ART06097 2019 Drawing 3 (Expanding Applications)

This drawing module aims to enhance and expand observational and conceptual drawing skills through and a series of studio projects; cultivate methodologies of research and approaches of application to practice, concepts and outcomes. Through a process of individual and group tutorials, critical analysis is fostered to promote and stimulate debate among students and lecturers whilst contextualising historical and contemporary practice.

The works in The Drawing Book, by artists, architects, sculptors, scientists, filmmakers and thinkers of all descriptions, attest to the versatility and immediacy of drawing. From first thoughts to finely wrought, elaborate artworks, from the lightest sketch in pencil to bold, gallery-wall installations, the medium is shown as an essential vehicle for creativity. The recent prominence of artists such as Louise Bourgeois, Eva Hesse, Chris Ofili, Rachel Whiteread, Ellen Gallagher, and a host of others who use drawing as a final means of expression, is addressed in both the works shown and essays by curators Kate Macfarlane and Katharine Stout, and art historian Charles Darwent. The Drawing Book takes us on a journey through five themes measurement, nature, the city, dreams, and the body. Each is richly illustrated with a diverse range of images, from the old masters Leonardo da Vinci, Botticelli, Drer through great Modernist pieces by Rodin, Picasso, Matisse, and on to the contemporary artists who are reviving drawing today. A new and unique approach to an age old medium.

Published to accompany the exhibition held at The Museum of Modern Art, New York, 21 Nov. 2010 - 7 Feb. 2011.

Maclagan shows that each of the marginal forms of drawing -- scribbling, doodling, and automatic drawing -- has its own history in spiritualism, surrealism, abstract expressionism, and psychedelic art and considers their new relationship to twenty-first-century digital culture.

In this important and original book, Deanna Petherbridgeherself a practicing artistaffirms the significance of drawing as visual thinking in western art from the 15th century to the present. Scrutinizing a wide range of drawings, Petherbridge confirms a long historical commitment to the primal importance of sketching in generating ideas and problem solving, examines the production of autonomous drawings as gifts or for pleasure, and traces the importance of the life-class and theories of drawing in the training of artists until well into the 20th century. She also addresses the changing role of drawing in relation to contemporary practice and its importance for conceptual artists working in a nonhierarchical manner with a multiplicity of practices, techniques and technologies. In addition to analyzing specific works by Leonardo, Michelangelo, Rembrandt, Goya, Picasso, and other great draftsmen, Petherbridge pays close attention to those artists traditionally regarded as minor because of their graphic elaboration or involvement with caricature and play, as well as to the important contribution of women artists in the 20th and 21st centuries. Responding to the vibrant rediscovery of drawing as significant practice in studios, exhibitions, and art schools, Petherbridge proposes an ambitious and novel agenda for the study and enjoyment of drawing.

Drawing is at the very forefront of contemporary art practice. The radical shift in the treatment and development of drawing since the 1960s has resulted in a renewed status and relevance for it within current practice, with some of the most exciting artistic ideas of the last fifty years indebted to its use. This brand new study into contemporary drawing structures itself around three broad subjects: abstraction and drawing, looking at the way drawing really came into its own at a time when notions of art and the employment of media were radically challenged; drawing as narrative, borrowing and developing ideas on illustration and cartoon art, and investigating the use of drawing with the moving image; and drawing as engagement, with its role in offering a visual description of our environment, as well as the notion of its own physical presence, particularly in relationship to landscape. Including work by artists such as Agnes Martin, Richard Serra, Philip Guston, Raymond Pettibon, Alison Wilding, Robin Rhode, Xu Bing, Gordon Matta-Clarke and Richard Long, the book explores how practitioners have addressed and redefined notions of medium specificity in relation to drawing, and how it has been particularly significant for artists pursuing an interdisciplinary practice. Katharine Stout contextualises the medium within history and with the current treatment of drawing by theoreticians, institutions, the art market, and education systems, concluding that drawing is a popular, diverse and ever evolving medium.--Tate Publishing.

Going beyond conventional approaches, this drawing text emphasizes the emotional, intellectual, and spiritual significance of art. The development of today's art from that of the past is traced, giving a sense of meaning and continuity. Illustrations and analyses enable students to turn their energies to new and different directions, to give material form to their own ideas.

Art Review

Art Forum

Frieze

Flash Art

Art in America

www.imma.ie

www.nationalgallery.ie

www.hughlane.ie

www.moma.org

www.nationalgallery.org.uk

www.tate.org.uk

Field Trips, Local and International

Visiting Artist Programme