Drawing: Research, Theory, Practice 2.2: Free article!

Intellect is delighted to announce that the new issue of Drawing: Research, Theory, Practice has been released and its Editorial ‘Drawing craft’ by Adriana Ionascu has been made available to download for free. Please click here to access DRTP 2.2.

Articles within this issue include (partial list):

In-corporeal diagrams: Drawing from dance to architecture

Authors: Renée Charron

Page Start: 227

This article is one of the offsprings of an ongoing enquiry that set out to revisit drawing’s role in architecture, by weaving a field of relations between pedagogical and epistemological theories of dance, drawing and architecture. The theories situate the affective/haptic kinaesthetic body at the centre of all in-corporeal experience, perception and conception. This article examines drawing’s potential to revive the body in architectural practices, by unveiling forces and processes that compose bodies and intertwine with the corporeality of architecture. It establishes drawing as a form of dance capable of inscribing the kinaesthetic vitality of the body into architecture. It examines architect Frank Gehry’s sketches as dynamic tracings of embodied gestures and bodily logos that mediate body and environment, interior and exterior.

From drawing to silver: Translating sixteenth-century designs

Authors: Samantha Niederman

Page Start: 261

This article examines the relationship between drawing and design for sixteenth-century silver objects as a process of translation from two-dimensional objects into complex three-dimensional forms. The works of Albrecht Dürer and Wenzel Jamnitzer will serve as protagonists, since Dürer was particularly known for his masterful skills in drawing, while Jamnitzer excelled in both drawing and goldsmithing. Drawing as an artistic endeavour has been overshadowed in the literature of the goldsmithing process, despite its significant value to sixteenth-century metalworkers. Drawn designs of sixteenth-century objects such as those by Dürer were collected as prized possessions, but many were also discarded or re-worked as fashions changed throughout the centuries. Drawings for silver objects by both Dürer and Jamnitzer epitomize the meaningful role of this medium on the craft of goldsmithing.

The affirmation of social class in the drawings of Sally Taylor

Authors: Vanessa Corby

Page Start: 363

The drawings of British artist Sally Taylor (1977) are composed of heads of various descriptions; blockheads, confused heads, hysterical heads, heads with mouths and heads without, heads full of menace and heads full of glee. The pressure of these recurring motifs, which emerge from as many as 200 drawings a day, mark out Taylor’s practice as an active negotiation of repetition and difference. Norman Bryson famously characterized drawing as an act that resists the finality of the image to instead suspend a moment of ‘becoming’ (Bryson 2010: 150). The nuanced consistency of Taylor’s prolific output exemplifies Bryson’s understanding of the medium. What interests me here, however, are the performative aesthetic and material operations that make these drawings call to one another and their audience. The aim of this article is to consider the inextricable relationship between form and content in the works Taylor exhibited in That Head That Head at the Rabley Drawing Centre, Wiltshire (26 September – 29 October 2016). To do so, Corby argues, is to situate their aesthetic as a negotiation and transformation of the social politics of making art in the Great Britain at the beginning in the twenty-first century.


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