Varied approaches to drawing - what is drawing for?
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Artist examples of drawing in different ways for different purposes
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Varied approaches to drawing - what is drawing for?
- 1. Here are some examples to show how drawing can be used to observe particular qualities, explore, plan, surprise… Drawing can be used in many ways. The purpose of the drawing is likely to influence the appearance of the outcome. Drawing
- 2. DRAWING 2 Leonardo da Vinci, Study of Arms and Hands. c. 1474. Pen and Ink with white chalk on brown paper To study a specific thing and capture a likeness
- 3. DRAWING 3 Vija Clemens, Unitled, 2005 Vija Clemens, Unitled no. 17, 1998 Vija Celmins was born in 1938 in Latvia. She lives and works in New York. Celmins makes painstaking drawings from photographs. Nature is the subject of her work, including skies, seas and spiders webs. To record minute detail
- 4. DRAWING 4 William Kentridge, Drawing from Mine (animation), 1991 To express views or tell a story
- 5. DRAWING 5 Sketches for the Vision after the Sermon,” 1888 Gauguin, Vision after the Sermon, 1888 To refine a composition
- 6. DRAWING 6 drawings from Leonardo's anatomical notebooks To learn how things work
- 7. DRAWING 7 Leonardo da Vinci, drawing of a flying machine, 1488 To make technical plans
- 8. DRAWING 8 Frank O Gehry sketches To design buildings
- 9. DRAWING 9 Paul Klee, Burdened Children, 1930 Paul Klee experimented with the process of free drawing, playfully finding images. To discover
- 10. DRAWING 10 Marie Lieb, Cell floor decorated with torn strips of cloth,1894 The Prinzhorn Collection is a group of works gathered in the 1920s by the psychiatrist and art historian Hans Prinzhorn. The collection includes drawings made by psychiatric patients who suffered social exclusion, psychic illness, and isolation. Emma Hauck, Sweetheart Come (Letter to husband), 1909 Jakob Mohr, Proofs, c.1910 Writing can be drawingTo express thoughts or emotions
- 11. DRAWING 11 Grayson Perry Cries of London 1996, Earthenware To record memories
- 12. DRAWING 12 Matthew Barney, Drawing Restraint 2 1988, documentation still As a challenge or performance
- 13. DRAWING 13 Jean Tinguely Méta- Matic, 1959Make a machine to do the drawing
- 14. DRAWING 14 Tom Phillips,The Humument, a treated Victorian novel Add to existing work to change the meaning
- 15. DRAWING 15 Vik Muniz Untitled, Porcelain Plate To remove "untitled" (eraser debris) by Tom Friedman (1990) "Erased De Kooning Drawing" by Robert Rauschenberg (1953)
- 16. DRAWING 16 http://ww w.handma ps.org/ To give instructions
- 17. DRAWING 17 Jeremy Wood ROUTE MAPS 2006/14/10: RED, 5.5 km, Duration 03:09:02 London GPS Map, Jeremy Wood 2006 All my travels recorded with GPS Jeremy Wood, Six Spirals Field Walks, perspective view, 2006 To record a journey
- 18. DRAWING 18 Cai Guo-Qiang uses gunpowder in his drawings His work is often politically charged, and he used gunpowder as a way to express the supression he felt in China’s social environment. Drawing For Transient Rainbow, Cai Guo-Qiang, 2003 To explore different materials Andy Goldsworthy, Snow drift, carved into, waiting for the wind, Grise fiord, Ellesmere Island, 12 April 1989
- 19. DRAWING 19 Matt Mullican, Untitled, 1985. Oil paint on paper, 18 x 24 inches. To organise ideas
- 20. DRAWING 20 'Pencil Drawing', Tom Friedman, 2008 To suggest different ways of looking at things
- 21. DRAWING 21 What kind of drawings could you make to develop your ideas or enquiry?
Editor's Notes
- “DRAWING RESTRAINT (1987-present) is a significant and long-term project for Barney, in which he proposes art-making as parallel to athletic training: the development of form occurs through resistance. Begun while still a student at Yale, Barney was influenced by his background as an athlete and sought to foreground the physical body and its tensions in a studio practice. DRAWING RESTRAINT comprises drawings, sculpture, photographs and video works emerging from his self-imposed and increasingly complex obstacles and scenarios. Considered together, DRAWING RESTRAINT forms an ongoing proposition for the harnessing of one's impulses and drives into a desired output, artistic or otherwise. They demonstrate the underpinnings of Barney's work, in which the body plays a central role, and ritualistic processes of creation are explored through manifold materials, settings, and personas.” http://www.ago.net/matthew-barney-drawing-restraint
- “In the 1950s, Tinguely produced a series of sculptures/ machines that produced their own art. He named this series Métamatics. The sculptures centred on a mechanical arm, with which the machine could draw pictures consisting of lines and dots. The viewer had the power to choose which drawing implement the machine used, giving the works a reflexive nature wherein the viewer was no longer passive but became a part of the performance. The Metamatics drew on ideas expressed in Tinguely’s earlier work, questioning the role of the machine in society and the interaction with technology.” https://theculturetrip.com/europe/switzerland/articles/the-art-of-destruction-jean-tinguely-and-dadaism/
- A ‘drawing’ made out of actual pencils & then creating shadows too.