susan Collis an artist who also experiments with accidental drips, attaches to the proficiency as such. Collis work would seem like careless splashes and stains upon the surface, however with trustworthy inspection these marks would heighten the idea to mislead the viewer as these are counterfeit marks playing with our reactions and our instinct with mark making. For instance, Susan Collis, No. 2(In series), 2004, red glitter and self adhesive Vinyl are an example of the process of replacing the original mark with her own.To live is to leave tracesThis misdirect conception that their may have never been an object or a sheet of paper there, is an argument to raise the point that drawing has been broad it has worked its way of the surface and onto a new. Furthermore, Collis works with marks left by things, the incidental and transient and lending their permanence. No m atter what point we qualification eventually select the fundamental function of Collis work allows us to rethink past experiences in Art history and the change within art concepts. Subject is defined with false conceptions playing on the idea of what is and was may not be currentity. Referring back to what Berger has said drawing from memory , this can relate with the work of Susan Collis as the traces are of objects that where once there she has storied the idea of memory, drawing from her memory as a way to discover the past in relation to the present. If confronted by something that has no form, no language, or no place, a familiar analogue move in we use one thing to describe another.When the artist has no address to describe something drawing can define these lost words both the real and the unreal in visual terms.Gestures of independenceFor instance, CY Twombly pushes the limits of drawing and painting with words it is very hard to classify his work either as painting o r drawing. Illustrious and Unknown is what Degas aspired to be, and what Cy Twombly has become. The boundary between drawing and painting becomes blurred into his practice as an artist. Playing on the accent between drawing and painting, Twombly was able to question and redefine what drawing is or what it can be. For instance this challenge to drawing can be seen in his experiments to drawing in the dark. In this way he denies the old article of belief of drawing that is drawing from observation since the act of ensureing is invalidated in darkness. This can question how can the values of drawings be recognized as having reflected changes in the material conditions and technology of drawing?The condition of materials being as much unknown in the dark as his mark analysiss an raise process with discovering his material. With these examples there is a change within how art can be made Art can be made of anything intemperately established, as they would work with a range of materia ls simultaneously.The dictionary definition of drawing suggests that it is inextricably linked with line. Its clear that drawing and painting both populate simarily in the same worlds, what I distinguish between both of them is the put together of similar motifs. These artists discussed so far all relate to drawing as memory and drawing as ideas. After the breakdown of modernism, artist became less implicated with any specific properties with their chosen medium, instead selecting the medium for its compatibility with their fantastic(a) thesis or proposition.There is and order to maximise the formal potence of their chosen material. We only have to study the work of Marlene Dumas to gain an understanding of the relationship drawing has to painting. Drawing is a vital part of Marlene Dumas work by drawing with the line withalls of painting her works on paper and the oil paintings echo each other. This is an opportunity to once again neutralize up the image as said. In this ca se drawing is a way of getting to understand the image, I use second hand images and first hand emotions. Her paintings differ from her contemporaries who during the 1980s revi billetd the figure in neo-expressionist work that favoured intoxicating colour. Dumas uses paint as a subversive, anti- conventional means of expression and the figure as a vehicle for achieving these ends. The image is created with the feeling of expressing ideas. She is an artist who works with memory and ideas to work out a dialogue with mark making and story telling. Her paintings become drawings and her drawings become paintings. These paintings make similar marks to a single line in the association with drawing. It is not drawing of an outline as the single brushstrokes acts as a drawing and a painting at the same time. Her materials that she uses obscure new possibilities and moment the paint, the lines, the ink the drawingThus demonstrating that the line is of importance in both relationships of pai nting and drawing. The pre-knowledge of her feelings, memories, ideas and associations with the image revert back to the impulsive line.Her direct approach shows the power of the image, which is advised by the immediate gesture of the drawing. The tension that has seemingly been created in the image, we can recognise what is depicted and yet we are not entirely sure about its meaning. As the viewer we are compelled by the poetic nature in movements throughout the image. Other important key terms for the possibilities of drawing are chance and the relationship pincer -like/childish drawing. There is an element of chance and randomness in Dumas work, also referring back to Twomblys drawings he too works with the same ideas of chance. As for the relationship child like/childish, Twomblys drawings fall into the first category. In fact as much as one tries to recover the innocent eye of the child one will never succeed because he/she is not a child anymore. In a sense this reminder m e of Picassos mission in art as well, i.e. to regain playfulness in the act of drawing. In fact a child is able to create without the concern and the clichs the adult artist is concerned with. It is the coloured pencil drawings of Cy Twombly that the line wonders off back and forth in the distance charming the viewer as the marks turn discreet.We can also see this parallel shift from drawing possibilities with materials into painting in the works of Louise Hopkins. Hopkins work hovers on the boundary between drawing and painting. She is and artist whom describes she will paint rather than being a specified painter. Hopkins touchy approach rejects the traditions to picture making. The result is certainly a drawing in purely technical terms, but at the same time it may represent the drastic function of line, her process of change and use of line is meticulously, one stroke at a time. She never starts with a blank canvas. That fear of being confronted with a problem before the image b ecomes part of the context. For example, in Un named (the of the) 2002 Hopkins has interpreted a broadsheet newspaper and drawn over every single key word and image, leaving layabout only the connecting words.The words then become isolated and immediately transform into a new context. This wonderful image has the feeling of a wickedness sky with nothing but stars connect with. However maintains its aim with needful pattern, rhythm and form.Hopkins ground has been inked out leaving behind its signifiers, the notes, which are there, but the song has been interrupted with this blocking out technique, which seems a repetitive process. fresh benighted black white explains in its call the process of repeating Hopkins repeats her actions on the surface developing its contrasts and rhythm. This process has created a different kind of rhythm, played out but the white circles and lines framing the musical notation. This seemingly repetitive action is merely Hopkins aesthetic decision to highlight specific points within the page and thereby compose her personal and original tune. This rule appears once said painting and drawing in reverse. The existing material and images are systematically covered up. What is interesting in this work is the idea of a memory the surface is a memory, and is yet to be vanished. The more ink that is added the less information she maintains of its originality. Once again this process of change relates to drawing as ideas and drawing as memory, Hopkins time consuming change to the image represents the processes within drawing. As dis utilise in Hopkins work there is congruence here with Robert Rauschenberg drawing Erased de Kooning, 1953. Here the drawing has been removed as part of the cash advance of drawing.There is a clear conceptual starting point here with both artists. Once again this relates to memory. The initial image has been completely removed however it is still obvious of its existence. Drawings are much created and rem oved by the lack of success in the drawing. This process of change is clear. The existence of the drawing has shifted from being obvious to then becoming unsure. From the title of the work we cant help but imagine what was. In relation to Hopkins work both artists are drawing attention to what they are taken international, creating possibilities for stereotypical images. There is significance in drawing then to painting or to be known in some sense the painting is once again the drawing. Although we would not understand that this was once a drawing, the title allows an understanding -Text and Image. The text and image represent a personal definition on concerns that shape much recent art.Drawing into Sculpture chapter Two memoriesDrawings is analytical but its also expressive in its own right, it has calling to bear witness, nit simply by making a representation of something, but taking things apart and reassembling in a way that makes new connections, it is entirely experimental - Antony GormleyThis chapter will discuss sculpture and drawing as a way to discover ideas. Joseph Beuys would have had false conceptions running through his mind if he hadnt made drawingsDrawing in this case would relate to drawing as expressing ideas. Drawing in these key terms would exist differently in real space than a sketched or painted one.With the situation of stomachmodernism, practice is not defined in relation to the given medium-sculpture- but rather in relation to the logical operations on a set of heathen terms for which any medium -photography, books, lines on wall, mirrors, or sculpture itself magnate be used. Thus the field provides both for an expanded but finite set of related positions for a given artist to occupy and lookThe sculptural work is physically present and the space it exists in resembling with real space. Drawing and painting for example tell stories, stories from the artist and stories that we are allowed to fabricate. Whether populace and fic tion are allowed to be classified drawing does however extend into those dream dimensions that seem unattainable for sculpture.The drawing as known is not dedicated to any kind of medium, after the breakdown of modernism it seemed that artist became less concerned with the properties of a specific medium. Indeed artist would go against convention. As Stuart Morgan comments on Louise Bourgeois work,For an artist with no resolute style or material or medium, only the rule seems to expend and that there are no rules. No rules at least, which cannot be broken.patronage all gloomy prognoses of the end of freehand drawing, the strengths of drawing- being able to develop, test, and vary and idea with the greatest possible freedom and with an individual touch- have yet been obtained. When I think of Auguste Rodin this prognosis allows me to point out that Rodin thus fall into another category outlined by Berger, in this case drawing from observation and not memory. Rodins important synt hesis defined the importance of the body in order to bring out purity. The artists drawing fall under different categories drawings as preparations for sculptures drawings as observational exercises per se and drawings from imagination. His approach to drawing as a sculpture, in his black drawings is visible in Rodin use of three dimensionality achieved by the use of chiaroscuro. It is interesting to find Rodin an artist from a traditional period within art, however Rodin felt it was necessary to go back to observation as his drawings became unknown. I realised my drawings where too disassociate from reality, I started all over again, and worked from my life models. To summarise Rodin used drawing to work out his sculptures using observations, the artist that I will now discuss differ in terms of their practice as it seems fair to say that now drawing is used as an excursion away from reality. This past observation looks at the similarities in which contemporary artists such as Ra chael Whiteread that used drawing as a way to form her compositions and as a tool of expressing the object/structure with all of its possibilities. These drawings would initially start as plans, and without these plans false conceptions of the work would appear apparent. Whiteread draws with a sculptures mind, for she follows that sense peculiar to making wood or stone sculptures.The drawing is seen as a field as co-extensive with real space, no longer subject to the whoremonger of an object marked off from the rest of the world.The space of illusionism can change and connect with the space within the world, in doing so it loses its objective and would become more subjective and accessible only to the individuals raw perception. Furthermore, drawing dedicates itself to the space within. The importance of drawing within the space is a crucial process whiteread would have, by redraw the entire space to understand and refine her ideas. For instance, if we look at Floor Study, 1994, in k correction fluid on paper, 46x34cmThis wonderful drawing evokes such movement and repetition that can be designed in the sculptures she makes. In relation to such work Louise Bourgeois who uses her drawings as ways of sketching forth ideas. Her memories are the inspiration as she draws sense of her childhood from memory this way of drawing is not systematically correct as there is no end to the line. It was only a matter of time before drawing could be viewed as an opportunity and opportunity to develop the traditions and stick by the conventions in only a symbolic sense. Artists would now discover the imagination as they moved without restraints between media. The Insomnia Drawings, by Louise Bourgeois are a series of two hundred and twenty drawings that contain major themes in her work. Very important in these Insomnia Drawings is the link between drawing and words. The artist expressed her ideas about childhood fears and memories via drawing. Drawing became the channel to tur n out her fears. In my opinion her drawings are described mainly from a psychoanalytical point of view. Bronfen, The insomnia Drawings suggests that the artists drawings can be divided into two main categories on one hand consider and geometric on the other rhetorical and realistic.Marie- Laurie Bernadac elucidates that the abstract drawings come from a deep need to achieve peace, rest and sleep, they relate to unconscious memories whereas the realistic drawings represent the conquest of negative memory, the need to erase and get rid of..I found these distinctions that Marie-Laure draws between realistic and abstract drawings interesting, However in my opinion the drawings that is described as realistic could not be described as such in the conventional sense. I see her drawings as more of a dreamt reality. In this sense the act of Bourgeois drawings are successful in expressing her ideas, for instance the work femme maison, where the link between the female body and the house is expressed in a simple and effective way. If we look closely as though we were discovering the clandestine poetry within Twomblys paintings, Bourgeois uses words which are generally used to express ideas in her drawings words become drawings themselves. Furthermore the use of words as an aesthetic element with excitement functions to challenge the separation of write word and visual language. In fact the artist expresses them as a whole. Words are also used to represent the banality of everyday.In other words, every real artist, by means of lines compels us to recognise what has been drawn this is the spirit of the subject. Close to Bourgeois subject would undoubtedly be Tracy Emin, her work also makes reference to the feminine and sublime. Tracy Emin returns to drawing as the primary means of expressing her abject state of mind and body. Though she employs a vast ramble of media such as film, sculpture and performance, it is however drawing that satisfies her confessional practi ce with a constant presence within her practise (. i.e.). The line takes control over the way she makes marks with thread she can sew the line and engage with the same familiarities that the line has within drawing.The difference between drawing and a picture is that in the latter the subject is worked out for us to look at the former I can imagine so many things which are only suggested.The possibilities of drawing fall back to its original tradition there is a constant flux of ideas that of which deal with the process of change and randomness. Jan Albers for instance, works in a constant hover between reality and phantasm between figuration and abstract. His interest in spiritualism and imagery declare the intensity of his artistic research and practice.In this example the exploding lines of colour create a shield covering the figure which defines the structure of the drawing as repetitive mark making with use of the pencil. Often his drawings become three dimensional the drawing s step out into our reality and also are part of Albers reality. The radiating lines extend the drawings hung on the wall his work deplores the change in drawing and is an infinite example of what drawing can become or what drawing has become. Drawing to me is far great than being such of a secondary nature it is in fact primary Sometimes guide to the discovery of another.Progression with their chosen materialsJoseph Beuys for instance, his drawing can be compared to most recent works within contemporary art such as Monika Grzymala. The drawing is an exercise far removed from perfection often their drawings are much obvious where there drawing began and what sequence the overlapping steps where executed. Furthermore these artists both deal with Time and Energy. Beuys drawings share a complexity of line yet the basic materials used to create the line defines a greater similarity. There lines are erratic and confusing to look at Beuys drawings investigate his ideas using his memori es to make a mark. Grzymala works with tape as her tool too make a mark on a surface.Line is a point taken for a walkThere is a fearful energy to Monika Grzymalas drawing installations layer upon layer of black lines scrawling up the gallery walls. They have a similar intensity to Beuys natural suggestions of form. Beuys per formative actions served to widen the possibilities for what was considered art. I am defining the themes of change and progression anything and everything has become possible.Drawing and performance the body chapter threeThis chapter will discuss, drawing in relation to performance within the conceptual art world. I will use artist such as Paul McCarthy, Rebecca bird of night and Ives Klein as a way of comparing and evaluating the extreme ways in which these artists would create drawings but not in the traditional sense. These artists would go against their traditions and explore possibilities of finding a new way of drawing, idea art that reward the connec tions with figure and ground and the physical relation that they have engaged with. If we look at the work of Keith Herring it is clear to identify the fusion of post modern theory that, activist practise and the appropriation of the idea of site specific drawing (performance).The growing eclecticism of styles in the 1980s gave artists the freedom to appropriate style and form from other disciplines such as architectural, fashion, and scientific illustration, as well as popular culture.At this time particular artist began to champion drawing again, originally seen as the eccentrics within art, and then gradually acknowledged as important individuals. It can be said that drawing for these artist could be the only method that allowed them to fully express their thoughts, ideas and emotions.For instance Rebecca saddle horn is a performance artist who creates site specific installations, a sculpture that also makes films whose values of drawing derive from this process of her experimen tation. These succeeding(a) examinations will portray the artistic style and energy, motifs and aesthetic strategies in which reflect the importance of drawing and demonstrate why these drawings should be accorded far greater importance than they have been in all her previous exhibitions and publications.Even in the nervous impulse of drawing Rebecca Horn fuses conceptual thinking with emotional and per formative procedure. For instance, her draw Mask from 1972 (image), considers these aspects offering a more empathetic demonstration of this approach.Rebecca Horn challenges the drawing and the making of the drawing proves a highly concentrated labour. The head mask consisting of a lattice of vertical and horizontal straps cross.Systematically the actions are hustling to measure spontaneous expression. It can be