Thursday, August 22, 2013

Video Assignment Guidelines

Make a 2 to 4 minute video.
Choose from the following themes:

  • Drawing Conclusions
  • Drawing Confessions
  • Drawing on the Landscape
  • Drawing in Space

Post video on your blog and present to class on due date.  If video not posted on blog and ready for presentation to class, points will be deducted.

Include an artist statement about the piece.

Feel free to include any other information (visual or text) that you think would support your process, intent, concept.

Further discussion will take place in class when assignment is introduced. 

Drawing on Objects, Assignment Guidelines

  • The object you draw on will be constructed by you. 
  • Carefully consider the conceptual and formal relationship of the object and the marks. 
  • The object you construct must have height, width and depth. 
  • Present your ideas to the class on your scheduled day (I will announce presentation dates during class time). Must have two different ideas, at least three pieces of research for each, two must be visual imagery. There is a handout that must be filled out before you present. You can find it on LMS. 
  • Once complete, post professional images and an artist statement on your blog.

  • Your choice.

Visual Inspiration:
  • Select the link "Drawing On Objects" in the right column. 
  • I also have images on my Pinterest board, "Drawing on Objects". Link here

  • You must be able to support all your decisions, conceptual and formal, verbally and in an artist statement. 
  • You are expected to make thoughtful decisions that demonstrate research, intellect and meaning. 
  • Professional images of the final solution are required as well as an artist statement. 
  • Post images and artist statement on your blog after you have presented final solution to the class. 

Andre Kertesz, Artist

Zen Gardens

"It should be noted that, until this century, such gardens were seldom, if ever opened to the public. They were built by the ruling elite to meet their personal requirements or as temples to create in their surroundings a mood appropriate to worship and contemplation. Shugaku-in, one of the largest gardens in Kyoto, was built for a retired emperor so that he might spend his remaining years in tranquility. The garden of the Silver Pavilion or Ginkakuji was created for the Shogun Ashihaga Yashimasa in order that he might escape the maddening conflicts and violence taking place in the capital nearby. Japan's greatest general hoped to earn merit by initiating the building of the famous garden on the Ratsuna Detached Palace for the son of the reigning emperor." source is   Link here to read more history and learn about symbolism and design. 

Rebecca Horn, Artist

"Ideas of touch and sensory awareness are explored in this work. Horn has described how wearing these gloves altered her relationship with her surroundings, so that distant objects came within her reach: « the finger gloves are light. I can move them without any effort. Feel, touch, grasp anything, but keeping a certain distance from the objects. The lever-action of the lengthened fingers intensifies the various sense-data of the hand; …I feel me touching, I see me grasping, I control the distance between me and the objects. » Implicit in the work is the idea that touching makes possible an intimacy between our own body and those of others. (2004)" Source is Art Performance.  Link here

Drawing in Space

Shadow Machine

Wolfgang Laib, Artist

Pollen From Hazelnut

Ann Hamilton, Artist

The United States Pavilion
48th Venice Biennale 1999
Venice, Italy
June 13, 1999-November 7, 1999

The word myein is an ancient Greek verb meaning "to close the eyes or mouth." Linked to the initiation rites enacted in medieval cults, the closing of the eyes or mouth refers to the secret status surrounding their rites. Across time, myein has come to stand for that thing which has not been, or cannot be, explained.

Hamilton's interest in the temple form as an idealized image projected onto civic space led her to engage the neo- classical building of the United States pavilion as both subject and object of the project. It was a meditation on aspects of American social history that, like weather, are present and pervasive in effect but which remain invisible or unspoken. Her self-given task was to make a place in which this absence could be palpably felt and to create a space simultaneously empty and full.

Text and images from  Link here to see and read more. 

How To Make A Packing Tape Transfer

Link here for directions.

Here is another link.

Yayoi Kusama, Artist

Obliteration Room, Drawing on objects, installation

Introduction to Artist

Drawing on Objects, Video

Fireflies, mirrors, reflection, light, shadow, installation

Carbon Obscura, Artist

ACCESS - An Interactive Art Installation by Marie Sester

Kasha Fahy, Student Work

Sculpture measures approx. 7' tall and 3' wide.
Sculpture materials: wire, tracing paper, gel medium.
Drawing consists of two panels, each measuring 8' x 3'.
Materials: charcoal, ink, pencil, pastel.

Moving Shadows Drawing Assignment

Note: I have two assignments that explore shadows. This one is "Moving Shadows" and the other is "Shadow Drawings".

Interact with a tangible form.  Observe the formal qualities of the form through light.  Record the shadows on paper using black and white media


  • White paper, 5' x 6' (use two sheets of paper from white paper roll in art building or piece together smaller pieces of paper)
  • Black and white media (use one or all - ink, charcoal, conte, sharpie, pencil, pen, white gesso, black gesso, sew with white or black thread, black or white yarn can be incorporated)
  • Additional tools that can be used for mark making: eraser, sandpaper, hole punch, pin pricks, stamping, clear tape, white/black tape.


  • Light source can be controlled or dependent upon natural light (keep in mind, different times of day produce different types of light - you will want to utilize various times of day.  Weather will also play a factor).  
  • The drawing is determined  by the shadows.  The shadows lead - outline the contours, mimic the values, look at negative space as well as positive space, consider line quality, observe levels of contrast.  
  • The shadows have an enormous amount of information to offer.  You will have to spend time looking with an observational eye.  
  • The tangible form can be something you make, piece together or an existing form.  
  • If using an objective form, for instance a chandelier, the goal is not to replicate the chandelier in the drawing.  You will have to use the negative space and line work in an overlapping manner to distort the recognizable image.
  • Your choice - the object you use as a source for shadows can be part of the final solution if you choose.  It is not required to be part of the final solution.

  • You are required to document your process.  
  • At least 10 professional images must appear on your blog demonstrating your process.  
  • Keep in mind that the process of drawing shadows will produce interesting photographs.  
  • Strive for not only documentation photos but photos that demonstrate composition, shape, form, line.

Sunday, August 18, 2013

Kate Ramsey, Artist

Image source link here

Reflection and Mirror

Source is Mythology of Blue.  Link here.

Common Objects That Demonstrate Drawing

Image source link is Mythology of Blue.  Link here.

The End of the Line: Attitudes in Drawing, Fruit Market Gallery

On Line, Drawing Through The Twentieth Century

Performance 13: On Line/Anne Teresa De Keersmaeker

Performance 12: On Line/Marie Cool and Fabio Balducci

Performance 11: On Line/Trisha Brown Dance Company

Monika Grzymala, Unttitled (Skeleton of a drawing)

Ranjani Shettar, Just A Bit More

Behind the Scenes: On Line: Zilvinas Kempinas

"Drawing conventionally has been associated with pen, pencil, and paper, but artists have drawn lines on walls, earth, ceramics, fabric, film, and computer screens, with tools ranging from sticks to scrapers to pixels. Looking beyond institutional definitions of the medium, On Line (on view from November 21, 2010 to February 7, 2011) argues for an expanded history of drawing that moves off the page into space and time. Comprising the work of more than one hundred artists, the exhibition charts the radical transformation of the medium between 1910 and 2010, as artists broke down drawing to its core elements, making line the subject of intense exploration: as the path of a moving point or a human body in motion (the dancer tracing dynamic lines across the stage, the wandering artist tracing lines across the land), as an element in a network, and as a boundary—political, cultural, or social.
On Line is organized chronologically in three sections: Surface Tension, featuring the artistic drive to construct and represent movement through line within the flat picture plane; Line Extension, composed of works in which lines extend beyond flatness into real space—that is, into social space; and Confluence, presenting works in which line and background are fused, giving greater significance to the space between lines. In following the development of the meaning of line over the last one hundred years, the exhibition traces it in movement, across disciplines, and as it has been drawn out and rewoven in time and space—inevitably reflecting the interconnection and interdependency that are increasingly both shaping and emerging from a globalized society. Line, like thought, once understood as linear and progressive, has evolved into a kind of network: fluid, simultaneous, indefinite, and open." - source is MOMA.  Link here for more images and video.  

Francis Alys, Artist

Sometime Making Something Leads To Nothing

Francis Alÿs is a Belgian contemporary artist living in Mexico City. Above are stills from the short movie Paradox of Praxis 1, where Alÿs pushes a block of ice through the streets of Mexico City until it melts; serving as a way to mark time and measure existence.

Zapatos Magneticos
Walking, shoes with magnets

Cuentos Patrioticos

Artist's website.  Link here

William Pope. L, Artist

Link here for an interview with William Pope. L

William Pope.L

The Great White Way
Fulton Street to Reade Street, Manhattan

The socio-economic implications of Broadway are enormous, and examining what Broadway "represents" is the first key to making some sense of William Pope.L’s complex, ongoing street performance The Great White Way. Stretching from Manhattan’s southern tip all the way up the island, Broadway is the borough’s longest street. It’s also a signifier of distant dreams, lavish wealth, and commodity fetishism. It’s the passageway along which major financial transactions occur— the ebbs and flows of the stock market, lavish shopping expenditures, astronomical real estate sales, and of course, the wheelings and dealings of commercial art galleries.

But William Pope.L’s Broadway is an entirely different beast: one of despair, desperation, and degradation. Since the late 1970s, Pope.L has been infecting the streets of New York with periodic street performances, reminders that the country, city, and culture he lives in have a long way to go before the discomforts of race and stereotyping have safely receded. Pope.L works as a writer and visual artist (his terrifically stinky peanut butter painting was included in Ronald Feldman Gallery’s recent survey of new American art Ameri©an Dre@m), but it’s his performances that have gained him notoriety and caused sensation. He has poured Thunderbird wine over himself while sitting peacefully on a West Broadway sidewalk; he has publicly munched on the Wall Street Journal while sitting on an American flag; and he has tied himself to a Chase bank with a link of sausages, wearing only workboots and a skirt made of dollar bills, trying to hand out free money to the bank’s customers. A spectacle, yes, but a thought-provoking one. Still, none of these actions have gained Pope.L the same level of public attention as his crawls, in which he dresses up in various costumes and slowly drags his limp body along city sidewalks.

The Great White Way is Pope.L’s masterwork-in-progress. For this piece, he plans to traverse Broadway’s 22 miles via painstakingly slow and rigorous crawling over the course of five years. This appropriately began at the Statue of Liberty, from which he took a ferry to the Financial District. From there, the inching up Broadway (which is uphill for a while) began. You can take your pick of the symbols relevant to Pope.L’s Broadway. Within the Financial District, one of the first that seems relevant is a large sculpture of a staggering bull, prominently located on a small island in the middle of the street. The reminder here, in the context of Pope.L’s crawl, is multifarious. This bull, tamed by man and his surrounding culture of money-making, resonates nicely with Pope.L’s concurrent battle: a man battling not just nature, but outcast status among his own species as he crawls pathetically along the dirty, heavily populated street. American flags are everywhere down here in Trade Center territory, but Pope.L (when in character, anyway) joins the class most Americans prefer not to think about.

For this installment of The Great White Way, Pope.L began at Fulton Street and called it quits at Reade Street, about six blocks. He doesn’t set parameters on how long the crawl will last, he just goes until he can’t go anymore. And he tends not to go too far, since he insists on pulling himself along in the most laborious way possible, using only his elbows and knees. He wore a Superman suit and gloves, and strapped a skateboard (with a Superman logo on it) to his back with bungee cords, so as to cross streets expediently. Pope.L was flanked by a cameraman and a photographer, with a few in-the-know enthusiasts milling around. It was cold and windy and had rained hard the day before, filling the sidewalk’s convex pools with dirty water. The crawling is by no means fast or focused— this is not a sporting event— and without the small crowd of followers, Pope.L would probably be construed as an insane homeless man. After all, he’s not only wearing a Superman getup with a skateboard strapped to his back and dragging himself through puddles, he’s also black, like most of the other homeless men in the area. He crawled with seeming oblivion through the puddles, and stopped to breathe heavily, to grunt plaintively, and to wring out his sopping gloves. Pedestrians acted exactly as you would assume they would to a black man crawling on the sidewalk wearing a Superman suit: some with total indifference, some with open staring and laughter, a much safer reaction given the cameraman and the small crowd of followers watching his every move.

There’s an impulse to criticize Pope.L for hiring a cameraman to document the crawl so closely and obviously. Both the psychological influence on and response from spectators is potentially diluted by the realization that they’re seeing something planned, some type of theater, something that’s safe to stare and laugh at. If part of Pope.L’s objective is to make people confront something they don’t want to, he’s offering them a mechanism to subvert the psychologically prying dart he’s aiming at them. Paul McCarthy and Mike Kelley are two other artists who have explored similar psychologically affecting themes like violence, grotesquerie, and humiliation. But their videos and performances have always had an art world connotation. By bringing his performances to the streets, minus the hanging-on and hullabaloo of the art world, Pope.L promises the potential to connect directly with pedestrians, who would have no idea what they’re seeing is considered "art." But in the current format of The Great White Way, the crowds and camera signify it’s okay to gawk.

After all, the crawls are, I think, the most earnest element in Pope.L’s diverse oeuvre. While all of his work calls attention to the paradoxes of race and, more specifically, what it means to be a black man, he also tends to add a pinch of the absurd or hilarious to the cauldron, and it works. His art is accessible and exciting (check out his website, It addresses sticky ideas without preaching. And in the case of The Great White Way, the Superman suit is that element of humor. But there’s nothing funny about a potentially crazy man laboriously pulling himself along a sidewalk. It conjures the concept of escape. There’s the obvious migratory aspect of Pope.L’s crawl, the notion of the impossibility of escaping your own skin or class, the pedestrian’s challenge of how to escape the impulse to stereotype. When at his best, he makes you confront what you’d rather not.

But sometimes it’s the camera itself that causes the type of confrontation and dialogue Pope.L seems to be encouraging. Consider Tompkins Square Crawl in 1991. Pope.L set out to crawl through the East Village’s Tompkins Square in a sharp black suit, holding a small flowerpot containing a blooming flower. A white cameraman documented the performance, immediately attracting a black pedestrian, irate at the thought that this white man was exploiting a black man’s humiliation. Then, after a cursory explanation, he became more irate when he interpreted Pope.L’s donning of a fashionable suit as a slight to his own integration into business society. "I wear a suit like that to work!" he cried. Race, class, and gender politics are all well-trod fields in recent gallery art— to the point where a lot of it feels derivative and tired. But the ability to prompt such emotion and resultant dialogue on the topic make Pope.L by far the most exciting and relevant artist working in the field of identity politics today. -source is The Brooklyn Rail.  Link here.

The Broken-Hearted Sailor

The Lilly Library recently acquired an extraordinary new addition to our collection of military manuscript diaries. In a series of illustrated letters to his fiancée, Miss Elise Buckingham of Zanesville, Ohio, Lt. Mason Abercrombie Shufeldt documents his voyage on the U.S.S. Enterprise from Cape Henry, Virgina to Capetown, South Africa, from December 27, 1882 to March 31, 1883. Describing his travels and his devotion to his “far-off sweetheart” in depth, Shufeldt decorated each of the three volumes with an elaborately hand-drawn and colored cover with nautical themes and incorporated a series of hand-drawn maps and views throughout. Included in the archive is a small envelope dramatically labeled “The Lash.” Enclosed in the envelope is a letter from Miss Buckingham ending their engagement.
A son of Robert Wilson Shufeldt, an important naval officer who played a major role in opening trade with Korea and China in the early 1880′s, Mason Shufeldt served as an officer under his father’s command aboard the Ticonderoga during its around-the-world voyage in the late 1870′s and became deeply interested in the largely uncharted island of Madagascar during an extended stop there. After receiving news of the end of his engagement, Shufeldt received permission to explore the Madagascar interior, leading a team of men of which only 153 survived to reach the waters of Mozambique Channel. At least fifty are said to have “perished in the battles which he fought with the Sakolava slave-dealers” according to a New York Times article published October 8, 1884. Shufeldt died in Capetown in 1892 at the age of thirty-nine.
– Cherry Williams, Curator of Manuscripts
Images and text source Lily Library, Indiana University.  Link here

Kaija, Artist

More to see on Flickr.  Link here

Michael Heizer, Artist

Circular Planar Displacement Drawing,
made with a motorcycle and to be erased by first rain. c.1970

Robert Morris, Artist

Blind Time V
Source link here

Miguel Gomez, Artist

Source Link here.

Kyoshi Suzuki, Artist

Image Source link here

Ruben Brulat, Artist

Ruben Brulat, Au temps disparu, Bromo, Indonesia, 2012

Hreinn Fridinnsson, Artist

Image source link here.