Contemporary Artists’ Drawings at The Drawing Room ...€¦ · Contemporary Artists’ Drawings...

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Contemporary Artists’ Drawings at The Drawing Room - Trebuchet Magazine http://www.trebuchet-magazine.com/contemporary-artists-drawings-at-the-drawing-room/[08/08/2018 12:58:15] W Contemporary Artists’ Drawings at The Drawing Room THE RED LINE BETWEEN ART AND CRAFT? 27/07/2018 Edward Winters News hy do drawings matter? Commenting on his education as an artist at The Slade School of Fine Art in the seventies, restaurant critic, tv presenter, foreign correspondent, novelist, and sometime Call My Bluff panellist, A. A. Gill writes, [T]eaching art, as opposed to teaching drawing and painting, is empirically counter-intuitive, almost an oxymoron, an impossible thing. With all the other arts you teach style and inspiration through technique, like learning to play an instrument is the way to learn music. But the last 100 years of the visual arts have been dedicated to extracting the art from the craft, leaving technique aside to set creation free. So rote ABOUT EVENTS STOCKISTS PODCASTS MEMBERS CONTACT MAGAZINE ART SOUND SOCIETY NEWS CULTURAL BREAKTHROUGHS [ 06/08/2018 ] Mind Over Matter: Putting TREBUCHET ISSUE 4 TREBUCHET WORLD RELATED GOODS RECENT IN NEWS

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  • Contemporary Artists’ Drawings at The Drawing Room - Trebuchet Magazine

    http://www.trebuchet-magazine.com/contemporary-artists-drawings-at-the-drawing-room/[08/08/2018 12:58:15]

    W

    Contemporary Artists’ Drawings at TheDrawing Room

    THE RED LINE BETWEEN ART AND CRAFT?

    27/07/2018 Edward Winters News

    hy do drawings matter?

    Commenting on his education as an artist at The Slade School of FineArt in the seventies, restaurant critic, tv presenter, foreign correspondent,novelist, and sometime Call My Bluff panellist, A. A. Gill writes,

    [T]eaching art, as opposed to teaching drawing and painting, isempirically counter-intuitive, almost an oxymoron, an impossible thing.With all the other arts you teach style and inspiration through technique,like learning to play an instrument is the way to learn music. But the last100 years of the visual arts have been dedicated to extracting the artfrom the craft, leaving technique aside to set creation free. So rote

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  • Contemporary Artists’ Drawings at The Drawing Room - Trebuchet Magazine

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    teaching of skills can stifle, even strangle, creation (…)

    Art and craft are obviously related and it would be a fool’s errand to tryto categorically untangle them. But it is a salutary aesthetic truth thattoo much skill will make bad art (…) (Gill 2016, 76-7)

    The nineteen seventies

    In the seventies, we were at the backend of Modernism, with some schools ofpainting still attached to Clement Greenberg’s conception of abstractexpressionism, its emphasis upon the flatness of the canvas, and the pure formof the painting, rather than representational content. Painting was all thatmattered. No need for drawings.

    The Conceptualists rejected Greenberg and his whole idea of formalistaesthetics. What they wanted was social content. Since social content can bedelivered via newspapers and newsreels, it seemed that no amount of specifictraditional skills training could deliver what art needed, hence the position thatGill mentions – back in the seventies.

    It was in 1972, in response to the work with which Conceptualists were involved,that Oxford Museum of Modern Art mounted an exhibition entitled simply,[Drawing].

    As an overview of many of the practitioners associated with minimal,conceptual, process and land art, [Drawing] put forward a case for thecentrality of drawing within an era often characterised by the departureof both artistic skill and the physical art object (the oft-entangled ideasof deskilling and dematerialisation). (Straine 2018, 15)

    The current exhibition

    The current exhibition, the first at Drawing Room’s new premises since itsremoval from Bermondsey, is a collaboration with Modern Art Oxford – the latestincarnation of Oxford MOMA. It is an exhibition that focuses attention upondrawings.

    Again, the concern is with the centrality of drawing. However, the curation hasmoved on to consider the activity of making drawings within the context of digitalimagery and its ubiquitous presence in our lives.

    Image manipulation software litters city streets with high-colour glossy nightclub

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    flyers, pizza joint advertisements with gooey cheese stretching between theslice being lifted and the remaining pizza; and even images of saints advertisingchurch breakfast clubs. The television bombards us with images of beautifulpeople in family settings or scantily-clad on beaches; or taking importantdecisions in board rooms; or driving sleek new German motorcars.

    How can fine art drawings survive such a world? How can they continue tomake themselves seen? Digital imagery has been appropriated by the fine artsand is used to further conceptualist ambitions; where the craft is far lessimportant than the intellectual content.

    Fine art drawings in the image flow

    To sustain the pictorial in art – against what conceptual photo-collagist JohnStezaker has called the image flow – the pictorial must engage the spectator.(Winters 2018) That engagement must call upon the spectator to grasp thepresence of the ‘making’ of the image, as opposed to the ease and immediacyof the technology that threatens it.

    The painstaking, absorbed, concentration of the act of drawing must offer thespectator an experience she regards as more valuable, in and of itself.

    What the spectator sees, that is, must contain within it, more than the merepictorial content. Something of the history of the picture must infuse theexperience. How so?

    A nightingale sings?

    In 1790, Immanuel Kant considers our response to the song of a nightingale, athing of natural beauty.

    What do poets praise more highly than the nightingale’s enchantinglybeautiful song in a secluded thicket on a quiet summer evening by thesoft light of the moon? And yet we have cases where some jovialinnkeeper, unable to find such a songster, played a trick – received withgreatest satisfaction [initially] – on the guests staying at his inn to enjoythe country air, by hiding in a bush some roguish youngster who (with a

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    reed or rush in his mouth) knew how to copy that song in a way verysimilar to nature’s. But as soon as one realizes that it was all deception,no one will long endure listening to this song that before he hadconsidered so charming (…) (Kant 1790, Ak. 302)

    Although Kant is proclaiming the supremacy of nature as a ‘free’ beauty, it is aclear example of how we can be cheated by our perceptions; and in so beingcheated we lose all interest in that which we had previously found beautiful.

    To the drawings themselves

    David Haines, in Your Fluffer, 2017, uses a drawn half-tone image that reversesthis, whilst exploiting the very hierarchy. Half-tone was introduced to black andwhite photography so as to concentrate dots of varying diameter so thatdifferent densities of black ink would be spread across a newspaper page. Thus,giving the effect of tone. It enabled an image with ‘quasi-tonal’ properties to beprinted only in black ink. Each of Haines’ half-tone dots is hand drawn.

    David Haines, Your Fluffer, 2017. Pencil on paper (framed), 205 x 184 cm.

  • Contemporary Artists’ Drawings at The Drawing Room - Trebuchet Magazine

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    The Computer screens, their connecting wires, the i-book, the paint tins and thearabesque fabric are all drawn in hyper-realism. This gives a neat twist to thepicture. The living man, the fluffer (or is he the fluffed?), is drawn as a picture ofan image, whereas the screens and their supporting cables, the paint tins andthe tapestry are all images (or the means of establishing images) that are drawnhyper-realistically. The screens show nothing – a negation of images where youmight most expect to find them. One of the earliest forms of media depiction –the half-tone – takes us into the human presence. He is the fluffer. (A fluffer, inthe sex-film industry, is someone who use feathers or whatever he can tostimulate the performer before he goes into action.) Perhaps, if not tooattenuated, he prepares a sort of reality to be reproduced as pornographicimage. And some have thought that all imagery is, in some sense,pornographic.

    An image in the Oxford installation of this show is Barbara Walker’s Parade III,2017. Two black servicewomen from the second world war are on parade.These are intensively drawn images that show their subjects bereft ofbackground context, floating, isolated on the drawn sheet. To their left is theircommanding officer seen barely present as an embossed shape on the paper –white.

    Barbara Walker, Parade III, 2017, Graphite on embossed paper, 51 x 61 cm.

    In Walker’s pictures there is something of the sensitivity of the monk at his deskcarefully spending the time allotted to him illuminating manuscripts. The feelingis of atonement for the hardships of these women who stare ahead ofthemselves proud and strong.

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    On a video playing inside the gallery there was one of her works that showedgraphite drawings of black servicemen wearing fezzes. With no information athand, I imagined them to be recruits to Franco’s African Regiment, the moorswho came across to fight for the nationalists in the Spanish Civil War. Not theirwar. But these men were rendered in their stoic beauty, lined up for inspection.

    Art and craft; and the line between

    Gill, being profoundly dyslexic, was a great dictator. It is unlikely he would haveread Kant at The Slade. (It was not on the reading lists.) But his clever asideson art education as he witnessed, is testimony to how far we might go back toconsider these matters. Kant tells us,

    Art, is likewise distinguished from craft (…) It is advisable, to remindourselves that in all the [fine] arts there is yet a need for something inthe order of a constraint, or, as it is called, a mechanism. (In poetry, forexample, it is correctness and richness of language, as well as prosodyand meter.) Without this the spirit, which in art must be free and whichalone animates the work, would have no body at all and wouldevaporate completely. (Kant, 1987, Ak. 304)

    And later Kant warns,

    Even though mechanical [craft] and fine art are very different from eachother, since the first is based merely on diligence and learning but thesecond on genius, yet there is no fine art that does not have as itsessential condition something mechanical [skilful], which can beencompassed by rules and complied with, and hence has an element ofacademic correctness (…) Now since originality of talent is oneessential component (though not the only one) of the character ofgenius, shallow minds believe that the best way to show that they aregeniuses in first bloom is by renouncing all rules of academic constraint,believing they will cut a better figure on the back of an ill-tempered thanof a training horse. Genius can only provide rich material for products offine art; processing this material and giving it form requires a talent thatis academically trained, so that it can be used in a way that can standthe test of the power of judgement. (Kant 1987, Ak. 310)

    It is odd that the schisms and squabbles, that have pre-occupied artists andtheorists since Greeneberg’s mis-reading of Kant – as a basis for his adherenceto formalist abstraction – should be traced back to so eminent a philosopher.

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  • Contemporary Artists’ Drawings at The Drawing Room - Trebuchet Magazine

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    PREVIOUSA New Figurative Art

    NEXT Unleash The Tyraid

    The work on show at Drawing Room and at Modern Art Oxford, is testimony tothe deep-seated worries that artists and theorists have concerning the making,and the nature, of fine art in general, and of drawing in particular.

    References:

    Gill, A. A., (2016) Pour Me, London: Weidenfeld & Nicolson

    Kant , I., (1987) Critique of Judgment, Indianapolis: Hackett

    Straine, S., (2018) ‘Nomadic Drawing,’ in A Slice Through the World:Contemporary Artists’ Drawings, Exhibition Catalogue, Drawing Room andModern Art Oxford.

    Winters, E., (2018) ‘John Stezaker’s Photo-Collages,’ in Trebuchet, Issue 4,The Body.

    Illustrations:

    Barbara Walker, Parade III, 2017, Graphite on embossed paper, 51 x 61 cm.Courtesy of the artist. Photo: Chris Keenan.

    David Haines, Your Fluffer, 2017. Pencil on paper (framed), 205 x 184cm, Courtesy the artist and Upstream Gallery, Amsterdam

    Exhibition:

    A Slice Through the World: Contemporary Artists’ Drawings, is at, DrawingRoom and Modern Art Oxford.

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