drawing projects

Draw.ing n

2009-02-22T12:10:00.002Z

Recently went to the opening of 'Draw.ing n'. Ignoring the now predictable definitions of drawing that seem to be inescapable in any drawing based show the pieces on display were high quality and interesting.

Three China based artists Liao Yang (Shanghai), Wang Chao (Hangzhou) and Nial O'Connor (Shanghai).

Found Nial O'Connor's paintings fascinating because they were displayed with the doodles around the outside of the edge of the finished cartoon graffiti based realistic images. Giving these works a contrast between the free gestural expression of the not normally for show marks on the border of the paper and the tight but equally expressive though more laboured 'finished' water colour pieces in the centre of the paper. The visual stimuli of his work being, street China but in a style referencing manga and graffiti. I liked how on one piece the surrounding doodles appeared to move into a completely different train of thought from the image being painted - joyful creative tangents.

Wang Chao's animation 'Shudra' reminded me of William Kentridge with its smudgy charcoal stop animation. But, Wang Chao's work had a sound track of industrial electrical sounds, the empty unfriendly city with fear and uncertainty around every corner, the urban dystopia. The black and white animation started bleeding with the official red chop that is inescapable from everyday Chinese life: A powerful tool validating papers of various persuasions bleeding into every corner from Starbucks receipts to validating identity.

Liao Yang's carefully detailed drawings of Chinese workers were comic and insightful containing piety and hilarity - a modern day Hogarth. Liked the almost etched liked quality of each line in Yang's work using white as a highlight alongside pencil.

Show is on until 5th March

Mia Pearman and Gareth Bell-Jones

2008-04-25T18:13:00.000+01:00

On entering the Centre for Recent Drawing's intimate space, I was pleasantly stunned by Mia Pearlman’s Eye - a giant swirl of cut and inked paper, lit from below, casting shadows, as it expanded onto the ceiling and walls. This work had instant appeal with an energy akin to Pop Art, in particular Lichtenstein’s Wham. Along side responding to Pearlman’s site-specific installation, were Gareth Bell-Jones's arduous but carefully cut drawings.

Both artists employ the knife as their drawing tool: the drag of the blade through paper to generate a negative space. Like conventional drawing, where the mark activates the ground, the cut also activates the ground and has a direct relationship to the remaining white paper. The empty cut areas, in both Pearlman and Bell-Jones’s work, allowed us to see the white walls of the gallery behind it and the paper of the drawing cast a traceless shadow on to the walls, creating a sort of negative double of the physical drawing but appearing in shadow. Bell-Jones’s drawings reflect bright and luminous colour present on the reverse of the front facing white ground, producing colour that is not overt but glowing from behind the white surface and emphasising the edge of each hand cut hole. The visibility of the wall behind and the shadows, are aspects of both artists’ works. Their drawings are not discrete objects, but pieces that use and engage with the nature of their location. This is in contrast to the famous ‘cut artist’ Lucio Fontana who, in his pierced and slashed paintings, covered the back of his canvases with black cloth so that the negative space was intangible, inaccessible and not part of the gallery space: almost other worldly.

The diagrammatic, or map like references in Bell-Jones’s work involve the representation of a different scale of space, a scale that is consistent within each work but could be microscopic or geographic. In Pearlman’s Eye it represents the eye of a storm, relocating us again to something outside the works immediate context. This work reminds me of Da Vinci’s Deluge, 1517, where there is also a circulating energy of lines.

I especially liked the contrast between Bell-Jones’s Diagram and Pearlman’s Eye in the central space. In Diagram, Bell-Jones had cut out all the empty space between the lines of the linking network diagram and then reversed it. Leaving a delicate white net with its double in grey, its shadow cast behind it on the wall. In Diagram, traces of the original colour of the diagram are slightly apparent along the edges of the delicate cuts. With his systematic work any mistake ruins the final outcome, where as Pearlman’s organic explosive work contains our fallible gesture.

This exhibition is a considered and visually exciting investigation into drawing as a negative act of mark making, the removal of the ground as apposed to the mark resting on it. It is well worth seeing, but after seeing the stunning Eye by Pearlman take time to look carefully at the drawings in response by Bell-Jones, which are just as stimulating but not as instantaneous.

DY-66

2007-10-01T23:24:00.000+01:00

29 Sept - 7 Oct 2007
Sat + Sun 1 - 6pm
Five Years Gallery
Unit 66 6th Floor, Regent Studios, 8 Andrews Rd, London E8 4QN

Apparently there is something strange happening in and around the Five Years Gallery: the A.A.S. are investigating a ‘zone of instability’ and are trying to avert a disaster. The peculiar happenings seem to be originating from East End galleries. The A.A.S. believe that galleries are in fact fronts for highly illegal activities or head quarters for hostile organizations.

The A.A.S. is an undercover organisation carrying out various absurd but covert operations. It is formed from a changing collection of agents and “participants are absorbed into particular projects as required” but their suspicious behaviour may give then away. The members are given pseudonyms such as Mule, The Viking, The Philosopher, and the Shadow; their special skills, aims, and weaknesses are also recorded.

The Five Years Gallery is currently the A.A.S. control room. As a visitor you can riffle through their recent espionage activities.
The spy ring was mapped out on the wall with red string and pins – each linked to an area in the centre then linked to images and text produced from and for the spy event that had occurred at that geographical location. They do seem to be obsessed with poisoning, but I suppose this is the espionage vogue at the moment. The agents’ activities include taking ‘participants’ to different shops to spell out words from the first letter of each shop, code words most be exchanged before play can commence.

The participants’ notebooks contained information gleaned from surveillance activities in the form of notes, sketches and diagrams. Visual data was also presented mini photographs collected papers, perhaps evidence. These were quite beautiful. One of the A.A.S. participants read from this during the opening, but its content was still inaccessible to me. They also had the entire electrical grid of Birmingham on microfilm. How could I not respect these intellectual superiors now? I was in awe of the breadth of the data.

The A.A.S.’s underworld was accessible but so deep with layers of information that to truly comprehend in its entirety was impossible. What you saw was the surface of what appeared to be a total system.

Through the spying activities the protagonists respond to the signs systems and structures of the contemporary city but disregard their conventional meanings. They map out a sub system: one that questions the authority inherent within these signs and systems, creating their own, subversive to the core.

Their work reminds me of the absurdist Dadaist events where their actions appeared to be absent of any logic, in response to the barbaric First World War. This same bureaucratic, state sanctioned logic has again brought us to a war on terror where every third person could be a terrorist of some kind. Every time I go on the tube a disembodied announcer advises me to report unattended luggage and suspicious behaviour.

Invisibilism

2007-09-19T19:24:00.000+01:00

Art exhibition by Martian Artist GRUSFMVMFVM-X3 (apologies if I have mis-spelt your name).
Went to the private view of this one. I didn't actually see anything. Apparently the the Martian was present for the P.V. but was in the 8th dimension.
32a Vyner Street,
London
E2 9DG

on show until 30 Sept

Emma Holden Affinity

2007-09-19T19:12:00.000+01:00

7 Sept - 30 Sept
75-77 Broadway Market, London Fields, London E8 4PH

I find this venue too commercial and as a result anything displayed in there is read with that bias. Though there were one or two pieces that I liked there were too many different things on display, some framed some not. I much preferred the drawings that I saw earlier this year at August arts.

Type An Exhibition of Typographic Design

2007-09-19T18:50:00.000+01:00

13 Sept - 22 Sept
AQFFIN
55 Commercial Street,
London
E1 6BD

Exhibiting artists; Tom Brennan, Mihoko Iwase, Reiko Kasamo, Ben Lam, Sosuke Sugiura, Miyuki Sutoh, Yoshiko Tanigawa, Sunhee Yang.

The Big Draw East

2007-09-18T22:36:00.000+01:00

Its that time of year again. Big Draw time.
Sunday 30th September 10.30am-5pm

Free Drawing events are taking place in the East of London at various venues.
Venues include; Geffrye Museum, Sutton House, Bishops Square, Bethnal Green Working Men's Club, Christ Church Spitalfields, St. Jude's Nature Park, York Hall, V&A Museum of Childhood, St. John on Bethnal Green, Queen Mary, Univerisity of London, Ragged School Museum, Ocean NDC, Ecology Pavilion.

Monster Drawing Rally

2007-09-18T22:19:00.000+01:00

Los Angeles is holding a Monster Drawing Rally a fundraising event with lots of artists. It also includes bands as well as drawing. Check out link for more information

The Joy

2007-09-12T17:57:00.000+01:00

The Joy
Nettie Horn Gallery
7 Sept – 7 Oct

Nettie Horn Gallery, now, not the newest gallery on Vyner Street as the stunning Wilkinson Gallery opened its doors last Thursday. Wilkinson’s is now like the White Cube, but without the Hello Magazine array of artists who are all far too famous to be interesting. On display at Wilkinson were Thoralf Knobloch paintings’ that were less drippy Doigs’ and more urban dystopian - spaces similar to Hopper.

The Joy at Nettie Horn was another group show.

Pros and cons of group shows;
• They are often only loosely themed without any critical underpinning
• Generally there is just too much work so everything looks cramped
• It is a who’s who, or who’s new kind of thing
• Works are hardly ever site specific but commodity driven
• You don’t get much of an idea of the artists practice
• Discovering new artists who’s work you love
• As an artist you have to worry less about the number of people turning up to the private view

Highlights were Louise Colbourne’s videos of white bisected cubes moving in duet - reminded me of logic puzzles at maths in school. A person standing on one leg (you just see the foot and the lower leg) wearing a golden shoe who wobbles but never falls over thanks to the editing of the film.

Andrew Ekins nipple stalagmite paint drips on tin cans producing a castle like structure was juicy and good in a naughty way, much preferred this to his painting. I never thought I could like anything that was pink.

The unfussy straight talking ‘Where did Evil come from?’ by Brian Reed; just pen on paper in a frame as you entered the space, left the question in a large space somewhere at the back of my brain.

Jerwood Drawing Prize - short list [very long list]

2007-09-04T20:30:00.000+01:00

Selectors Avis Newman, Catherine De Zegher and Paul Bonaventura
Have managed to short list the prize to... 77 artists work. So that means that there must be at least 77 works in the show. Not the minimal response I was expecting.

Kate Adams
Caroline Ali
Holly Antrum
Alistair Ashe
Lucy Austin
Adam Ball
Catherine Bertola
James Bingham
Peter Bodenham
Glyn Brewerton
Davina Brown
Graham Brown
Christopher Bucklow
Lizzie Cannon
Jacob Cartwirght
Sunny Cheung
Ann Clare
Julie Cockburn
Ian Davenport
David Rees Davies
Adam Dix
Naomi Doble
Sarah Douglas
Luke Drozd
Mark Fairnington
Gordon Faulds
Diana Foden
Stefan Gant
Anna Maria
Patrick Gilmartin
Polly Gould
Sam Griffin
Nathalie Guinamarod
Christine Hatt
Bridget Heriz
Sarah Hope
Shareena Hill
John Holden
Tone Holmen
Sophie Horton
Mitsuko Hoshino
Melanie Jackson
Ross Jones
Chosil Kil
Tim Knowles
Minho Kwon
Vera Boele-Keimer
Irene Lees
Brighid Lowe
Ralph Macartney
Sarah McNulty
Jane Millican
Nicole Mollett
Peter Monkman
Marcela Montoya-Turnill
Claire Morgan
Catherine Morland
Donna Nicholson-Arnott
Louise Norman
Sean O' Keefe
Grace O'Connor
Eamon O'Kane
Susie Parfitt
Stuart Parkinson
Stuart Pearson Wright
Kerry Phippen
Pauline Place
Margaret Proudfoot
Giannini Giulia-Resteghini
Daisy Richardson
Mary Rouncefield
Paul Ryan
Adam Sunderland
Suzanne Treister
Alison Turnbull
Cathy Ward
Paul Westcombe

‘Drawing Topologies’ – Proposal for Municipal Acquistions Drawings

2007-09-04T15:51:00.000+01:00

29/06/07 – 16/09/07

Stedelijk Museum
Amsterdam

The drawing topologies exhibition is both an investigation into the different areas of drawing and a means to purchase work for the Stedelijk’s permanent collection. There are two reasons why I found this exhibition pertinent; a) the division of drawing into five distinct topologies and how each practice fitted to their allocated area b), to see what contemporary Netherlands based artists are doing with and within drawing.

It was quite clear that the selectors had got beyond the conventional sense of drawing as being something on paper. The Stedelijk had dedicated a large amount of space to this show and it was not an adjunct to other seemingly more important exhibitions. The works were given space to breathe and were not competing with their labels, as is often the case. This exhibition enabled you to get an idea of the artists practice in particular because it was clearly artists rather than works that were chosen. The five topologies gave the exhibition a framing to the reading of the work and allowing a more critical reflection of the current movements within drawing.

The five topologies they chose were; laboratory exploration, representational, as drawn (meaning to draw out of yourself), narrative, and drawing as the capturing of time.

Drawing as laboratory epitomised the idea of drawing as a working out, a visualization of ideas. Explorations that now have the same status as the final outcomes that the drawings make happen. There is the temptation to look at these works without considering their position within the artists practice. What status does the artist attribute to these works? Within this section there was a fascinating but straight real time video recording of insects swarming around bright lights. [Unfortunately I can’t and couldn’t work out which artist did this piece] The lights were illuminating a concert in contrast to the delicate frenzy of the insects there was sounds of a host on a tanoy and noises from a large crowd, just out of the frame of the camera, which never moved from the insects. This wasn’t drawing as laboratory, but drawing that documented; it was a record. ‘Drawing as time capsule’ fits drawing used to document, but other works such as Marc Nagtzaam’s meticulously copied computer print outs fitted not as drawing to document, but drawing to contain and expand time. Work where the labour of making is condensed within the reading of the image. I found most of the work within Drawings as representation was much more suited to the category of narrative, especially Ina van Zyl’s dark sexual charcoal drawings, images which form part of a narrative or originate in van Zyl’s comics and Maura Biava’s possible life outcomes for an arty female. The Stedeijkt used ‘representation’ more in terms of identity construction or image making. Marijn van Kreij work which was in the ‘Drawing as Drawn’ section seemed to be dealing with issues of representation, though I found his work fascinating partly because I found it difficult to truly get inside and understand. Drawing as Drawn was the section where I imagined there to be doodles and unexplainable images and thoughts expressed or vented through drawing. Perhaps Charlotte Schieffert’s females would be better suited in this section.

The five toponyms; laboratory, representation, drawn, narrative, and time capsule are a helpful start to break down differing approaches to drawing. Drawing in relation to space, the creation of it and the exploration of it seemed to there but not acknowledged. Justin Bennett’s drawing of a large space within a building with an accompanying audio of the sound of the drawing being made, but the size of the space was drawn twice with the line and the sound of the line through the echo of the drawn line within the space.

Another area that is currently relevant that is of ‘ground’ where artists are through drawing, transforming the nature of the ground, in the case of Amalia Pica’s ‘Island’ quite literally. She drew a tropical island in the snow. The snow became the white page and at once the tropical island and the sea. I am interested in seeing an exhibition exploring how drawing is used to change, drawing of action and critique. To critically investigate the relationship between the act of drawing and what it does to the ground.

Drawing Topologies is a fantastic show case of contemporary drawing.

Exhibiting artists; Voebe de Gruyter, Nathalie Bruys, Justin Bennett, Joseph Semah, Frank Koolen, Job Koelewijn, Ni Haifeng, Amalica Pica, , Ina van Zyl, Charlotte Schleiffert, Iris van Dongen, Maura Biava, Lily van der Stokker, Rosemin Hendriks, Marc Nagtzaam, Marijn van Kreij, Sema Bekirovic, Ronald Cornelissen, David Haines, Aji V.N., Daniel Roth, Aam Solleveld, Etta Safve, Erik Odijk, Eylem Aladogan, Marcel van Eeden, Marco Pando, Ivan Grubanov, Daragh Reeves.

Manfred Muller

2007-09-01T12:51:00.000+01:00

Manfred Muller who makes poetic geometric works some paper based moving into form that appear to look ceramic but are paper. In addition black geometric shapes on a variety of grounds such as graph paper. He also explores cuts and folds.

Leaded: The Materiality and Metamorphosis of Graphite

2007-08-30T13:03:00.001+01:00

Just discovered this show which doesn't open until October but has work by the artists Stephen Sollins, Sara Lovitt, , Tara Donovan the art guys,[these guys are fantastic - so much fun] Marco Maggi and Creighton Michael

21 Oct - 22 Dec 2007
Bedford Gallery - USA [not uk]

Paul McDevitt at Stephen Friedman Gallery

2007-08-30T12:45:00.000+01:00

I must confess I don't know anything about this artist's work, but I generally love the majority of what Stephen Friedman shows, not to mention my consideration that 'colony' by Tara Donovan is the best piece of work I have seen all year. [if you scroll through Donovan's work on the Stephen Friedman web site you will get to good images of 'colony'].

Paul McDevitt exhibited at the Cell Project Space. click on link and on title of post to see images of his work.
1 - 29 Sept
Stephen Friedman Gallery
25-28 Old Burlington Street
London

Rachel Cattle and Steve Richards

2007-08-30T12:20:00.000+01:00

'Same Old Scene'
Rachel Cattle who recently exhibited at the Centre for Recent Drawing is exhibiting with Steve Richards. For the show they are showing animation and a comic. I expect everything to be very hand made with a hint of underlying horror.
Rachel Cattle's show at the Centre for Recent Drawing was excellent and so I am looking forward to seeing the 'stills' the drawings moving.

7 Sept - 8 Oct
Transition Gallery
Unit 25a Regent Studios
8 Andrews Road
London E8 4QN

Gabriel Lester at IBID projects

2007-08-30T11:53:00.000+01:00

The reason why I am flagging up this artists work is because of his exploration of architecture. Through cuts that create viewing windows, vistas through buildings. He also makes films that seem to entirely use appropriated footage but fascinating collage of images which play with conventions of films and documentaries. The exhibition at IBID looks as if it will be focusing on his film works.

Gabriel Lester 'And Now for Something Completely Different'
7 Sept - 31 Sept
21 Vyner Street
London

Underground

2007-08-24T10:41:00.000+01:00

Underground is mutual exploration of the process of making by three artists; Roger Ackling, Eric Butcher and Simon Granell. Though these three artists come from a painterly tradition they all produce work which is the 'trace of an act' the visual formation of the method of making, which is one way of understanding drawing.
There is a also a publication with writing by Tania Kovats the artist who also produced the fantastic resource 'The Drawing Book'.

Sara MacKillop

2007-08-23T21:51:00.000+01:00

The work of Sara MacKillop was a sensitive jewel in East International. One of my favourite exhibitions partly because of how artists exhibiting in this show go on to become so influential, and because of the quality of the work shown.

Sara MacKillop's work was displayed on the top floor of the main building in a space delicately lit by natural light. Her work often using stationary or found papers such as record covers reminds me of geometric abstract paintings. Works where the edges of pages almost become areas of flat colour to be read in on the plain rather than receding into the background. The subtly of the change in density of pigment, and the bleaching and fading of the aged papers. The edges and the folds become the lines. I kept thinking about Kasimir Malevich's 'Black Square on a White Ground'. Calm work and want to see more.

Start Your Collection

2007-08-23T14:51:00.000+01:00

3 August - 16 September
Contemporary Art Projects
20 Rivington Street, Shoreditch, London EC2A 3DU

This exhibition of small works has the aim of getting people to start or add to their collection with affordable works. The majority of the works are small and a large proportion of drawings. The thing I like about these kinds of exhibitions as they are a like a mini survey of emerging artist and a large percentage of them exploring drawing. What I don't generally like about these exhibitions is the way that the work is displayed. Several works were placed in see through plastic wallets which protected them from mucky fingered viewers but totally interfered with the reading of the work. I could go on a rant here but I will stop and start talking about what I found and liked. If i had a big house and lots of money I would start my collection with the following;

Lucinda Oestreicher [Drawing of a donkey - sad and lumpy]

Keith Roberts [rough landscapes - nighttime - cut out of cardboard - inky melancholy]

Claire Beale [cut out radiator interior - empty furniture absences in everyday space]

D. J. Roberts [Non spaces in photographs, like Vija Celmins but the bits in between - photorealism that throws you back to the surface and the transitions in tone - hard pencil - previously exhibited at Lounge - favourite one was 'urban darkness' 2006 street crime seemed to be hiding in this one but filled all the space - creeping]

Robin Dixon
[colour field - watercolour bleeding + grids and lines]

Anka Dabrowska

Laura Green
[liked the pen and ink big space slightly sci-fi drawings]

If you do have lots of money and a big house you should go and buy work by these artists.

drawnapart west

2007-08-23T14:24:00.000+01:00

The second half of this two part East West exploration into drawing. The second part being in Day Faber who's expertise lies in drawings from the 15th to 19th Centuries.
Artist included in this show [alive ones] are;
Kate Davis
Lucy Day
Leo Fitzmaurice
Kate Hawkins
Ben Long
Ed Pien
Terry Smith
Chloe Steele

Drawn Apart West 9-20 October 2007
Day and Faber,
173 New Bond Street, London W1Y 9PB
Monday – Sunday 12- 6 pm

Julie Cockburn at Forster

2007-08-23T13:30:00.000+01:00

I recently came across Julie Cockburn's work at Forster Gallery. Though the work wasn't displayed in a space that gave it room to breathe and the other artist work in this group show was of a completely different aesthetic which meant I was unable to appreciate the other exhibitors in 'Ten at One'.

Cockburn responds to pre-existing images including maps and whole books by various manual means, such as cutting, collage and sewing. Many include beautiful elegant scribbles - but stitched. I am interested in the relationship between the stitched lines on top of the existing ground. One work 'A Bird in a Bush' looked initially as if Cockburn had just rapidly scribbled on the ornithological book, but the lines were carefully hand stitched. The response wasn't 'off the cuff', but carefully considered and laboured. The stitching is more tactile than a pencil line across a page, this to handle nature is also found in the choice of working on a book, not just pages but the whole book, but open at chosen pages. Why this page? With Cockburn's work like many other artists the response to the work seems to be 'dumb' in terms of a complete blindness to the content of the text. In a way that a child draws in a book, they know the image is there and they know what the image is of but are adding to it in a way that seems to bear no relation to the image or content. The graffiti nature of Cockburn's practice is a loving one, not one of disrespect, but it maybe territorial.

Julie Cockburn is in the group show 'Ten at One' until 31st August 2007
1 Chapel Place, Rivington Street, London EC2A 4DQ

Copy link below to see image of 'A Bird in a Bush'
http://www.forstergallery.com/Julie-Cockburn/a-bird-in-a-bush

MA Drawing Show Wimbledon

2007-08-23T13:21:00.000+01:00

MA Wimbledon Students open their final show on Friday 7th September 2007
6-9pm [other MA courses are also exhibiting]
Wimbledon College of Art
Merton Hall Road
London
SW19 3QA

quick words on MA drawers work

Jack Hutchinson - cosmic background radiation

Tia Schmidt - scatter/arrange

Marwa Arsanios - figures and what they do...

Tom Robinson - Scene of the Crime?

Victoria King - Digital v Analogue

Fiona Meakin - Furry Touch

Knight's Move Journal

2007-07-16T19:13:00.000+01:00

While visiting David Risley gallery I discovered a new drawing journal 'Knight's Move Writing is Drawing'. I loved it's large size, just black text on cream paper, not many pages. In the 'Editorial, A Zero Velocity of Reading?' by David Howells (July 2007), he states.
"[W]e propose instead of an expanded sense of writing as drawing that does not consign itself to a marginal category such as concrete poetry or liberated typography,[but one] that operates instead from within the "prison-house of language" itself."

I am looking forward to the next edition. For more information click on link above.

Anka Dabrowska + Emma Holden

2007-07-16T18:50:00.000+01:00

Anka Dabrowska

http://www.julietgompertstrust.co.uk/artists/Dabrowska/index.html
http://www.sevenseven.org.uk/Artists_files/AnkaDabrowska.html

Emma Holden and Anka Dabrowska both exhibited together in 'Geography is a Flavour' at Baldwin Terrace run by August Arts. I was struck by both their work. If I read this correctly they will be both exhibiting separately later this year at sevenseven, in East London.

Emma Holden's work was organic grewing pencil of repeated pen marks. One piece was like a delicate dragon without eyes but drawn on a page from the financial times.

Anka Dabrowska's delicate water colours and fragile pencil lines are often on different grounds such as paper bags. Though the lines and the execution are delicate the subject matter is of things remembered from Dabrowska's past such as military helmets camouflaged.

UBS Openings: Drawings from the UBS Art Collection

2007-06-19T20:45:00.000+01:00

Tate Modern
4 May – 4 Nov 2007 [free entry]

Drawings by artists includes: Charles Avery, George Baselitz, Alighiero e Boetti, Vija Celmins, Chuck Close, John Currin, Bruce Conner, Walter Dahn, Joel Fisher, Helen Frankenthaler, Lucian Freud, Robert Gober, Philip Guston, David Hockney, Jenny Holzer, Franz Kline, Markus Lupertz, Rosemari Trockel, Ed Ruscha, Jim Shaw, Michele Zalopany.

I wandered to the over populated Tate Modern to check out the drawings that were on display. Like the density of people at the Tate the drawings were also slightly too cramped.

These are notes that I made while I looked and walked around.

Alighiero e Boetti Aerei 1978 – ball point pen – plane spotting put into a picture, he his making the sky with his pen marks

Galaxy #1 (Coma Berenices) Vija Celmins – Still powerful, but the galaxy needs to breathe and it can’t do it next to the Boetti.

Untitled 1961 Helen Frankenthaler – blobs and spirals – a dedication that becomes part of the drawing

Untitled (Drawing No. 1) 1988-9 Joel Fisher – the curved red ochre graphite line gone over with black becomes almost the same register as the ground, the hand made paper with its rough edge.

Coiled Paper 1973 Edward Ruscha – the image throws you back to the ground of the image with its own subtle undulations within the frame.

Untitled #5 (Double Sink) 1985 Robert Gober – My eye looks at the ripped out sketchbook edge (series of vertical holes along the left edge of the page), I glance at the title and back to the image. I see two bodies, two figures and wonder which side left or right made the drawing. Who is the significant other, so close that you would share dirty water with? Traces

Untitled 1971-2 Cy Twombly – A wrong tilted grid that automatically makes me see Agnes Martin’s grids and lines that remind me of a tree in winter scratching on the glass in the wind.

Hunters’ Cabin Charles Avery – Drawing has x-ray vision.

STUART MURRAY - CELL PROJECT SPACE

2007-06-19T20:43:00.000+01:00

Stuart Murray, Cell Project Space,
16 Jun – 22 July
258 Cambridge Heath Road, London E2 9DA

Stuart Murray is a Spy

Crap jobs I have had include:

• Putting the walnuts in walnut whips [I only did this for a day but the girl next to me fainted on the conveyor belt (imagine this bit)]
• Peeling potatoes by the sack load [I did this sitting outside a pub and daydreamed about being in an early Van Gogh],
• Stuffing letters to opticians and ophthalmologist in a grand Georgian room that was supposedly used to be Jack B. Yeat’s studio. When no one was looking I searched the room for paint drips but found none.
• Packing Brylcreem lids into boxes hurriedly trying keeping up with the machine, while a South African man shouted at me over the noise, describing how beautiful his country was with wonderful wild flowers.
Lucky for me, I wasn’t sent to the much-discussed ‘chicken factory’. What happens to you there is still very much a mystery, perhaps it is a place where you become a non-person and never manage to escape the underworld.

The best thing about the crap jobs was that I wasn’t really like my other workers; I was there undercover, an artist. I was a spy. Stuart Murray is also a spy.

When I walked into Cell I found a crisp white pure space, where clean attractive people looked at the results of Stuart Murray’s undercover information gathering, contained in books arranged on tables. He has recorded his interactions with the homeless, drunks and fellow temporary workers. These temporary people are the ones who society perpetually tramples and rejects, people we try to hide and move on: actively ignore.

This data is in the form of pen drawings of the individual and hand written record of what they said. Reading them transported me to a dismal gloomy Glasgow underworld. I could smell the fags, piss and alcohol. How many different ways can you ask for money? How many strategies are there for apologetically giving nothing? My favourite person in ‘On the Street’ was the woman who asked Murray not for money but if he lived in a house. If so, could she live with him?

This exhibition is crammed full of moments with people who are normally hidden. Lots of people should see this show, especially not just the art world.

MARK OUT

2007-06-18T18:25:00.000+01:00

Artists: Simon Barker, Teresa Carneiro, Patrick Adam Jones and Onya MacCausland
Respond through to the architecture of the Phoenix Gallery

23 Jun - 21 Jul
PV 22 Jun
10-14 Waterloo Place, Brighton

Atsushi Kaga - Bunny's darkness and other stories

2007-05-20T16:43:00.000+01:00

24 May - 30 Jun
Mother's Tank Station, 41-43 Watling Street, Ushers Island, Dublin 8

Delicate pencil drawings of a Bunny that lives in Dublin. See link for further info.

Drawing Day - IMMA

2007-05-17T02:34:00.000+01:00

Irish Museum of Modern Art Ireland - Drawing Day 26 May 2007
A day to celebrate drawing in everyday life.
workshop lead by; Brian Fay, Róisín Lewis, Christine Mackey and also to see work by resident artist Fernanda Chieco.
There is also a lecture titled Contemporary Drawing: Trend or Development by Arno Kramer.
For further information click on title of this post then link under Drawing Day section to download a word document.

GordoN SHRIGLEY - pencil drawings

2007-05-17T02:28:00.000+01:00

2 May - 25 May C4RD, 61-63 Cudworth Street, Bethnal Green, London
Gordon Shrigley an artist who also wrote the book, 'Spatula - How Drawing Changed the World' (2004). Which I read some time ago and has if I remember correctly writing from various fields, perhaps including Maths?
Unfortunately I am going to miss this any most other shows in May as making art Elsewhere on the other side of the pond.

Some time Now - Brian Fay

2007-05-17T02:27:00.001+01:00

24 April - 9 June - LAB, Foley Street, Dublin 1
Exhibition of Digital Drawings recording, marking time of the cracks of paintings and stresses on films that have both aged over time. "The intention of the work is to record the affect time and history has had on the materials and supports." [from press release]. I am interested in the bringing together of these contrasting technologies, paint/film (analogue) then via the trace, the hand into a digital drawing.

‘Listening to Adam de la Cour’s Harem’

2007-04-16T18:51:00.000+01:00

The swirls, lines and marks become sounds: fingers run over guitar strings producing an audible cord, the visual trace of the conductors baton as it beats out time. Adam de la Cour’s drawings are, in part, the depiction of choreographed movements in space that make a noise, even if it is silence bordered on each side by an audible presence. In De la Cour’s work I stop seeing an arrangement of marks on a page but envisage what these marks and gestures will, or could be, and sound like. They are sounds in my consciousness. Serge Tisseron states in ‘The Spatial Development of the Manuscript’ that “the earliest drawings are not guided by a visual exploration of space but by an exploration of movement.”i The drawings in Harem are not visual but an exploration of gestures, a score of unfixed choreographed movements that make sounds.

Recently I met someone who only listened to music live which caused me to reflect on my own appreciation of music, one that is mediated through a storage device, an object. My Ipod contains an expansive space, and this space never escapes its container, even when it is played, because when I plug in my headphones I go inside the sound box and noise happens around me in its own generated landscape; I exist within the sound-scape, within the objects space. This internalisation and immersion of listening is in opposition to drawing and live music in which the movement is inseparable from the sound/mark. When looking at a trace I recreates its making. Tisseron states that “[i]n writing as in drawing, the “thrown-out” gesture conjures a trace, a line. This “line,” which seems tied to his movement, is used by the inscriber to pull back that thought that has been cast out in the act of inscription.”ii In drawing, the casting out of thoughts allows for the creator/thinker to think another thought, it allows for time (the succession of thoughts) itself to progress.iii Seeing drawing enables a belief that the past thoughts/moments can be recaptured.

Adam de la Cour’s paper based works contain parts of Manga comics removed from their original narrative. Reading them I see onomatopoeia, a crash, a smack. De la Cour says that “Manga are noisy” iv he listens to them through seeing. In Japan they read from right to left. I raise my hand and move it across an imaginary page in order to comprehend that way of reading. De la Cour states (in reference to the performance of his drawings) that “the narrative […] was originally designed for right to left/top to bottom reading (as in traditional Manga) it can be approached in any way the performer wishes, even in page order.”v When we fragment frames of a comic and re-contextualise them, they still have a narrative quality attached to them. They are part of a great whole. They have a next and a before. The re-contextualised frame causes the other drawings around it into part of the progression.

How the musician/conductor interpret the musical score changes, fashions and trends occur in this subjective annunciation of signs and shared codes on the page. The performance is a one off, not truly replicatable. When the drawings/scores are performed (another author producing their own response to what they see/read) the mark/sound is again cast out onto the space/page. The making and the mark/sound are reunited.

P. 33 Tisseron, Serge, ‘All Writing Is Drawing: The Spatial Development of the Manuscript.’ In Boundaries: Writing and Drawing, Yale French Studies No. 84, (Yale University, New Haven, 1994,) p. 33
Op cit p. 36
In reference to discussion with D. Gamez on his book What We Can Never Know: Blind spots in Philosophy and Science, (London, Continuum 2007)
Adam de la Cour, ‘Harem: The Object as Score’ supporting text accompanying exhibition Harem, (C4RD, London 2007)
Adam de la Cour, supporting text

Adam King: Distant Echo Wilderness

2007-04-11T18:50:00.000+01:00

After popping into the White Cube I wandered up to Dalston to see Adam King’s show, ‘Distant Echo Wilderness’. It was refreshing to see the playful, colourful work, and a contrast to the sombre paintings by Eberhard Havekost. The Lounge Gallery was overgrown with cut out floral patterns, balloons, organic floral textile blob like sculptures with kitsch ornaments and records. As self proclaimed stationary addict, I immediately identified with the proliferation of paper clips, rubber bands and the odd bulldog clip. Though I felt that I would have focused more on the works if there had been less of it, perhaps one less wall piece. It was a riotous sensitive show, and apparently Charles likes his work enough to have got out of cheque book for it! I wish the number of people who trail through the White Cube would go to ‘Distant Echo Wilderness’ but I doubt that will happen.

On until 14 Apr
Lounge 28 Shackelwell Lane, E8 2EZ

Drawing Exhibitions: London

2007-04-11T18:02:00.000+01:00

Annie Whiles: CUCKOO Danielle Arnaud contemporary art
9 Mar - 15 Apr http://www.daniellearnaud.com/ 123 Kennington Rd. SE11 6SF

You Are Here New Works bu Jill Baroff Gallery N. von Bartha,
2 Mar - 28 Apr http://www.jillbaroff.net/ 136b Lancaster Road, W11 1QU

Charlotte Posenenske Between the Bridges
15 Apr - 24 Jun http://www.betweenbridges.net/Posenenske.html
223 Cambridge Heath Road, (corner of Three Colts Lane) E2 0EL

Stefan Bruggemann Obliteration Series Blow de la Barra
22 Mar - 12 May http://www.blowdelabarra.com/07bruggemann.php 35 Heddon Street, W1B 4BP

The Drawing Factory The Crypt, St Pancras Church, Euston Road, NW1 2BA
14 - 27 Apr http://www.thedrawingfactory.com/ PRIVATE VIEW FRI 13 APR

Leonor Antunes Dick Smith Gallery
30 Mar - 29 Apr http://www.dicksmithgallery.co.uk/ 74 Buttesland Street, N1 6BY

Ailbhe Ni Bhriain: Aftermath Domobaal
30 Mar - 5 May http://www.domobaal.com/exhibitions/40-07-ailbhe-ni-bhriain-01.html 3 John Street, WC1N 2ES

Drawing 2007 - Biennial Fundraiser The Drawing Room
19 Apr - 9 May http://www.drawingroom.org.uk/intro.htm 55 Laburnum Street, E2 8BD

'It was the best of Time Outs, it was the worst of Time Outs' Peter Davies, David Ersser, Graham Hudson
SEVENTEEN 18 Apr - 19 May PRIVATE VIEW 19 Apr 17 Kingsland Rd, E2 8AA

Adam Dant -Menageries and Monuments Hales Gallery
16 Mar - 21 Apr http://www.halesgallery.com/exhibitions/ex_07_dant.php Tea Building, 7 Bethnal Green Rd, E1 6LA

Cary Kwok Herald Street
23 Mar - 29 Apr http://www.heraldst.com/ 2 Herald Street, E2 6JT

Torsten Slama Illustrated Visions Of The Future
14 Apr - 28 May Hotel http://www.generalhotel.org/302 53 Old Bethnal Green Road, E2 6QA

Construction Time Again Lisson Gallery
22 Mar - 4 May http://www.lisson.co.uk/exhibitionDisplay.asp?ExhibitionID=62 29 Bell Street, NW1 5BY

Paul Senior A History of Things A Nifty Fine Gallery
5 Apr - 6 May http://www.aniftyfinegallery.co.uk/ 59A High Street, South Norwood, London, SE25 6EF

Momentory Momentum: Animated Drawings Parasol Unit
3 Mar - 12 May http://www.parasol-unit.org/ 14 Wharf Road, N1 7RW

Lost, Found and Imagined Salt Projects
http://www.saltprojects.com/lostfoundimagined.html 28 David's Road, Forest Hill, SE23 3EX (see web site for opening times)

DIrty Nature Standpoint Gallery
20 Apr - 19 May http://www.standpointlondon.co.uk/spgallery.html 45 Coronet Street, N1 6HD

Marcel Dzama Timothy Taylor Gallery
8 Mar - 13 Apr http://www.timothytaylorgallery.com/index_1024.html 24 Dering St. W1S 1TT

MOMENTARY MOMENTUM: Animated Drawings

2007-02-21T11:33:00.000Z

3 Mar - 15 Apr 2007
Parasol Unit
14 Wharf Road, London, N1 7RW
Comprising of work by: Francis Alys, Robert Breer, Paul Bush + Lisa Milroy, Micheal Dudok de Wit, Brent Green, Takashi Ishida, Susanne Jirkuff, William Kentridge, Avish Khebrehzadeh, Jochen Kuhn, Zilla Leutenegger, Arthur de Pins, Qubo Gas, Christine Rebet, Robin Rhode, Georges Schwizgebel, David Shrigley, Tabaimo, Naoyuki Tsuji + Kara Walker.

John Armleder: About Nothing. Works on Paper 1962 - 2007

2007-02-21T11:02:00.000Z

South London Gallery
2 Feb – 25 Mar 2007

This exhibition of Armleder’s drawings fills almost all the wall space of the South London Gallery. It includes a snowflake wall paper, designed by the artist purposely for the show, running along the top half of the two long walls, in orange and green. The wallpaper itself reminded me of something I could buy in Habitat, and I disliked it. Though the exhibition is a survey of his drawings it does contain an awful lot of them. As so many of them were so high I could not look at them with any intimacy. I could not see how they were made. Can you have drawing without intimacy, without access to its means of production? Though the sight of all the drawings was impressive, I found myself frustrated by the limited access to the work and the sheer spectacle of the exhibition.

Tara Donovan

2007-02-21T10:41:00.000Z

Until 24 Feb Tara Donovan's work is on display at the Stephen Friedman Gallery, in an exhibition called 'Memory and Obsession'. Other artists included in the show are Tom Friedman, Robert Gober and Mark Manders. Donovan's work 'Colony' blew me away. It was fascinating, so simple and so affective. I loved the shear range of colours in the collection of pencils, referencing geological formations and processes. I really like the simple exploration of what simple everyday materials can do, just through repetition and multiplication.

Copy web address to see details of 'Memory and Obsession' at the Stephen Friedman Gallery http://www.stephenfriedman.com/

Tomoko Takahashi - Hales Gallery

2007-02-21T10:01:00.000Z

When arriving at the private view for Tomoko Takahashi show, I was met by a long queue. I overheard that the work had to be viewed, curiously, by torchlight.

I had the opportunity of meeting Tomoko, last year at the Drawing Power event on Exhibition Road. Tomoko was extremely happy, enthusiastic and down to earth; it was a refreshing change to the pretentious cool of some artists.

When we finally came to the front of the queue the hand drawn wall map showing our route through the gallery was explained to us, and we were handed a wind-up torch. The best thing about seeing the collection of stuff arranged on the floor and the walls by torchlight was that we only saw a partial view, never the totality of the room. I found myself coming across collections and groupings of things. It reminded me of the viewfinder that I had to look through, at school art lessons, and only draw what was contained within the frame. We shared the torch between us, and we would intern look at from the perspective of each other; things I liked and things my friend liked. It reminded me of the adventurous dreams I had as a child coming across hoards of treasure in some dark catacomb. Though it initially looked like a collection of the leftovers from a jumble sale, without the clothes, motifs were repeated; arrangements of things clearly became a Tomoko arrangement, the deleted clocks, and the playing cards for example.

In the next room, this time fully lit, there was a catwalk along the centre and around on the floor were all her documentation, in boxes and photographs upside down covering the floor. On the walls were photographs of her work, but stapled and bent, curved, not flat and displayed in a conventional manner. With my own work I find the relationship between the work and the documentation, a curious problem.

We returned to the dark room and negotiated our way through to the next room on our journey through the Hales Gallery. In this room, where framed photographs of the floor, very beautiful multiple exposures, appropriately framed, simple. We then walked through the final room, the Hales Gallery office. Like Takahashi herself, her practice, and the gallery were completely open and uninhibited.

John Plowman

2007-02-21T09:52:00.000Z

I recently discovered the work of John Plowman, a London based artist. I came across his book 'Field of Activity' at the Angel Row gallery in Nottingham. He is interested in the trace of the time involved in making work. The work is the result of the repetitive actions such as sharpening pencils.
Click on link for further information John Plowman on the Axis web site

SUSAN COLLIS 'DON'T GET YOUR HOPES UP'

2007-02-18T21:44:00.000Z

SEVENTEEN
17 Kingsland Road, London E2
Opening 1st March 6pm
1 Mar - 31 Mar
Susan Collis turns how we look at everyday objects from one of a careless glance in to one of awe and fascination.
Collis won the Jerwood Drawing Prize, Student Prize in 2002.

The Central Line - PM Gallery, Ealing London

2007-02-18T14:35:00.000Z

At the PM gallery 'Drawing as Vital Practice' includes works by ten international artists.
At the Pitzhanger Manor House 'Petherbridge Alone With Soane' a collection of Deanna Petherbridge's pen and wash drawings responding to international architectural styles.
19 Jan - 3 Mar 2007
Open Tues - Fri 1pm - 5pm
Sat 11am-5pm

Margret H. Blondal - SIEVES

2007-02-18T12:49:00.000Z

Margret H. Blondal is exhibiting at Mothers Tank Station, 41-43 Watling Street, Ushers Island, Dublin.
Opening 21 Feb 18:00 - 20:00
Exhibition 22 Feb - 24 Mar 2007.

Go to URL below for further images of her work.
http://www.motherstankstation.com/pages-magrb/margbllimages04lg.htm

True Love Rachel Cattle

2007-02-04T23:01:00.000Z

C4RD Nanospace 61 - 63 Cudworth St. Bethnal Green, London
31 Jan - 16 Feb 2007
Wed - Fri 12.30 - 5.30

I went to Rachel Cattle’s show with a preconception of her work, gained from seeing reproductions. I was expecting little, cute, drawings that were interesting but accessible. Luckierly, this is not what I saw. In the C4RD pinned around the room (only at the top) were a series of approximately A3 sized heavy graphite drawings. The works are part of the ‘100 drawings’ series; the title being something she saw scratched into a tree. Looking at the drawings I saw my own childhood anxieties, often ones that were unexplainable. Brownies, not fitting in, but trying to unsuccessfully; an up turned tree trunk that watches you, but you have to go round it; a stuffed bear, that isn’t scary for being a bear anymore, but for being something else; a person covered in hair; but without a face. ‘True Love’ turns this small intimate gallery into a space that has the thoughts of a psychologist’s consultation room, with its dark troublesome memories hanging around. Taking an appearance, but still difficult to pin down in words. These drawings, akin to outsider art, seem to hold an answer, but an answer that isn’t in the person but only exists in a tantalising space between thought and the surface of the paper. It allowed me to remembered things I didn’t know I had forgotten.

Being Lady Lucy: Drawings and Sketch Books, 2004-6

2007-01-30T12:26:00.000Z

Unit 2 which is run by London Metropolitan University
20 Jan - 10 Mar
59 - 63 Whitechapel High Street, London E1 7PF

John Armleder: About Nothing. Works on Paper 1962 - 2007

2007-01-25T23:06:00.000Z

South London Gallery,
02 Feb 2007 - 25 Mar 2007
curated by Beatrix Ruf
Drawings hung floor to ceiling.

Drawing Lab Project

2007-01-25T20:48:00.000Z

DIT lecture by Brian Fay & Siun Hanrahan
23 Jan 2007
7pm A019 Atrium Building IADT Dun Laoghaire, co. Dublin

Brian Fay and Siun Hanrahan discuss the Drawing Lab and the international seminar Perspectives on Drawing

Delineate: an exhibition exploring line

2007-01-25T20:27:00.000Z

This exhibition is on two sites
The Project Space, Patrick Studios, St Mary's Lane Leeds LS9 7EH
26 jan - 2 Feb [10am - 5pm]

Crossley Gallery, Dean Clough, Halifax HX3 5AX
20 Jan - 31 Mar [10am - 5pm]

Project Space ; curated by Lara Eggleton & Nichola Pemberton
11 Artists working in performance, interactice, installation and video interpreting 'line' but within the public sphere.
Artists are; Teresa Carneiro, Rachel Gomme, Maggie Hall, Natasha Light, Onya McCausland, Rosemarie McGoldrick, Janie Moore, Corinne Mynatt, Corinne Noble, Griny Reed and Matthew Shelton.

Crossley Gallery ; curated by Lara Eggleton & Nichola Pemberton
17 Artists respond to uses of wall space from traditional to experimental. This includes; exploring mark-making, found objects, sculpture and digitally formated drawings.
Artists are; David Baker, Richard Baker, Eirini Boukla, Kelly Cumberland, Sophie Flynn, Kate Genever, Andrew Lister, Robert McConnell, Juliet MacDonald, Laimonis Mierins, Lucy Merchant, Paul Miller, Lisa Murphy, Ryan Riddington, Andi Robinson, Matthew Shelton, and Greg Townend.

Seconds: the Imperfect Artwork

2006-12-05T19:46:00.000Z

With Catherine De Zegher's talk at the DIT still dwelling in my thoughts, speciffically her quoting of Richard Tuttle talking about "how not to make art", I was really interested to hear about a exhibition taking place at the Wexford Arts Centre, Seconds: the Imperfect Artwork.
On the press release it states that "seconds:: the imperfect artwork, considers the nature of failure which is inherent in the creative process." To me the question of failure is very pertenent to drawing. Do we aspire to create something that we already know or see before hand or do we (as with Tuttle) try to "keep ourselves out of the work[?]" {De Zegher quoting Tuttle.}

At the Drawing Symposium at Tate Britain earlier this year (With a Single Mark), Jimmie Durham showed us several of his 'very bad drawings' which were great. To what extent is drawing explorative and involves the removal of perfection, resolution and ego? How does a mistake or accident change the slippage of the 'ground' on which it sits?

Artists exhibiting are; Ide Maloney, Lee Welch, Brian Fay, Gary Coyle, Fiona O'Dwyer, Michael Fortune, Sean Taylor, David Beattie, Aideen Barry, Cliona Harmey, Helen Hughes, Bea McMahon, Sally Timmons, Sonia Sheil, Eileen Healy, Felicity Clear, Alan Phelan, Danny McCarthy, John Langon, Martin Shannon, Mark Curran, Noel Molloy, Mary-Ruth Walsh, Simone Schneider and Simon Lewandowski.

There is a Public Talk on Sunday 10th December 2.30pm.
Paul O'Neill and Aileen Lambert discuss failure in relation to curatoring.

Free Talk Drawing Center NY Eleanor Mikus

2006-11-28T16:34:00.000Z

Eleanor Mikus will be talking about her work and her exhibition From Shell to Skin on Sat Dec 2 at 4pm.
Also on Wed 29 Nov at 6.30pm there is an auction of work by a range of well respected artists to raise funds for the Drawing Center.
This event is called Drawing Gift
Artists include; Donald Baechler Matthew Bliss Robert Bordo Matthew Brannon Delia Brown Clayton Brothers Crust and Dirt Adam Cvijanovic Marcel Dzama Benjamin Edwards Echo Eggebrecht Jacob El Hanani Franklin Evans Neil Farber Adam Fowler Glenn Goldberg Mark Grotjahn Amanda Guest Arturo Herrera David Humphrey Bill Jenson Ray Johnson Zoe Keramea Shin-Il Kim Mark Licari Jason Middlebrook Jill Moser Elizebeth Murray Todd Norsten Carl ostendarp Stephen Posen Jon Pylypchuk Paul Henry Ramirez Barry Ratoff Matthew Ritchie James Rosenquist, David Shrigley, Zac Smith Philip Taafe Charline von Heyl Garth Weiser

Tod Hanson at Cell

2006-11-28T16:15:00.000Z

Tod Hanson transforms the walls of galleries with a covering of intricate (wild) patterns consisting of representations of ribbon like lines, with solid colours reminiscent of cartoons and enlarged linear based wallpaper designs. Sort of cartoon William Morris.

Private View 1 December
2 Dec - 14 Jan
Cell Project Space
258 Cambridge Heath Road, London

GPS Drawings

2006-11-26T18:09:00.000Z

Click on link/title to be redirected to web site which has a whole range of drawings created using GPS. Drawings include ones made by walking around cities, flying, lawnmowers and attached to animals such as dogs.

Secret Theory of Drawing in Sligo, Eire

2006-11-26T14:42:00.000Z

the 'Secret Theory of Drawing' Exhibition organised by the Drawing Room, London, travels to The Model ARts Centre, includes work by artists; David Austen,Trisha Donnelly, Olafur Eliasson, Ceal Floyer, Ellen Gallagher, Dominique Gonzalez-Foerster, Douglas Gordon, Patrick Ireland, Alan Johnston, John Latham, Mark Manders, Matt Mullican, Anri Sala, Bojan Šarcevic, Joëlle Tuerlinckx, Cathy Wilkes

Curated by Caoimhín Mac Giolla Léith

25 Jan - 11 Mar 2007
The Model Arts Centre & Niland Gallery
The Mall
Sligo
IRELAND

I would have like to have seen this exhibition in London, to enable a comparsion with the two venues.

Sol Lewitt at Lisson Gallery

2006-11-26T14:31:00.000Z

Sol Lewitt wall drawings opens on Tuesday 28 Nov 6-8pm
Lisson Gallery, London
29 Nov - 20 Jan

Johnthan Monk also opens at the Lisson at the same time

Freeing the Line

2006-11-25T17:56:00.000Z

details about exhibition 'Freeing the Line' curated by Catherine De Zegher at the Marian Goodman Gallery
this exhibition was on June 22 - August 26 2006

formula

2006-11-16T17:27:00.000Z

Formula
22 Nov - 08 Dec
Private View 23 Nov 5-8pm
C4RD 63 Cudworth Street, Bethnal Green, London
Exhibition by two artists SARANYA CHAIKULNGAMDEE and ELIZABETH ANNE RIMMINGTON
Looks interesting click on title for link to C4RD to get more info on show

Caroline Broadhead new work

2006-11-11T20:29:00.000Z

Not what i expected from Caroline Broadhead who did that wonderful dress that filled the room. She has from looking at images of the show drawings on paper, Silhouettes of the female form and other works on paper.
13 0ct - 11 Nov
Barrett Marsden Gallery, London

Jeffery T Y Lee

2006-11-11T20:17:00.000Z

first solo show by Jeffery T Y Lee, Don't know anything about this artist(apart from that fact that he was in this years new contemporaries, but drawing of forests look good and I really like the domobaals space so not a white cube and have liked everything i have seen there so far.
Domobaal 3 John St. London
17 Nov - 23 Dec

Annie Cattrell

2006-11-11T20:11:00.000Z

Annie Cattrell work is cool and often relating to weather or responding to science.
New Drawings, sculptures and Photographs
Anne Faggionato, London
06 Oct - 01 Dec

Antoni Tapis Grahic Works

2006-11-11T20:09:00.000Z

1 Nov - 1 Dec
Adam Gallery, London

Drawing Symposium — Constructions of the visible Prince's Drawing School

2006-11-11T19:46:00.000Z

11 Dec 2006 - one week symposium (very much a taught week)
As I did the drawing symposium in 2004 I feel I can comment a bit on this. Though I really enjoy and continue to develop or explore working from observation; drawing is much more than this. Glen Sujo role as a teacher and leader of this course is a refreshing approach to life drawing. I found his use of moving (talented) dancers extremely inspiring. But, to call this week a symposium is inappropriate.
The week includes contributions from Deanna Petherbridge, Barry Phipps, Dilip Sur, Bill Woodrow and Ansel Krut. Many big names, but don't feel that this week will be at the fore front of drawing research... bit I could be wrong

INSTALLATING DRAWING: David Kefford and Ansel Krut

2006-11-11T19:42:00.000Z

Unfortunately I have missed this.
31 Oct - 03 Nov
Wimbledon College of Art (probably in the Centre for Drawing??)
Ansel Krut is the current Drawing Fellow at Wimbledon college of art.
David Kefford also a previous exhibitor of the Jerwood Drawing Prize. But, his objects and installations look very curious and fun. Would have loved to see this show.... as a lot of others

Christine Taylor Patten: micro/macro: 261 drawings

2006-11-11T19:30:00.000Z

11 Nov - 10 Feb
Drawing Center New York
I saw these works at the much smaller Drawing Gallery, in London. Personally I much prefer Vija Celmins drawings made of tiny dots which i find fascinating. They sort of remind me a bit of the drawing in comics to show the swish of a punch or the force of an explosion. Christine Taylor Patten

Eleanore Mikus: From Shell to Skin

2006-11-11T19:26:00.000Z

11 Nov - 10 Feb
Drawing Center New York
Eleanore Mikus bit like robert Ryman, folded papers, looks quite sensitive poet, very minimalist.

thoughts on drawing research

2006-11-11T19:13:00.000Z

There seems to be a need to define research boundaries for drawing, but in the case of practice based research its role as a contribution to knowledge is more difficult to define or put into words, or in fact be reproducible. To me there seems to be two sides to research in drawing, one that is in the field of 'art' where its purpose is itself, and it may need no more than that to contribute, and drawing as a tool, as a means to something else. I feel that drawings on both sides can travel to the other and work in different ways, but by removing the purpose behind it's creation.
I feel that drawing as so much to offer and is so overlooked in terms of its inherent influence and nature in relation to language, culture, cognition, and development. But, these are gain through drawing, when I draw it is a result in itself it is not an attempt to gain something other than itself. These are a few unresolved thoughts.

post - it 2006

2006-11-02T17:48:00.000Z

New blog on which artist Vincent Van Driver creates drawing everyday and uploads it onto his blog. I personally think post it are a better invention than sliced bread. But there seems to be a lot of work on post-its at the moment

Drawing dreams with your eyes closed

2006-11-01T18:59:00.000Z

Just found about Robin Whitmore's Dream Diary blog with some drawings of dreams completed with eyes closed. Like the white on black, seems appropriate for remembered dreams. I wish I could draw that well with my eyes closed.

Richard Crow: Ancolie

2006-10-30T12:12:00.000Z

Performance at South London Gallery, involves sound and music and afterwards there is a talk by the artist. 2/11/06 7-8.30pm

John Stezaker

2006-10-30T12:09:00.000Z

John Stezaker opening at the approach Wednesday 6-9pm
Nov 2 - Dec 17 2006
He does photo collages and was in the Tate Triannual

International Biennial of Drawing Pilsen

2006-10-24T20:03:00.000+01:00

check out this, don't know much about it, but going by previous years it looks quite traditional archive 2004

Square Root of Drawing

2006-10-24T20:00:00.000+01:00

Just been to Opening of Square Root of Drawing, Temple Bar Gallery, Dublin
ARtists include David Sherry Mark Clare, Andrew McDonald who was in British Art Show 6, Yuko Ichimura, Joy Gerrard Katja Davar Terry Smith, Ilana Halperin Susanna Heron Brendan Earley Jane Topping Daphne Plessner Eamon o'kane Gary Coyle Ricardo Lanzarini Heather Boaz Michael Pare Bjorn Hegardt Simon Wood Paul Flannery Joe Biel Zoe Mendelson Edwina Ashton Sol Kjok Florian Merkel Sally Osborn Aine NicGiolla Coda, Graham Parker, Joe Walker, Grace Weir Alan Phelan Linda Quinlan Kate Davis Liadin Cooke, David Mackintosh, `Mark Garry

Simon English at Fred, London

2006-10-19T19:04:00.000+01:00

Simon English is exhibiting at Fred, Vyner STreet, London
'Banks Creams and the Somerset Owls' is on until 19 Nov.

Simon English also has work in the show at Mothers tankstation Dublin.

Getting on Mother's Nerves: Psychological drama and Contemporary Drawing

2006-10-19T18:58:00.000+01:00

This drawing exhibition opened last night in a new fresh space. Had some wonderful Raymond Pettibon comic covers and prints. My Favs were, REmbrandt !! Atsushi Kaga, Royal Art Lodge, Marcel Dzama
Show on until 23 Dec.
41-43 Watling Street, Ushers Island, Dublin 8

Drawing Lecture by Dr. Caoimhin Mac Giolla Leith

2006-10-19T18:23:00.000+01:00

DRAWING LECTURE AT IADT (DUBLIN)

The second lecture at Dun Laoghaire Institute of Art, Design & Technologyseries is by curator / writer Dr. Caoimhín Mac Giolla Leith, who will talk about his curation of "The Secret Theory of
Drawing: Dislocation & Indirection in Contemporary Drawing" at The Drawing
Room, London.
Tuesday 24 October 7pm. Atrium Building, IADT Dun Laoghaire
Kill Avenue, Dun Laoghaire. Dublin Ireland
Unfortunately this clashes with the opening of the Square Route of Drawing at Temple Bar

slashseconds

2006-10-12T17:03:00.000+01:00

/seconds. is an online magazine which is more art research based. it is supported by Leeds Metropolitan University
click on link to see it /seconds

Drawing is a Verb. Drawing is a Noun.

2006-09-28T12:54:00.000+01:00

Drawing exhibition Stone Gallery, Dublin
28 Sept - 20 Nov

Jerwood Drawing Prize 2006

2006-09-25T15:44:00.000+01:00

Selectors Jason Brooks, (painter) Yvonne Crossley, Director of Drawing Gallery, Paul Thomas co-founder of The Jerwood Drawing Prize

Winners
1st Prize
Charlotte Hodes

2nd Prize
James McLellan

Student Prize
Zoe Anderson

Student Prize
James Wright

20th Sept - 22nd Oct Jerwood Space, Union Street, London
27 0ct - 6 Nov University of Gloucestershire, Pittville Gallery
11 Nov - 1 Jan mac, Canon Hill Park, Birmingham
12 Jan - 26 Feb Bury St. Edmunds Art Gallery,
10 Mar - 22 Apr DLI Museum & Art Gallery, Durham
13 Jun - 20 Jul BayArt, Cardiff

Liverpool Biennial

2006-09-25T15:36:00.000+01:00

Liverpool Biennial 16 Sept - 26 Nov 2006
Includes John Moores 24 Painting Prize
Bloomberg Newcontemporaries
and lots more click on post heading to get to biennial web site

In the City of Last Things

2006-09-25T15:29:00.000+01:00

At Site Gallery, Sheffield an exhibition, in collaboration with the Drawing Gallery, London, In The City of Last Things drawings/animation of work by Katja Davar, Paul Noble, and Torsten Slama. I love Paul Nobles work, eventhough i have seen a lot of it, still unsure about Katja Davar's underwater jelly fish world, don't know much about Torsten Slama.

SQUARE ROUTE OF DRAWING

2006-09-25T15:21:00.000+01:00

Exhibition including an awful lot of good drawers. (i am not sure that being good drawer is really the most appropriate thing to say, perhaps some of my favourite bad drawers would be better)
Exhibition is at Temple Bar Gallery Dublin.
PV 24 Oct 6-8pm
24 Oct - 2 Dec

Michael Newgass

2006-09-25T15:15:00.000+01:00

Opening at Millias Gallery Southampton is Time Lines 29 Sept - 11 Nov an exhibition investigating walking.
PV 29 Sept 6pm-8pm
talk by artist Thur 26 Oct 7.30pm

Andy Coolquitt

2006-09-25T15:13:00.000+01:00

Andy Coolquitt, American artist starts three week residency at Outpost gallery in Norwich.
Residency is called Hugh Grant Potato Marathon

Sound bad but good

Princes Drawing School Drawing Year Exhibition

2006-09-25T15:04:00.000+01:00

This years Prince's Drawing School Postgraduate students exhibit their years work.
sept 27 - Oct 8 2006
Exhibition is at the Prince's Drawing School

pixel and pen drawings for this years big draw

2006-09-25T15:00:00.000+01:00

Go to link below to create your own drawing on 'myth'
http://www.mhillman.co.uk/thebigdraw

Wimbledon College of Art MA Shows

2006-08-18T22:53:00.000+01:00

Wimbledon College of Art MA Degree Shows open on Friday 8th September along side, the drawing exhibition,
MAYBE A DUCK ... MAYBE A RABBIT... curated by the Drawing Fellow Ansel Krut, with drawings by Jemima Burrill, Ansel Krut and Walter Swennen, and in the Centre for Drawing also at Merton Hall Road is UNTITLED: CUBE BODY performance and installation by Jordan McKenzie.

Wimbledon College of Art MA Drawing students web site now LIIVE

2006-08-18T22:44:00.000+01:00

This years Wimbledon College of Art MA Drawing students are showing imgaes of their drawing research on the new web site
http://www.drawingdrawing.co.uk/ in preparation for the culmination of their intensive Masters year.

The Secret Theory of Drawing: Dislocation & Indirection in Contemporary Drawing

2006-08-18T20:25:00.000+01:00

New Show, that looks really interesting and has some of my favourite artists in it.
At the Drawing Room but does not open until 5/10/06 - 19/11/06
Artists include: David Austen, Trisha Donnelly, Olafur Eliasson, Ceal Floyer, Ellen Gallagher, Dominique Gonzalez-Foerster, Alan Johnston, John Latham, Mark Manders, Matt Mullican, Anri Sala, Bojan Sarcevic, Joelle Tuerlinckx, Cathy Wilkes.

Lines of Enquiry: Thinking Through Drawing

2006-08-18T20:13:00.000+01:00

15 July - 17 September 2006
Drawing exhibition at Kettles Yard, Cambridge
click on link for more details, includes work by non artists (as well) such as drawings by architects and scientists.

Ultimate Drawing Exhibitions

2006-08-04T22:57:00.000+01:00

The Stage of Drawing: Gesture & Act

Joelle Tuerlinckx: Drawing Inventory

Drawing the Line: Reappraising Drawing Past and Present selected by Michael Craig-Martin South Bank Centre
Line as Language: Six Artists Draw - R.Krauss (before my time almost, but wish I could have seen this one)

drawn out

2006-07-26T22:33:00.000+01:00

Space Station Festival

2006-07-13T18:15:00.000+01:00

This looks really interesting and fun FESTIVAL 14 Jul - 6 Aug 4 weeks of performance curated by.. wk 1. Dave Beech wk2. Andrew Hunt wk 3. Ali MacGilp wk 4. Sally O'Reilly -- hosted by Mark McGowan!!!!

Drawing Related Shows

2006-07-13T18:13:00.000+01:00

Dicksmith Gallery, George Henry Longly, - 29/07 http://www.dicksmithgallery.co.uk/

The Drawing Gallery, Nigel Eillis / Nick Fox, 'This Longing' - 3/8 http://www.thedrawinggallery.com/

Eleven 'Pathos & Ethos' Drawings by Clara Drummond, Grant Foster, Massimo Franco, Oona Grimes, Jaemi Hardy, Vanessa Hodginson, Henry John and Eve Peasnall, 5/7- 4/8 http://www.elevenfineart.com/?pageid=4

Ben Brown Fine Art Motion on Paper: Drawing and works on paper 5/7- 22/9 http://www.benbrownfinearts.com/exhibit.htm

Ellen Gallagher at Hauser and Writh only on until 22/7
http://www.hauserwirth.com/exhibitions/index.php?showone=1&exhibition_id=330&setloc=LONDON&PHPSESSID=b6ddcc12017ee6df91260ff4c3dbb8bd

selection of shows opening this week

2006-07-13T17:40:00.000+01:00

ARCHEINTURE Camden Arts Centre Jul 14 - Sept 17 http://www.camdenartscentre.org/home_noflash.asp

MODERN ART Summer show 14 Jul - 13 Aug http://www.stuartshavemodernart.com/exhibitions_future.html

The Recycle Design Company

2006-07-13T16:42:00.000+01:00

Check out Jiska Hartog and Michiel Henneman recent project in the Centre for Drawing.
click on link to be redirected to their web site

'Muscular Pet'

2006-07-13T15:44:00.000+01:00

Exhibition at the Mashed Potato Gallery in the Old SeagerDistiller , Brookmill Road, Deptford
Private View Thursday 20 July 6-9
Exhibition 21 - 24 July 12 - 6 Mon - Sat 12-4 Sun

Clink on exhibition title for more info about this exciting innovative show

images from 'dysfunctioning'

2006-06-20T23:44:00.000+01:00

Work completed by Lucinda Holmes in the Centre for Drawing, Wimbledon School of Art

'Dysfunctioning'

2006-06-12T10:04:00.000+01:00

12 – 16 June, Centre for Drawing, Wimbledon School of Art, Merton Hall Road.
Open to the public Tuesday 13 June 3-4pm, Thursday 15 June 3-4pm
Private View Friday 16 June 4.30pm – 6.30pm

I am exploring the act of drawing as a negation, more specifically an act that covers textual information within diagrams. I am interested in how theses acts of deletion change the reading of pre-existing printed diagrams. What is the relationship between the mark and the ground, when the line is already in the ground and the mark is a covering of the same colour and value as the ground? In the Centre for Drawing I am exploring how to display these drawings and their relationship (through placement) with their context and each other.

Lucinda Holmes
Currently studying MA Fine Art: Drawing, at Wimbledon.

Banks Voilette

2006-06-11T10:51:00.000+01:00

Maureen Paley, Herald Street, London
2 June – 23 July
I really wish I had seen the performance. According to the press release “Stephen O’Malley and his band sunnO))) [played] on stages, with the focus involving a singer named Attila Csihar in a sealed coffin, on vocals throughout”. Downstairs is the remains of the performance with shiny black stages dirty with dust stuck to dried beer and perhaps sweat. There are more remnants on the floor a battery, bits of paper, and more dust. As you go in right in front of you is the coffin that the singer must have been in, there was a piece of paper with words on it, but I couldn’t understand it. Upstairs all the musical equipment has been cast in salt, but it looks like it has been frozen and is covered in cartoon ice dusting. It was almost as if the band had been zapped by an alien and all that was left was their inorganic equipment was frozen in the process. There were also drawings of the band from photographs but you could see anything of them. They seemed to work like advertising posters in a concert hall. Fascinating show.

Richard Forster, Cell Project Space,

2006-06-11T10:49:00.000+01:00

258 Cambridge Heath Road, London
20 May – 25 June 2006

This show didn’t really do it for me, or maybe I am just missing the point all together. In the central room were chair frame like things that were painted shiny pink and cream. They were on and surrounding glass with a floral pattern cut into the surface and an arrangement of luminous tubes on top of it.

Anthea Hamilton, ‘Athens’

2006-06-11T10:48:00.000+01:00

IBID PROJECTS, 210 Cambridge Heath Road, London
21 May – 16 July 2006

Anthea Hamilton transformed familiar objects into what looked like ritualistic or totemic sculptures. I found myself wondering ‘well in this religion what do snooker balls represent of mean?’ Hamilton’s work had a real weightlessness and delicacy to it. The way I walked around the gallery was changed by the floor being sanitized by lots of white tiles covering it and a foot up the wall. It did seem a bit like a bathroom, but I was when I first entered unsure if I was allowed to bring my uncleanness into this especially pure space. I do have a bit of a thing about things you can get in stationary shops, so I especially loved the Olympic rings in cello tape. Transforming, collecting and balancing seem to be very important in Hamilton’s work.

Tamsin Morse

2006-06-11T10:46:00.000+01:00

One in the Other, 45 Vyner Street, London
11 May- 18 June 2006
Sometimes I get a bit self indulgently dismissive of painting; this show temporarily stopped it. Tamsin Morse paints people less mountain scapes, that initially look normal but then you realise that sections of the mountain seems to be floating. Their cool pinky colour reminded me of Cezanne’s Mount St. Victoire. Though unlike Cezanne that paint is applied in tiny colourful dots, the physicality of the paint is not something Morse celebrates. It is sort of a Romantic sci-fi landscape where the world is lit but there is no warm sunshine.