drawing now

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drawing pre.indd ii 01/09/2007 09:50:57
 TRACEY

drawing now
between the lines of
contemporary art

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 Published in 2007 by I.B.Tauris & Co Ltd
6 Salem Road, London W2 4BU
175 Fifth Avenue, New York NY 10010
www.ibtauris.com

In the United States of America and Canada distributed by Palgrave Macmillan

a division of St. Martins Press, 175 Fifth Avenue, New York NY 10010

Copyright 2007 TRACEY

The right of TRACEY to be identified as the authors of this work has been asserted by the
authors in accordance with the Copyright, Designs and Patent Act 1988.

All rights reserved. Except for brief quotations in a review, this book, or any part thereof,
may not be reproduced, stored in or introduced into a retrieval system, or transmitted, in
any form or by any means, electronic, mechanical, photocopying, recording or otherwise,
without the prior written permission of the publisher.

ISBN: 978 1 84511 533 3

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Typeset by JCS Publishing Services, www.jcs-publishing.co.uk

Printed and bound in Great Britain by CPI Antony Rowe, Chippenham

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 contents
preface vii

introduction ix

the artists xxiii

drawing now 1

artwork details 97

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 preface
TRACEY is an online peer-reviewed journal, have come and gone, including Lorenzo of drawing. TRACEYs initial brief was to
hosted by Loughborough University (School Madge, Martyn Blundell, Judith Mottram and select images that challenge what drawing
of Art and Design), which publishes and George Whale, with Jane Tormey and Phil can be that show how drawing might
disseminates material concerned with Sawdon as constants from those earlier extend familiar possibilities, such as the
contemporary drawing research. The years. figure or landscape, and what drawing might
journal aims to stimulate open-minded and The name TRACEY derives from a encompass in abstract and conceptual ways,
contemporary interest in drawing activity combination of the words trace, traceur and by demonstrating the contemporary use of
physically, cognitively and creatively. It trait (Derridas use of trait contains a range materials associated with drawing, such as
represents many perspectives on drawing, of meanings feature, line, stroke, mark). pencil, charcoal, pastel, pen and ink on paper.
including fine art, architectural design, The French concept of traceur does not only
This book is not an objective survey of
graphics, product design and visualisation. It mean to draw and definitely does not mean
drawing, and neither does it aim to advo-
endeavours to question preconceptions and to trace; rather, it implies a direct creation
cate any particular position of what drawing
to encourage the potential for drawing. and transcription of the mental plane to the
should or should not be. Instead, it asks
The editors of this book Simon material a mark being made, a creative
Downs, Russell Marshall, Phil Sawdon, vector. This process is so inherently dynamic questions that might suggest further direc-
Andrew Selby and Jane Tormey are the that in recent years it has came to mean a tion and investigation. Drawing Now reflects
editors of TRACEY. The idea for TRACEY practitioner of Parkour one who leaps an interest that emerges in and through the
originated with Jane Tormey in 1999, and the obstacles and jumps chasms with defiant selection process. It quickly became clear
journal was first published in 2000. It was energy. This describes TRACEY, too: restless that our main concern was the subjective
born out of the realisation that there was and inquisitive, with a broad view of what nature of drawing, with its characteristics of
considerable international drawing activity drawing is. awkwardness, resistance to conventional
and some debate, but limited opportunity to Drawing Now includes the work of subject matter and to academic style a
publish beyond monograph, catalogue and a number of artists who manifest and leaning toward a conscious naivety, perhaps,
review. As the journal has developed editors materialise their ideas through the practice and a denial of the signs of good drawing.

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drawing pre.indd viii 01/09/2007 09:50:59
 introduction
The thought of drawing, a certain pensive pose, contradiction and opposition developed Many existing studies are significant
a memory of the trait that speculates, as in a as a loose framework for selecting the in establishing a context for the ongoing
dream, about its own possibility. Its potency images, and for subsequent reflection. The debate about the importance of drawing.
always develops on the brink of blindness. 1 result is not an objective survey of draw- The Bernice Rose exhibition and catalogue,
ing, but rather a reflection of an interest Allegories of Modernism, Contemporary Draw-
Drawing Now: Between the Lines of Con- that emerged in and through the selection ing (MOMA 1992), marked an important
temporary Art develops a consideration of process. Drawing Now does not advocate any point in the re-recognition of drawing
drawings peculiar dependence on a direct particular position on what drawing should toward the end of the twentieth century.
and physical process the relationship or should not be, but rather asks questions Rose highlighted a resurgence of gestural
between the hand, the drawing material that might suggest further direction and drawing, large-scale work, and approaches
and the paper. The book is founded on the investigation. What do we mean by concep- to collage and montage. Eleven years later,
premise that drawing thinks/talks in a partic- tual? Are conceptual drawings theoretical, Drawing Now, Eight Propositions (MOMA
ular way. With that in mind, this introduction abstract, intangible or ambiguous? What 2003) proposed that since the 1990s draw-
discusses a number of issues provoked by themes emerge from the selection? ing has demonstrated a return to subject
the drawings, rather than reviewing their Drawing Now presents drawing within the matter, narrative and the figurative. Such a
content or quality directly; the drawings are notion of contemporary fine art practice as contrasting emphasis within this short time
referred to, but are largely allowed to speak offering potentially challenging subject mat- span invites a further look at what is hap-
for themselves. Drawing Now is an attempt ter, rather than easily digestible forms such pening in contemporary drawing. The return
to identify activity that touches the limits as the figure or landscape. That is not to say of subject matter and narrative suggests
of drawing, while conforming to a definition that figures and landscapes do not feature; that these have either not been evident in
that confines it to paper and certain tradi- however, the book provides a sample of recent years, or that, by its nature, narrative
tional materials. drawing activity that is positive, celebratory must be figurative and recognisably repre-
The images in Drawing Now challenge and beyond what might be termed figura- sentational or realistic. We would argue
what drawing can be: how familiar possi- tive. The selection aims to present drawing that, in the popular imagination at least,
bilities, such as the figure or landscape, can by traditional means with a conceptual associations with drawing have persistently
be extended, and what it can encompass edge, with an emphasis on how the proc- remained with figurative representations
abstractly and conceptually, by demonstrat- ess of making the drawing contributes to a view that refuses to absorb either of
ing the contemporary use of materials its content, a concept which we describe as these two exhibitions assertions. The Stage
associated with drawing, such as pencil, char- performative. It provides an opportunity to of Drawing (2003),3 which featured drawings
coal, pastel, pen and ink on paper.2 It quickly scrutinise what might be currently valued in from the eighteenth century to the 1980s,
became clear that our main concern was the drawing: its simplicity and obsessive nature offered a different debate, which focused on
subjective nature of drawing (over objec- in terms of the application of traditional perspectives that align drawing with thinking
tive, observed study), with its characteristics materials; its capacity to reflect postmodern and ideas, rather than with representing the
of awkwardness and a stubborn resistance preoccupations of appropriation, fragmen- appearance of objects. Drawing Now picks
to conventional subject matter and aca- tation and indeterminacy; its capacity to up ideas that this exhibition introduced, and
demic style a leaning toward a conscious express in contrasting ways through gesture relates a development of this discussion to
naivety, perhaps, and a denial of the signs and allegory; and its potential to challenge drawings since 2000. The result is a focus
of good drawing. These characteristics of what might be considered aesthetic. on the kind of drawing that derives from

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 drawing now

reflection rather than from observation, and writing, and functions as a tool of concep- atmosphere. . . agreed . . . collectively as
which accesses a different sort of knowl- tualisation parallel with language. It is the a visual language8 and that in consequence
edge to that gathered from perception. artistic medium that is least interrupted by all academies look very much the same.
Instead of the translation of visual appear- technical considerations, and therefore the Drawing does not have to conform to the
ance, Drawing Now emphasises two aspects chosen means for the initial formulation of conventions of any particular time, so it is
as central characteristics of drawing: the visual ideas and the transfer of the appro- liberated from the protocols of line, whose
performative and the speculative. priation of visual culture.6 Much writing mastery constituted the backbone of the
The resurgence of interest in drawing about drawing has a eulogising tone. Draw- Western artists visual education.9 A resist-
may have something to do with what Arthur ing is described as a primitive technology ance to this language that gestures and
Danto has identified as the point that marks and, as such, a readily accessible means of expresses appears to be a common theme
the before and after of art.4 He suggests visualisation (what Deanna Petherbridge has in contemporary drawing; in some instances,
that at some point in the twentieth century referred to as the primal nature of draw- artists bypass the properties peculiar to
(precisely, 1965), the role of art changed ing), which can make us grasp reality in an drawing, and use it only because it conven-
so enormously with regard to its cultural immediate way. It is said to demonstrate the iently refuses the pretensions of other more
significance that it appears to have reached relationship between reason and intuition, complete and complex forms. However,
a hiatus or crisis point, according to your between sensory perception, interpretation whether contemporary practice has relin-
point of view. If the story of art is a great and the process of understanding. Its posi- quished this tyranny of language and the
and compelling narrative, Danto suggests tion near to the conception of ideas, and totality of image to any degree is doubtful.
that we have reached the point where we before the refinement of methods, means Petherbridge refers to the use of a dumb
recognise its end. The story of art emerged it can retain a freshness, an idiosyncrasy line, by which she means a line which is not
in the Renaissance, with artists as great and a transcendence of historical postures. eloquent in the language of drawing10 and
masters, moved through the progressive Drawing lends itself to the expression of its which does not demonstrate a sophisticated
and heroic period of modernism, and has subject matter in a direct way, and allows awareness of the craft. What was once
now reached the ultra self-consciousness of a model of representation that maps the an abnegation of the niceties of drawing
postmodernism, where the artists prac- fragmented simultaneity of thought, access- style has now been adopted as another
tice has become part of a discourse that ing memory, visual fragment and intangible stylistic schemata. While dumb lines might
critiques rather than represents. A more imagination. Unencumbered by more have once superseded the gestural mark
extreme view, expressed by Jean Baudril- sophisticated or finished processes, such as as indicative of its contemporary anti-aes-
lard, states that art can only now reiterate painting or more advanced technological thetic, they are currently deliberately used
what has gone before.5 However, drawing, its methods, drawings simplicity seems more and self-consciously applied. So what might
process, its role and its meaning, is unique able to demonstrate the complexity of constitute innocent simplicity now? The
in its shared and consistent use throughout conceptual possibilities. It can be remarkably innocent simplicity that was once a mark of
history. To some extent it remains outside, and peculiarly potent. expressive immersion is difficult to achieve.
or at least beside, this narrative. If it is seen An ongoing debate in the drawing com- Work by artists such as David Shrigley
as separate from arts history, drawing can munity is that of the nature of drawings appears to be a more contemporary equiva-
therefore be viewed in two ways: either as language its systems and methods.7 lent: playfully meandering around a subject
another means to participate in an art in cri- Drawing is driven by conventions, which and watchfully self-reflexive.
sis, or as a means to escape the boundaries start with the translation of mass and Drawing does provide an opportunity
of current aesthetic trends. Being bracketed light into a line (that does not exist) fol- to escape traditions of both mode and
off from the mainstream has facilitated the lowing the edge of the mass. Norman language. But it is contradictory: it both
current popularity that reiterates its par- Bryson describes the academy as moving denies, and in some respects confirms,
ticular properties. through a series of received schemata that current thinking and trends. In general,
Drawing is the primal means of symbolic mediates by means of a set of templates drawing can be seen as particularly suited to
communication. It predates and embraces or hieroglyphs, for hill tree foliage contemporary aesthetic assumptions as its

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 introduction
characteristics are typically poststructural: three recurrent and associated principles of Much of the published writing on draw-
uncertain, defiantly idiosyncratic, mark- primacy, perception and academic rigour. ing privileges the former. For example, we
ing specific difference rather than aspiring We approach a drawing from the point of identify two directions prompted by Pether-
to universal values, stubbornly refusing view of its discursive, desultory nature, of bridges seminal text: one that confirms
resolved forms, and incorporating the prin- what and how the drawing performs and drawings link to primal processes, ena-
ciple of erasure the will to unmark. It is speaks, and of how it explores its subjects. bling objective configurations, and one that
unstable, and balanced between abstraction For this reason we have avoided the inclu- perhaps relates to a point before that a
and representation; its virtue is its fluidity. sion of drawings that embrace technologies pre-perceptual mode more allied to thinking.
Rather than finding refuge in escaping con- beyond the simplest (pen, ink, pencil, char- This book focuses on the latter, identifying
ceptualism or critique, as one might expect coal, graphite, etc.), so that we can leave drawing as an ideal means to parallel think-
of a process that courts the dumb line, it aside discussion of any particular medium ing; it is not viewed as a means to an end, as
typically embraces them. Thus trends can be and instead focus on what results from the in preparatory drawings, but as a more con-
interpreted variously. Catherine de Zegher drawing process. Drawing is most com- ceptual or subjective condition. There are
states that Avis Newmans suspicion of monly associated with the imitation of how two premises for conceiving drawing that
authorship as ego (and thereby expression) the visual world is perceived its visual differentiate modes of imitation. The first
leads her to select from the Tate Collection appearance. As a primary means of symbolic relates to perception and to the habitual
on the basis of an act of consciousness, the communication, it mediates between the modes of mimesis that imitate appearance
manifestation of which is culture and by metaphysical and the physical, or relating via observation. The second relates to think-
extension the social, and political realm.11 thought and perception. But since drawing ing: the rational and the aesthetic concept.
Emma Dexter identifies the characteristics refers both to what is seen and to what is It is this point, where perception meets
of contemporary drawing as anecdotal and thought, the distinction between the objec- conception, that focuses the discussion.
narrative potential, its inherent subjectiv- tive and the subjective can be conflated Jacques Derridas contradictory metaphor
ity, its leanings towards the popular and the and confused. This introduction treats the of blindness is used to centre this discussion.
vernacular, and the ideal nature of draw- subjective nature of drawing as primary, and This is because, in the context of seeing and
ing as a form of expression that can resist relates it to the objective nature, rather drawing, blindness disturbs the assumption
traditional conventions.12 At the same time, than inserting the subjective and expres- that drawing must transcribe observation.
and in contradiction, its immediacy and sive mark in the primacy of objective trace. Derridas text Memoirs of the Blind suggests
directness forces drawing to be authentic Having once referred to the unique qualities a number of ways to escape a series of
and thereby resist one of the foundational of drawing, we attempt to avoid repeating predictable avenues. The text accompanies
premises of postmodernism: the continuous statements about drawing as a language an exhibition of drawings from the Louvre
exchange between authenticity and its copy. that occupies a place/space/time that no Museum13 and takes blindness (and sight) as
What Dexter refers to as drawings eternal other art form can. We attempt to avoid the a central metaphor for the phenomenon of
incompletion, and its obvious expression of debate concerning what drawing is and the vision and themes relating to it: the visible
difference as an essential feature, perhaps particular properties that define it. However, and the invisible, seeing and drawing, repre-
explains its re-emergence. that this has proved impossible confirms sentation, tracing, copying, imagining (seeing
As art practice assumes an ever-increas- something about the nature of drawing; the in ones mind), remembering and forgetting,
ing range of technological possibilities, it is intrinsic properties in making a mark are whether in memories or memoirs. Drawing
natural that there emerges in tandem its contingent with its making and effect, and circulates around vision and seeing, whether
anti-form a simplicity of technology. We central to an argument for subjective and it is literal vision or the psychic vision
are not advocating this as preferable per se; conceptual drawing. of dreams and the imaginary. Derridas
in fact, we embrace the idea of technology Two parallel discussions about drawing discussion addresses the two considerations
that draws. But we are also intrigued by persist: one of appearance and percep- of drawing; the first is concerned with its
the kind of thinking that drawing facilitates tion, which is assumed to ground drawings abstract dimensions, and the second with
once it relinquishes its inheritance of the essential properties, and one of conception. the way in which we, as drawers, engage

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 drawing now

with the world. Blindness articulates the alternatives to it: first, the differentiation operation (doing) and introduces a useful
impossibility of imitation blind to the between modes of imitation (perceptual and premise from which to start. In addressing
world, drawing what is seen and not seen, behavioural), and second, the differentiation the action of drawing he demonstrates that
with and without seeing. The quotation at between modes of operation (behavioural the second two forms (ideas and memory)
the start of this introduction suggests a and conceptual). The Thought of Drawing are impossible without at least the memory
number of central ideas that drawing ampli- considers what is meant by the nature of of observation. While we are not con-
fies: drawing as the visualisation of thought; concept. We chase down something other cerned primarily with drawings that grapple
drawings dependence on vision and its than a drawing dependent on perception, with observation, we must acknowledge
relationship with perception; drawing as something that avoids the dualism of real- the relationship that ideas and memory
trait14 the manner in which it imitates the ity and appearance. Instead we look at a have with observation. A drawing collates
world; drawing that depends on an inner series of oppositional conditions that occur images from a variety of sources (memory,
vision; and drawing as a reflective proc- in drawing and in responding to drawing: fantasy etc.), so any drawing that involves
ess. One cannot draw without (hind)sight, appearance and disappearance, memory reference to the visible necessitates the
memory or consciousness of resemblance. and amnesia, performance and stasis, the illusory craft of drawing as if in front of the
Derridas exploration suggests that at the visible and the invisible, transcendence and scene. Drawing moves between observa-
heart of this dependence on vision is the immanence. Hypothesis of Sight returns to tion, studying the visible (the present tense),
contradiction of seeing, of tracing an imita- the differentiation between the ontological reference (past and memory) and projection
tion, of re-presenting, which is embodied (what drawing essentially is) and the discur- (future tense and what is absent). The artist
in the physicality of the act of drawing and sive (how it thinks). Here we concentrate (characterised here by Tracey Emins work)
the drawing itself. This is the contradiction on the implications resulting from drawing restores invisibility to memory, making
between the will to imitate and the will to considered as thought and concept and visible what is unbeseen.19 It is memory and
invent, to escape convention, to break the dependent on the process of its making anticipation that organises what is perceived,
rules. Sight is understood as an equivalent to its performance. that projects beyond what is present and
understanding and knowing (I see). Thus, if rescues the repetitive interruption of the
we deny sight as a means of making refer- gaze in the batting of an eyelid.20 Drawing
ence, we can only access understanding at playing with appearance plays with appearance; it oscillates between
the point of making the mark, and drawing seeing, thinking, remembering and imagin-
the drawing. We can understand drawing as ing, controlling and being controlled as the
Drawing works to abolish the principle of
conjecture at the point of perception and at image emerges.21 It is continuously and
Disappearance, but it never can, and instead
the point of remembering, for one can only it turns appearance and disappearance into
simultaneously shifting itself in the course of
appraise a memory once it is represented a game [which] can never be won, or wholly its making.
(drawn). Borrowing some of the terms and controlled, or adequately understood.16 Bergers attempt to categorise the com-
questions raised by Derrida, we pursue the plex procedures of drawing illustrates an
idea of drawing as the hypothesis of sight,15 John Bergers discussion emphasises the inherent contradiction in both objective
of intuition and conjecture, and contend act of drawing, as becoming rather than and subjective drawing. He confirms that
that drawing, as a contemporary operation, being,17 which suits our focus on doing, every drawing is drawing by memory, so
makes propositions and hypothesises. We discourse and drawing as thinking. Berger that what is remembered saturates both
focus on the thought of drawing, which distinguishes between three types of draw- the other modes (observation and ideas).
emphasises its potency as residing in its ing: those concerned with observation, with Thus, subjective drawing must rely on
ambivalent qualities its propensity to communicating ideas and with memory. He the memory of observation, and memory
speculation and its contradictory condition. argues that Each type of drawing speaks in filters observation and directs imagination
We have subdivided our discussion into a different tense that requires a different with inherited value judgements. That is
sections. Playing with Appearance considers capacity for imagination.18 His reference why it takes so long to learn.22 If drawing
the inheritance of perception and possible to tenses implies that drawing is a verb was transcription, a kind of script writing,

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 introduction
it could be taught with little effort. In its tive knowledge of the substance of the world by the intonations of a poetic reading, the
discussion of John Tchalenkos research, (e.g. visualised in symbolic pictorialism), to act of drawing dismantles consciousness and
Andrew Graham Dixons television series one that represents our perception, which plunges the self into a zone of experience
The Secrets of Drawing (2005) illustrates promotes the possibility of objectivity. or sensation liberated from the closures of
representation and open to the free play of
the role played by learning in terms of how Seeing incorporates inherited ideas about
possibilities. Thus the drawing is the expres-
to transcribe what is seen in the Western the world, which influence the particular
sion of this libidinal movement, free of
tradition. Dixons attempts to draw, com- manner of representation. Those who have signification and interpretation.26
pared to the conventions of Sarah Simblets, taught objective drawing will recall pointing
highlight the underlying values provided by out the difference between what we see, the
experience.23 The same episode, with Dixon appearance before us, the attempt to appre- Gebauer and Wulfs discussion of mimesis
informing the viewer about the life class hend it uncorrupted by our understanding explains its reduction to appearance as
as he stands next to the model, captures of it, and our knowledge and understand- being an inadequate interpretation of real-
succinctly the irony, prejudice and assump- ing of the object and its use. The child who ity, one that neglects a more active and a
tion contained in Bergers first category of draws a tables four legs splayed out from cognitive component.27 It is assumed that
existential observation, with its focus on each corner understands that a table needs the mimetic faculty is a natural process, but
vision and what we see as a mirror to our four legs for it to function as a table and the dominance of vision in Western cul-
consciousness. that this might be more important than its ture quickly constrains its potential. Walter
Drawings association with the illustrative appearance. Benjamin, confirming our compulsion to
imitation of appearance derives from the The legacy of mimesis (as copy) rests become and behave like something else,
interrelationship of art and representation heavily with drawing the compulsion to suggests that the mimetic faculty as an
with the science of perception. The history draw a likeness tends to take precedence. instinct emerges more behaviourally, such as
of painting demonstrates its inheritance But representation can incorporate other in the acquisition of language through imita-
from Platos notion of original essence modes of the mimetic faculty besides the tion (e.g. woof woof), or in the imitation
and its relation to the world as depend- compulsion to imitate appearance. We of an inanimate object such as a train.28 He
ent on imitation of the phenomenological can consider reality as being experienced questions habitual conceptions of mimesis
(visual) world. Platos dialogue proclaims through senses other than vision. There are that are dependent on the visual illusion of
that mimesis, generally interpreted rather alternative ways of mimicking reality in imi- physical appearance, and emphasises forms
literally as imitation and translated visu- tating behaviour and process, making sense of mimicry that determine our individual
ally as realism, relies on little more than a of experience and rendering it concrete. development, our singularity and difference,
mere phenomenal appearance of a thing Jean Fishers essay On Drawing describes and which form the basis of social interac-
rather than the use or experience of a thing. the conflict (and contradictions) between tion and behaviour.
Plato points out that appearance depends wonder, convention and learning. She aptly What we are chasing, in terms of the
on the perspective from which something identifies the misrepresentation of draw- manner and process of contemporary
is viewed and is thereby incidental to what ing as a function of perception in which the drawing, introduces a form of cogni-
is being described: Isnt it merely that it coordination of hand and eye supposedly tive mimesis that operates mindfully and
looks different without being different?24 aims for objective realism in imitation of speculatively (as Shrigleys drawings do for
Alternatively, there are subjective forms of the visible. She suggests that drawing re- example), and recalls Platos assertion of
representation which do not assume that presents a different sort of mimesis, as pure a kind of knowledge of reality that is not
appearance above all else signifies mean- invention of an anamnestic return,25 that dependent on objectivity or observation.
ing, but which instead forefront knowledge, points to kinds of experience other than the But while Platos distinction between the
experience or use of whatever is drawn. The visual: ideal form of the object and its copy sepa-
history of visual representation in painting rates a concept from its dependence on
shows us the shift from a pre-Renaissance Like being caught up in the rhythm of a appearance, it does not recognise or value
mode of reality, which describes a subjec- dance or a jazz ensemble, or mesmerized visual ideas unless they are conceived as

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 drawing now

essential or ideal. Much of the drawing in the thought of drawing ceptual. Since these terms were adopted
this book, rather than seeking any ideal or by conceptual art, they have been modified
universal quality, relies on the idiosyncratic and confused. Conceptual art has ampli-
Outline drawing, where detail is suppressed
and, even, the anti-ideal. It is this aspect or subjugated to the containing and defin-
fied the contradictions between mimesis
that is dumb rather than the quality of ing contour, is the most conceptual means and concept that operate in drawing. In the
the line, which can now only be knowingly of drawing. It is the most abstract, in that to 1960s, the processes of meaning associated
drawn. arrive at a clarity of outline is a process of with conceptual art promoted exchange
Avis Newmans discussion of drawing as a reduction and deliberate simplification and between the uses of language and images
theatre of gesture suggests that it presents stylisation.30 and questioned the apprehension of a
the point at which something that wasnt work of art as being dependent on mimetic
there before is made manifest. This is not Petherbridges statement provokes the reference. Sol LeWitt presented a version
necessarily the same as the imitation of an question: in what sense can drawing be of art that placed the idea and the visual as
ideal. Like Fisher, Newman likens drawing to conceptual? It assumes that the reduction being interdependent, where the process of
the animation of thought, and promotes a occurs during the analytical process of look- conception and the process of visualisation
focus on drawing as process by emphasising ing that takes place in objective drawing, by are of equal importance. Joseph Kosuth, in
its primary function of thinking, consider- which objects are reduced to nonexistent questioning aesthetic formalism, posited that
ing the activity to be simultaneous with lines, whereas describing subjective ideas the idea itself can be considered as art, shift-
language and not coming before or after.29 or delineating a conception is a synthetic ing the emphasis from the material and the
However, in this conception of drawing, process. If drawing visualises thought, as visual to the conceptual content a shift
it remains a responsive sort of thinking. is suggested by numerous commentators from looking to reading.31 It is the holding-
Newmans premise rests more with the (including Fisher and Newman), its actual function of concept, motivated by artistic
spontaneous drawing as a response to visualisation is presented alongside its twin context and its reliance on visual play, which
what is seen, which mediates between vision facility of (drawing) likeness and appearance. propels the concept beyond the notion that
and hand. What of the more subjective and The fact is that once we animate thought, it is limited to verbal thought or that it is
deliberate? How does contemporary draw- we must give appearance to it visualisa- standard or limited in number. However,
ing utilise or abandon its received tyranny of tion anticipates resemblance and provokes conceptual art has come to be associated
language? recognition. Drawing is contradictory in its with dry, visual-less art, whereas the term
Pursuing Newmans contention that dependence on the memory of observation itself refers to the cognitive operation in
drawing equates with thought, we can while conceiving a world that does not rely apprehending meaning. We focus on this
look at this in terms of the subjective, the on the existence of essential form or objec- original emphasis of cognitive over specular
conceptual and the performative. Leav- tive perception. Although it is not bound to response.
ing observation aside, we look at drawing conform to representing ideational form, it LeWitt makes the distinction that it is
as a mediating representation that derives readily facilitates speculative ideas; it has the the idea (the components) that implicate
from experiences other than visual per- postmodern characteristics of self-conscious the concept (general direction).32 The
ception. We look more closely at drawing reference and mannerism while inevitably, term idea, which Berger uses, is not
as an alternative means to imitate experi- and in contradiction, inviting ideational straightforward, and can be generalised
ence and to conceive realism. Much of the drawing. One prevalent trend, represented or contradictory, allied as it is to mental
work in Drawing Now abandons the resort here by Angela Eames and Jonathan Hould- image and representation, or confused by
to appearance, presenting instead the use ing among others, depicts imagined spaces associations with seeing in the sense of
or experience of something. We focus on that rely on the most traditional of drawing understanding. Historically, ideas have been
those drawings that do not attempt to trace systems for their realisation. linked to our perceptions to what is seen
the visible, but rather seek to experience Having stated an emphasis on conceptual rather than what is experienced, or again in
what is not visible the invisible, or the modes of drawing, we need to clarify what turn to a kind of idealism. The difficulty with
unbeseen. we mean by the terms concept and con- the term concept (a thing conceived, an

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 introduction
idea, a general notion) is that it is applied to understanding of their function and our its making and the resulting marks), rather
a variety of mental representations: images, previous experience. than the what. Drawings think around a
words, senses, properties and philosophical Looking for an explanation of concept subject; they are discursive. As aggregates of
functions. Concept is confused by its use beyond the correlation between a word and experience, they can only suggest and refer
as a term to designate what is referred to its meaning, Gottlob Freges explanation is to reality or appearance. Similarly, when
when any word is used, while drawings do useful in its adjustment of the emphasis of looking at a drawing, we search for possibili-
not confine meaning to what is designated designation.34 Using the nominal expres- ties that match our experience.
by words and encompass ideas that sion Dobbin is a horse as an example, he Many of the properties referred to in the
may not be articulated by language. It is suggests that is a horse works not as a analysis of literary metaphor (the process of
Western linguistics that contains knowledge reference or a name, but as a description substitution, where meaning shifts from one
in arbitrarily assigned characters that that is applied to what is being described, domain to another more unfamiliar one)
represent sounds, rather than in pictograms i.e. Dobbin. Thus is a horse signifies the can be applied to the processes involved in
that contain a cluster of concepts within concept of being a horse rather than signify- understanding imagery. George Millers anal-
one image. The principle of designation, of ing horse as an object. This is the central ysis proposes that in making sense of a text
naming, therefore underlies any discussion point the emphasis is on circumbula- (an image), we construct semantic models
that is concerned to understand the tory description rather than designation. as alternative possibilities of meaning.35
conceptual nature of drawings and how When we describe, we have a concept that Applying this notion to what happens when
they perform meaning besides what is remains vague until it is articulated verbally, we look at a drawing enables us to con-
drawn their subject matter. Thus, a when it begins to find form and moves ceive the possibility of one situation and its
more suitable interpretation of concept towards a definition. As soon as it is articu- opposite or absence simultaneously, so that
is a cluster of capacities,33 rather than lated it becomes established as a named different elements may be incompatible and
something definitive. Conceptual thinking and recognisable thing, whereas before the even contradictory. George Lakoffs con-
in drawing promotes an inability to define. concept was unformed and formless, not temporary theory supports a conceptual
Drawing can be a particularly ambiguous a subject or any one thing. Freges nota- system of meaning that operates outside
form of representation, and the term tion distinguishes between reference to language. Lakoff proposes that what we call
concept is useful because it is ambiguous one thing (in this instance Dobbin) and the metaphor is the main mechanism through
and accesses networks of meaning, thinking sense designated by the expression that which we comprehend abstract concepts
and being (objects/entities/dispositions/ describes it. His logic extends the idea of a and [map] across conceptual domains.36 His
capacities). There are clearly different strains single nominated element to that of a set theory explains what Derrida describes as
of concept and its more precise meaning of properties or attributes rather than one disseminated meaning, which remains frag-
must therefore rely on the theoretical thing. This approach understands an image as mented, multiple and dispersed, as opposed
context in which it is used in this more than an alignment with words, but as a to gathered together and totalised.37 The
instance drawing, which accesses concepts cluster of capacities and a conceptual con- operation of semantic models supports a
via visual figuration. Just as a word attempts figuration. Fregess concept as description conception of meaning that does not have
to identify a meaning or thing, a drawing rather than definition approaches what hap- to be logical, and the notion of a conceptual
circumscribes meaning and things. Drawings pens when looking at a drawing, indicating framework extends the possibility of con-
are aggregations that can only refer to the inference inserted by all things not said, ception beyond the thing or entity.
what things look like; naming objects that but expressed in other ways the sense of Following this procedure, and liberated
we recognise is not how we respond to a an expression, which is apprehended more from the need for a supposed universal
drawing. It is a more complex process of intuitively by the way to which it is referred, property or access to truth behind appear-
seeing, thinking, relating and remembering. rather than to what is referred. References ance, meaning can work in a way that
As we have suggested, the recognition of may thus have many senses indicated by the allows a number of possibilities or models
fragments goes beyond the designation way they are expressed within the drawing to inhabit an image.Visualisation of a con-
of appearance to something more like an the how of expression (i.e. the manner of cept, because it uses appearance to trigger

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 drawing now

recognition, assumes by default the notion intelligible.38 An aesthetic idea is an intui- Noble) or effect (e.g. Weiss). It is a differ-
of likeness and the degree of truthful- tion (of the imagination) and is subjective. ence expressed in practical terms by Alyson
ness understood in that likeness. But, as we This mode of thought is not representable Brien as a problem between drawing what I
make connections between properties and but relies, in this context, on the process of know would be physically there if I created
qualities, concepts, in the sense that they drawing itself. Its whereabouts cannot be this shape and what you would be able to
are capacities, are only required to accumu- located; one cannot say for example here see if you were looking at it and Im torn
late likenesses, not resolve them. Derridas is the frivolity or here is the source of my between drawing it as if its made of glass
thinking about supplement similarly maps a disturbing response. We might say that an and drawing the way in which from one side
framework for exploring the image that cov- aesthetic idea emerges in a sensation that this would be obscured.40
ers all eventualities within the field. It works is more visceral than visual, as with the
much like a figure-field switch, in which the work of Anne-Marie Schneider or Monica
peripheral becomes necessary and central at Weiss. In these terms we have the differ- hypothesis of sight
the same time as being an addition. A com- ence between an aesthetic idea that follows
mon attribute of drawing is the embedding the subjective principle and cannot be I feel myself incapable of following with my
of concept within the physical property of explained, and rational ideas that are ration- hand the prescription of the model: it is as
the materials used, as in the work of Cor- ally explicable or visually illustrate concepts if just as I was about to draw, I no longer
nelia Parker. such as magnitude or structure using objec- saw the thing. For it immediately flees, drops
out of sight and almost nothing of it exists;
The processes of representation by tive principles (i.e. schemata). We might
it disappears before my eyes, which in truth,
concept and imagination are discussed by have an idea, so conceived that we cannot no longer perceive anything but the mocking
Immanuel Kant, who articulates the key imagine it nor demonstrate it entirely as it arrogance of this disappearing apparition.41
relationships between understanding and resides in the relationship between imagina-
imagining, between what is demonstrable tion and understanding, and possibly exceeds Derridas assumption about drawing in Mem-
and what is not, between what is explicable understanding and can only be approached oirs of the Blind is one of looking and copying
and what is not. His distinction between through the physical process itself. John Wil- and concerns the conflation of the fleeting
rational ideas and aesthetic ideas clarifies lats distinguishes between elements such as certainty of sight with the imitation of what
what might be understood as two catego- lines within a drawing (what he calls picture can be seen. But his speculation on blindness
ries of conceptual drawing. He speaks of primitives) and the marks made the way works as an extended metaphor for sev-
rational ideas as elements that form an that they are drawn: their capacity to be eral dimensions of the act of drawing both
understanding of something in an objec- expressive, their sound.39 This distinction from observation and imagination the
tive (rational) sense, so that a concept of echoes the difference between drawing that thinking operation in the process of draw-
understanding is demonstrable and graspa- relies on drawing systems to create another ing and the reflection process in its reading.
ble. The drawings of Paul Noble, Erwin world and drawing that relies on the nature The act of drawing is fascinating in the way
Wurm and Simon Evans can be seen as of application rather than what is drawn, as that it struggles to translate experience,
rational ideas that demonstrate another is evident in an obsessive process of draw- particularly experience besides that of the
space or map another dimension, and are ing (e.g. Brian Fay or Marco Maggi) or in the appearance of objects. Without representa-
visualised as measurable and graspable; physically explosive (e.g. John OConnell). tion, which requires definition of some sort,
they are speculative. Kant describes an Such a physical engagement with the draw- experience remains continuous, ambivalent,
aesthetic idea as distinct from concepts ing process moves away from depiction to incomprehensible and irretrievable. Tempo-
of understanding, as that representation something that indicates a complexity which rality is not grounded in anything unless we
of the imagination which induces thought, it is not possible to fully depict. These are ground it by relating it to concrete things,
yet without the possibility of it being in any the two forms that many of the drawings and it only becomes past, present or future
way definitive or adequate to it, and which in this book occupy, and which show us the in relation to ourselves. Philosophy circu-
language consequently can never get quite contradiction inherent in visualising what lates around notions of what consciousness
on level terms with or render completely cannot be seen either by speculation (e.g. is: what is me and what is not, what is out

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 introduction
there and how I can understand it, how I Derridas descriptions of the act of draw- surroundings of the trait appear . . . The outline
relate to it and how is it related to me, and ing utilise several physical operations as or tracing separates and separates itself; it
the difference this makes to my experience analogies: the blinking of an eye, the move- retraces only borderlines, intervals . . . The
and understanding. Conscious experience ment of the hand, touching the paper and linear limit I am talking about . . . divides itself
in its ellipsis . . . In this twinkling of an eye, the
relies on our imagination to anticipate and drawing the line. They play on associations
ellipsis is not an object but a blinking of the
remember at every instant, making sense of of the hand in correspondence with the difference that begets it . . . through which,
sensory input. As we make sense of experi- eye, with specific little gestures and pres- between which, you can observe without being
ence, we separate certain elements of the sures, and, on examination, probing, adjusting seen, you can see between the lines.46
perceptible from others that we do not and mending: drawing as surgery.44 Juliet
see but are inseparable from those we do. McDonald similarly, but visually, illustrates Derridas description of what happens
Thus we experience space and time as a the hand in the process of drawing as at the point of drawing a line is a kind of
series of modified possibilities or snapshots. metonymically standing in for the whole metaphysics of drawing, an analogy that cor-
Similarly abstract ideas (and drawings) must person (e.g. fumbling, gripping, grasping) relates the physicality of the hand and the
separate attributes or functions from others and as significantly invoking the attributes line at the point of touching the paper to
in this way.42 In translating experience of the necessary to assert control in drawing (e.g. the transcendental. Derridas reverie recalls
world into a manageable form, elements of naming, signaling, pointing, manipulating).45 his discussion of the internal experience
the experience are changed or lost and, just The use of the line as a model represents of thought as being radically discontinuous
as verbal translation loses dimensions of the complexity that interweaves seeing, and accommodating an intrinsic multiplicity
experience and is constrained by previous conception and convention. It allows us to and mobility. Drawing, as if in dialogue with
explanations that confine its context, so too understand what is ultimately obscure, by itself, similarly follows a pattern of realising
is drawing. Drawing, as a means of explaining describing a physical concrete experience, appearances moment by moment, tracing
an experience, conflates events or sepa- so that more elusive experience is explained a series of discontinuous thoughts, from
rates instants into a described whole. In its by its analogy with line and its appearance which emerge some recognisable elements.
effort to explain and translate, no drawing on the paper. At the moment at which the Derrida speaks of the outline as liminal
will do justice to what is lost. As soon as point (of the pencil) makes contact with the divisibility that interrupts itself and becomes
one thought is articulated, another is lost, surface, we cannot see (literally or figura- inaccessible in the end, at the limit. As
and every point of significance identified tively) what is about to emerge, and yet such, it can only retrace the borderlines
makes it less likely that we will find other the point anticipates the memory of what of an instant and, in reaching beyond its
possible points. There remains an enormous has been seen in the past: it both stops limit, disappears. Ruminating on the sort
difference between what is seen and what and anticipates what is to come. The act of of knowledge we encounter in the realm
is understood, and again between what is drawing escapes the field of vision even as of drawing, as he does in Cartouches, the
drawn and the drawing itself. In its effort to it copies, because the line is not yet visible linear limit refers to what is left out, erased
delineate, drawing is contradiction. and because its conception remains beyond or aborted and suggests that both erasure
the reach of objectivity. Derridas reference and destruction manifest the ephemeral
At the instant when the point at the point of explains objective drawing as contradictory and the ambivalent. Invisibility, at the point
the hand . . . moves forward upon making con- in its blindness, and subjective drawing as a of erasure, represents the performance
tact with the surface, the inscription of the
fundamentally contradictory condition. The of metaphysics. Just as Marvin Jordanas
inscribable is not seen. Whether it be impro-
vised or not, the invention of the trait does
correlation of drawing with blindness illus- hypothetical, linear forms hover around
not follow, it does not conform to what is trates a contradictory logic that somehow something nearly recognisable, and almost
presently visible . . . Even if drawing is, as they makes sense in a process that watches itself describe objects but not quite, so the linear
say mimetic, that is reproductive, figurative, arrive. limit neither speaks of ideals nor of what
representative, even if the model is presently is intelligible or can be wholly interpreted
facing the artist, the trait . . . escapes the field Drawing always signals toward this inacces- it only indicates the difference between
of vision.43 sibility, toward the threshold where only the
one form that remains unformed and

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 drawing now

another.47 As with the psychoanalytic proc- in the construction. The process of sub- is a transaction between appearance and
ess that strives to uncover meaning, but no traction and addition in the physical act of thought.49 The term performance can
one definitive meaning, the scene of drawing drawing touches on the difference between sometimes indicate a mimetic representa-
simultaneously obscures and reveals, and what is seen and what is conceived, and tion that suggests a passive operation where
elides all interpretations. Ultimately Derrida again between what is conceived and what the participant actualises something already
uses the act of drawing as a vehicle to illus- appears on the paper. The process refers, determined. Whereas it is shown above
trate elusive and contradictory concepts. via subtraction, to what is absent as well as to be more (re)active, drawing here dem-
Briens description, recorded as she draws present to description. While Brien has an onstrates process and idea simultaneously
an unformed concept (an aesthetic idea), idea of what she wants, she avoids being in the course of its own production. And
echoes the oscillation between seeing, think- too clear in advance of the action. As she the one who draws both directs their own
ing and imagining, and parallels Derridas draws, she recognises what it is she wants form of production and is directed by the
abstract commentary in practical terms: or doesnt want. Her ideas are movements drawing. J.L. Austin describes a performa-
and qualities, not definitive things. Its quite tive statement as referring to itself in the
Im rubbing out some lines Ive previously put clear that she is driven by what happens on process of its own making.50 A performa-
in . . . in little pecking gestures to get the the paper and that to a great extent she tive statement declares its own doing as in
rubber to get rid of the marks Ive already put
is not the one in control. She expresses I am drawing, as opposed to a constative
on, which is not that easy . . . better . . . there
are some other lines that I dont want that
surprise several times at what is happening statement that is already defined before it
Im also taking off that are too thick and too in front of her, as if independently, and uses is said. Austins distinction between perfor-
. . . in the wrong place thats them coming words like coaxing as though persuading mative and constative statements provides
off . . . a bit more . . . heres a pale grey Ive got the drawing to do what she wants, but at an interesting analogy for drawing, both in
here that I put on before Im covering over the same time acknowledging that it wont terms of the procedure itself, and in terms
what I did . . . adding to it . . . Again Im moving necessarily. It is evident that the inherent of the differentiation between what might
the chalk round and creating a growing light blindness in looking is inextricable from the be termed a constative drawing, which
grey area moving it out from the centre mechanics of thinking, and that the act of would represent or describe mimetically,
around into an area Ive previously drawn . . . drawing a line illustrates the point at which and a performative drawing, which can be
make it darker and slightly more . . . curved
the ontological meets the conceptual. Con- seen as changing its own terms, as it per-
. . . trying a fanning out idea . . . adding some
other areas with the darker areas in . . . theres
ceiving drawing as a conceptual operation forms itself. In doing drawing, a drawing is
a form appearing but its very unclear whats that hypothesises incorporates the physi- seen to constitute itself; the drawing is more
happening to the edges its splitting like a cal emergence of line at the point at which event than thing. The performative, discur-
banana . . . out I dont know if thats what I visual appearance disappears and conception sive drawing incorporates the physicality
want but thats whats happened.48 appears. Derrida and Brien each articulate of process and the function of addition and
the interdependence of conception with the subtraction.
Briens self-absorption demonstrates physical process. Each repositions drawing Benjamins definition, which describes
the process of drawing as an extreme with its production as a particular form of drawing as ceasing when a line is no longer
immersion in reaction and anticipation. thinking that cannot be separated from its distinguishable from its background, refers
Her description confirms two things: that peformance: it is performative thinking. to a static, one-dimensional record of
the performative process of drawing is The performance of drawing (Bergers appearance.51 The drawings collated in this
liminal, moving between conscious deci- doing) reacts to a succession of distur- book focus on what can emerge from spec-
sion and unconscious compulsion, and that bances: the procedure of addition and ulative activity, an operation not dependent
it incorporates a synthesis of addition and erasure, of gesture and change, of instinct on sight and imitation, but on what is hap-
subtraction. It is notable that Brien spends and thought. What the performance implic- pening, being felt and being thought. Drawing
as much time removing marks as she does itly tells us is that the drawing process here is an active and imaginative perform-
putting them on and that removal marks enacts a simultaneous physical contradic- ance, a place of demonstrative production
become just another kind of additional mark tion that, as Katrinka Wilson determines, rather than a tool of neutral translation.

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 introduction
As a discursive exploration, drawing is first be termed conceptual drawing encour- (e.g. Shrigley). Drawing can provide a neutral
performative and only second a product, ages a journey around associative thought territory that allows its perpetuation as a
demonstrating a switch of emphasis from that does not have to be logical or resolved, classical tradition, but more interestingly
the dominance of visual appearance towards provokes an aggregation of memories and it is also recognised as a process that can
a consideration of drawing as an interactive impedes access to any resolved meaning. Are escape traditional and fashionable con-
dynamic and as a space of conception and conceptual drawings theoretical, abstract, straints. By definition, drawing is forced to
speculation. intangible or ambiguous? They can of course follow its own limitations and strengths
This collection of drawings emphasises be all of these things, but tend to be either the place of performance where thought
the interdependence of what drawing is (its of two modes: aesthetic, intangible, ambigu- meets the commitment to paper. We note
physical nature) and the way it conceives ous and sometimes abstract, or rational, that the conflict between the compulsion
ideas (thinks). To clarify the confusing appli- theoretical and sometimes abstract. The to copy, seen as a natural instinct, and the
cation of the term conceptual, we recalled extent to which drawings demonstrate the compulsion to invent what is not there,
Kants attempt to differentiate processes degree of signature and expression depends produces an oscillation between imitation
of representation and have appropriated on which of these two ideas are engaged. and invention. We notice the many contra-
his aesthetic ideas and rational ideas to We emphasise the performance of draw- dictions shared by observational drawing
suggest two modes of conceptual drawing. ing as forcing a discursive outcome that is and imaginative visualisation. Both trace
These terms serve to articulate two dif- ambiguous in appearance or speculative in what is only momentarily visible, literally and
ferent approaches seen here one that its content, and the ontology of drawing conceptually. Drawings recall both what was
demonstrates the drawers immersion as being more discursive than perceptive. there (absence) and what could be there
in the activity of drawing and is typically Discursive drawing thinks in characteristic (invisibility), and in the drawings collected
performative, and one that demonstrates a ways. Derridas suggestion of the thought of here we can see that the dominance of per-
more rational application of the imaginary drawing as hypothesis explains its capacity ception is relinquished and memory and its
and is speculative. We emphasise concep- for contradiction, for if one hypothesises, extension in imagination takes precedence.
tual operations that encourage a range one tests the extremities of possibil- Drawing has proceeded from the primal
of possibilities (semantic models) or that ity and conducts experiments. Drawing means of communication to a procedure
generate an extended form of description, hypothesises; it demonstrates oppositional that facilitates the more directly theatrical in
focussing on the functions associated with conditions and proposes concepts that are its artifice or its physical engagement.
what something does (is a horse) or how neither proved nor disproved, neither true Emergent themes in this collection could
that something is experienced, rather than not false. They are lets suppose or what if? be described as Another Place, Unbeseen,
the definition of that something as a static exercises. The thought[s] of drawing do not Play, Reflection, Performance and Sen-
object. This understanding of the conceptual describe or report and cannot be verified. sation. When figurative, the drawing here
encourages an open-ended interpretation The question of their being factual or truth- recollects the experience of sensations
that suits the questioning nature of many of ful is inappropriate. other than vision (e.g. Schneider, Emin).
the drawings here. Both modes depend on As hypotheses, drawings are, by definition, When it appears to tell a story, it is a condi-
the remnants of visual perception, require contradictory, and we have found several tional speculation, clearly not of this world
the interdependence of cognitive imagin- points of contradiction that are character- (e.g. Woodfine), or it plays cognitive games
ing with its subsequent visualisation, and istic. First, this is apparent in their stylistic (e.g. Cambre). When delineating space in
encourage a cognitive operation beyond independence and versatility. Because of recognisable form, it is of another fantasti-
that of purely speculative pleasure. As we its practical application across a range of cal place. The use of line is often simple
have seen, subjective drawing relies on at contexts, drawing readily appropriates, for and unpretentious, lacking signs of gestural
least a memory derived from observation, example, the various styles of academia or expression, less ambiguous than speculative,
and thus both these modes incorporate all the language of the functional diagram; it less abstract than conceptually questioning.
three of Bergers categories simultaneously: accommodates specific differentiations, idio- The dumb line is playfully and humorously
observation, ideas and memory. What might syncrasy (e.g. Hauptman) and self-reflexivity reflective (e.g. Shrigley, Evans, Jeff Gabel),

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 drawing now

but not simply innocent. And when the line for research in the area of fine art might of History (Princeton: Princeton University Press,
is obsessive, it challenges the premise of seem to be at odds with such develop- 1997), p. 5.
5 For example Baudrillard, Jean, Starting from
drawings flatness as illusional space, and is ments. But as drawings dynamic depends on Andy Warhol, in Lotringer, Sylvere (ed.), The
made real (e.g. McKenzie, Locke, Bowlby). the cognitive operation and because of its Conspiracy of Art: Manifestos, Interviews, Essays,
The tyranny of language can be seen to (sometimes deliberately exploited) elusive trans. Ames Hodges (New York: Semiotext,
incorporate a self-conscious lack of respect qualities, the drawing process provides 2005), pp. 439.
6 Petherbridge, Deanna, The Primacy of Drawing,
for the more academic. It has assimilated exactly the ambiguous arena that might chal-
An Artists View (exhibition catalogue, A National
an eclectic mix of schemata derived from a lenge scientific methodology. The peculiar Touring Exhibition from the South Bank Centre,
range of drawing traditions, both high and act of drawing illustrates the dichotomy 1991), p. 7.
low. The totality of image has given way to between knowledge, self-consciousness and 7 Newman, Avis, Conversation: Avis Newman/
an acceptance of the means of making (its intelligence and the desire to respond to Catherine de Zegher, in de Zegher, The Stage of
Drawing, p. 235.
performance) as a subject itself rather than a reality beyond that of appearance. Draw- 8 Bryson, Norman, A Walk for Walks Sake, in de
a process towards something. ing Now: Between the Lines of Contemporary Zegher, The Stage of Drawing, p. 155.
Proposing the need to establish a clear Art explains drawing as a representation of 9 Bryson, The Stage of Drawing, p. 153.
agenda for drawing research, Steve Garner experience rather than appearance, and in 10 Petherbridge: The Primacy of Drawing, p. 52
11 De Zegher, The Stage of Drawing, p. 276.
states: Just how drawing supports cognitive this sense relinquishes the mantle of per-
12 Dexter, Emma, Vitamin D, New Perspectives in
processes, particularly creativity and the ception. The realm that the drawings in this Drawing (London: Phaidon Press, 2005), p. 9.
emergence of ideas, has been discussed but book explore is not so much the visible as 13 The exhibition Memoirs of the Blind was held
little evidence has been used to construct a the invisible. from October 1990 to January 1991 and was
foundation of knowledge on which we might the first in a series entitled Taking Sides, which
invited personalities known for their critical
build.52 Contrary to the will to define what abilities to initiate a discourse prompted by
drawing is, the nature of drawing appears their choice of drawings.
to inhabit an area that facilitates a level of endnotes 14 Derridas use of the word trait contains a
ambiguity and a dynamic that promotes range of meanings trait, feature, line, stroke,
1 Derrida, Jacques, Memoirs of the Blind, the Self mark, which are discussed in depth by Michael
non-definition and the non-conclusive.
Portrait and Other Ruins, trans. Pascale-Anne Newman, The Marks, Traces, and Gestures of
Drawing aesthetic ideas demonstrates the Brault and Michael Naas (Chicago and London: Drawing, in de Zegher, The Stages of Drawing, pp.
capacity to describe just those qualities that University of Chicago Press, 1993). Derrida 93108.
may be indescribable and which contradict uses the terms thought of drawing, p. 3, and 15 Derrida, Memoirs of the Blind, p. 60 ff. For the
those aspects of research that attempt to between the lines, p. 55. most part Derrida proceeds to discuss the
2 Ginsborg, Michael, Preface: What is Drawing?, hypothesis of sight in relation to self-portrait,
understand the cognitive process. In explor- which does not concern us here.
in Kingston, Angela (ed.), What is Drawing? Three
ing drawings metaphoric capacity, our Practices Explored: Lucy Gunning, Claude Heath, 16 Elkins, James, letter to John Berger [2004], in
manner of examination here reflects the Rae Smith (London: Black Dog Publishing, 2003), Berger, John, Berger on Drawing (Aghabullogue,
experience of cognitive mimesis rather than p. 11: Paper is not the only support for drawing Co. Cork: Occasional Press, 2005), p. 112.
but it is by far the most widespread. Draw- 17 Berger, Lobsters and Three Fishes, in Berger on
a scientific appraisal of its effect. Further
ings are made with graphite, charcoal, chalk, Drawing, p. 124.
investigation might or might not benefit or ink with brush and pen. Drawing is flat and 18 Berger, Drawing on Paper [1996], Berger on
from a more scientific approach to under- monochromatic and it does not predominantly Drawing, pp. 46 and 47.
standing the cognitive nature of the artistic address colour relationships. 19 Derrida, Memoirs of the Blind, p.45: The drafts-
operation of drawing. There are several 3 De Zegher, Catherine (ed.), The Stage of Drawing: man always sees himself to be prey to that
Gesture and Act, Selected from the Tate Collection which is each time universal and singular and
research projects in the fields of cognitive would thus have to be called unbeseen . . ..
(London; New York: Tate Publishing and the
psychology and artificial intelligence where, Drawing Centre, 2003). 20 Baudelaire, Charles, Mnemonic Art, in Mayne,
for example, physical testing and cogni- 4 Belting, Hans, The End of the History of Art, trans. Jonathan (ed.), The Painter of Modern Life and
tive analysis are applied with the aim of Christopher S. Wood (Chicago: University of Other Essays (London: Phaidon Press, 1964),
Chicago Press, 1987), cited in Danto, Arthur C., pp. 1518. Derrida references Baudelaire in
understanding drawing and spatial reasoning
After the End of Art, Contemporary Art and the Pale Memoirs of the Blind, pp. 489: For Baudelaire it
how we learn and interact.53 The agenda

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 introduction
is the order of memory that precipitates beyond 30 Petherbridge, The Primacy of Drawing, p. 32. 39 Willats, John, The Syntax of Mark and Gesture,
present perception the absolute speed of the 31 Kosuth, Joseph, Art After Philosophy and After: 2002, in TRACEY: Contemporary Drawing Research
instant (the time of the clin doeil that buries the Collected Writings, 19661990 (Cambridge, MA, (http://www.lboro.ac.uk/departments/ac/tracey/
gaze in the batting of an eyelid). London: MIT Press, 1993). somag/willats.html).
21 De Zegher writes of the oscillation between 32 LeWitt, Sol, Sentences on Conceptual Art in 40 Brien, Alyson, Thinking Through Mark and
the imagined and the concrete in her discus- Alberro, Alexander and Stimson, Blake (eds), Gesture, 2002, in TRACEY (http://www.lboro.
sion concerning abstract, where language as Conceptual Art: A Critical Anthology (Cambridge, ac.uk/departments/ac/tracey/somag/brien.html).
the symbolic (covering the gap between the MA, London: MIT Press, 1999). 41 Derrida, Memoirs of the Blind, p. 36.
real and the imaginary) became an obses- 33 Honderich, Ted (ed.), Oxford Companion to Phi- 42 Urmson, J.O., in Parkinson, G.H.R. (ed.), Encyclo-
sion in semiotics and psychoanalysis and was losophy (Oxford, New York: Oxford University
pedia of Philosophy (London: Routledge, 1988). p.
understood to bring a conditional order to Press, 1995), p. 146.
119.
the chaotic and unthinkable of the world by 34 Derrida explains confusions between the two
43 Derrida, Memoirs of the Blind, p. 45.
standing for an imagined structure: Catherine (Freges Sinn and Bedeutun) in Speech & Phe-
44 Derrida, Memoirs of the Blind, p. 5.
de Zegher, Abstract, in de Zegher, Catherine nomena (Evanston, IL: Northwestern University
and Hendel Teicher, 3 X Abstraction New Methods Press, 1973), pp. 1819, specifically the differ- 45 McDonald, Juliet, Out of Hand, in TRACEY
of Drawing Hilma Klint, Emma Kunz Agnes Martin ence between Husserls and Freges uses. Sense (http://www.lboro.ac.uk/departments/ac/tracey/
(New York: The Drawing Centre New York; Yale is confused in translation and it is significant narr/index.htm).
University Press, 2005). to note that Derridas use of meaning (sens 46 Derrida, Memoirs of the Blind, pp. 545.
22 Berger, John, Janos Lavins Diary, extract from A and vouloir-dire) incorporates the French 47 Derrida, Jacques, Cartouches, in Truth in Paint-
Painter of Our Time [1958], in Berger on Drawing, sense that literally means will to say and which ing, trans. Geoff Bennington and Ian McLeod
p. 102. includes the understanding of purpose, intention (Chicago, London: University of Chicago Press,
23 Graham-Dixon, Andrew, All in the Mind, The in its foundation. His manner of language not 1987), p. 209, and Memoirs of the Blind, p. 54.
Secrets of Drawing, Episode 3 (BBC, 2005). John only contributes to what might seem contradic- 48 Brien, Thinking Through Mark and Gesture.
Tchalenkos Drawing and Cognition SciArt tory definitions of the term, but can deliberately 49 Wilson, Katrinka, Mimesis and the Somatic
project at Camberwell College of Arts examines incorporate contradiction. In discussing distinc- of Drawing: In the Context of 20th Century
eye control, maps the movement of the artists tions with reference to Husserl, he distinguishes Western Fine Art Practice (PhD thesis, Lough-
eyes when drawing with the help of biomedi- between meaning (bedeuten) and sense (Sinn), borough University, 2004).
cal tools and techniques and suggests that the which he refers to as the pre-expressive form 50 Austin, J.L., How to Do Things with Words (Cam-
artists knowledge may help medical processes. of sense and notes that where the two may bridge, MA: Harvard University Press, 1962).
24 Plato, The Republic (London: Penguin Books, become fused, it becomes impossible to dis- 51 Dexter, Emma, Vitamin D, New Perspectives in
2003), pp. 340 and 339. tinguish between the stratum of sense and the Drawing (London: Phaidon Press, 2005), p. 6, cit-
25 Fisher, Jean, On Drawing, in de Zegher, The stratum of meaning. ing Benjamin, Walter, Painting, Signs and Marks
Stage of Drawing, p. 220. 35 Miller, George A.,Images and Modes, Similes and
[1917], in Selected Writings,Volume I (Cambridge,
26 Fisher, On Drawing, p. 217. Metaphors, in Ortony, Andrew (ed.), Metaphor
MA: Harvard University Press, 1996), p. 83
27 Gebauer, Gunter and Wulf, Christoph, Mimesis, and Thought (Cambridge: Cambridge University
52 Garner, Steve, Towards an Agenda for Drawing
Culture: Art: Society, trans. Don Reneau (Berkeley, Press, 1993).
Research, 10 November 2006 (www. jiscmail
Los Angeles, London: University of California 36 Lakoff, George, The Contemporary Theory of
Press, 1992), p. 5. Metaphor, in Ortony, Metaphor and Thought, p. .ac.uk/archives/drawing -research .html).
28 Benjamin, Walter, On the Mimetic Faculty 203. 53 For example the Drawing and Cognition
[1933], in Jennings, Michael, Eiland, Howard and 37 Derrida, Jacques, Positions, trans. Alan Bass project (John Tchalenko, Camberwell College of
Smith, Gary (eds), Selected Writings Volume 2 (Chicago: University of Chicago Press, 1981), pp. Art) or Notation and Cognition in Conceptual
19271934, trans. Rodney Livingstone (Cam- 612. Sketching: An Analysis of the Graphical Notation
bridge, MA, London: Harvard University Press, 38 Kant, Immanuel, Analytic of the Sublime, 49, of Visual Reasoning in Design (Jeanette McFadz-
1999), p. 720. in The Critique of Judgement, trans. James Creed ean and Nigel Cross, the Open University) or
29 Newman describes a particular kind of knowl- Meredith (Oxford: Clarendon Press, 1952), p. Whale, George A., An Investigation of Spatial
edge peculiar to drawing in Conversation Avis 175, and Dialectic of Aesthetic Judgement, 57, Strategy in Observational Drawing (PhD thesis,
Newman/Catherine de Zegher, pp. 2317. Remark I, pp. 20913. Loughborough University, 2005).

xxi

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drawing pre.indd xxii 01/09/2007 09:51:06
 the artists
Anna Barriball was born in 1972 in Plymouth, Eng- ards. They live and work in London. Their artist-run Julia Fish is Professor in the School of Art and
land and studied at Winchester and Chelsea Schools space The Savage School Gallery opened in October Design at the University of Illinois, Chicago. She has
of Art. Her selected solo exhibitions include Walsall 2006. Recent projects include Headquarters at the exhibited widely and has work in museums and public
Art Gallery (2006), Arnolfini, Bristol (2003), Gasworks Daniel Spoerri Sculpture Garden (2006) and Retrospet- collections, including the Art Institute of Chicago,
Gallery, London, and Newlyn Art Gallery (2005). Bar- tiva, Pari Dispari Projects, Reggio Emilia, Italy (April Los Angeles Museum of Contemporary Art, and the
riballs work is included in the British Art Show 6 and 2006). Museum of Modern Art, New York.
featured in Phaidons Vitamin D.
Angela Eames states that her drawing asks the Maryclare Foa is concerned with drawing in
Nayland Blake was born in 1960. He is an artist, question: Where and what is drawing now? She response to the environment. Leaving temporary
writer, curator and educator, and currently lives in considers drawing to be a visual thought process, and trace marks on, in and around the environment, she
Brooklyn, New York. His work is included in numerous uses it to explore potential, and the implications this intends her interaction to bring a momentarily visual
collections. He prefers to work in Staedler graphite has for technology. She is interested in rethinking the slippage, which renews interpretation of the space
pencils. position of the viewer and the viewed. and offers the audience alternative connections and
associations.
Astrid Bowlby was born in Bath, Maine and now Jacob El Hanani was born in Casablanca, Morocco
lives and works in Philadelphia. She has exhibited in 1947. In 1969 he attended the Avni School of Fine Jeff Gabel grew up in Decatur, Nebraska and cur-
widely since 1994; her most recent solo exhibition Arts, Tel Aviv, Israel, and continued his studies at the rently lives and works in Brooklyn, New York City. He
was entitled A certain density and exhibited at Gallery Ecole des Beaux-Arts, Paris in 1970. He lives and received a BFA at Kansas State University and an MFA
Joe, Philadelphia. She has work in numerous collec- works in New York City. His focus lies with accre- at Pratt Institute. Gabel shows with Spencer Brown-
tions, including the Philadelphia Museum of Art. In tions of finely drawn mark-making that form fields of stone Gallery in New York City.
2007 she was awarded a Pennsylvania Council on the meditative harmony.
Arts Fellowship. Jane Harris was born in Dorset in 1956 and lives
Tracey Emin was born in London in 1963. Her and works in London. She was educated at Gold-
Julie Brixey-Williams is a British artist who lives selected solo exhibitions include the Stedelijk smiths College, the Slade School and Brighton
and works in London. Her work explores the relation- Museum, Amsterdam (2002); Haus der Kunst, Munich Polytechnic. She has work in numerous collections,
ship that the body shares with space and architecture, (2002); Modern Art Oxford (2002); Art Gallery including the Arts Council of England and Birmingham
using movement and gesture to explore traces. of New South Wales, Sydney (2003); and Platform Museum and Art Gallery. Her international exhibitions
Garanti Contemporary Art Center, Istanbul (2004). In include Los Angeles, New York and Stuttgart.
Javier Cambre was born in San Juan, Puerto Rico 1999 Emin was shortlisted for the Turner Prize, and in
and currently lives and works in New York. Engaged 2007 she represented Britain at the Venice Biennale. Susan Hauptman studied painting at Wayne State
with video, sculpture, photography and drawing, Cam- University in Detroit. She presently holds the Lamar
bre has exhibited his work throughout the world. He Simon Evans was born in 1972. He lives and works Dodd Professorial Chair at the University of Geor-
is Professor of Drawing and Graphic Design at QCC, in London. gia in Athens. Her works are in several private and
City University of New York. museum collections, including the Metropolitan
Brian Fay is an artist and Lecturer in Fine Art at the Museum of Art, the Corcoran Gallery, the Norton
Louise Clarke is an artist, curator and passionate Dublin Institute of Technology. His work is concerned Gallery of Art in Palm Beach, Florida, the Arkansas
advocate of drawing in its widest application. She with recording time and dialogical references across Art Centre, the Oakland Museum in California, the
has exhibited extensively around the world, includ- media. He is a member of the Artists Panel at the Irish Detroit Institute of Art, the Minnesota Museum of Art,
ing at an art residency in Kyoto, Japan and a drawing Museum of Modern Art and a board member of Visual and the California Palace of the Legion of Honour.
symposium at Nitra, Slovakia (both 2006). Her recent Artists Ireland.
public art programmes include Big Draw at the British Andy Hewitt and Mel Jordan have been
Museum, and events at the Victoria & Albert Museum Christoph Fink was born in Gent, Belgium. His collaborating since 1999. Their practice is concerned
and English Heritage. recent exhibitions include Presentation of the integration with the discourse around arts social potential and its
of a work of art at the Netwerk/Centre for Contem- relationship to public space and the public sphere. Their
Cullinan + Richards artlab is the collaborative porary Art, Aalst, Belgium (2007) and Outdoors at recent projects include (with Dave Beech) the Second
partnership of Charlotte Cullinan and Jeanine Rich- Danielle Arnaud Contemporary Art, London (2006). Guangzhou Triennial, China, curated by Hou Hanru and

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 drawing now
Hans Ulrich Obrist; London in Six Easy Steps, curated the world of abandoned technology. These outmoded include the Wurttembergischer Kunstverein (Stutt-
by B+B, Institute of Contemporary Arts, London; and leftovers seem both forlorn and earnest as they con- gart), Galleria dArte Moderna e Contemporanea
(with Dave Beech) The Aesthetic Function, curated by tinue to sit atop roofs all over the USA. (Turin), and ICA (Philadelphia). Parker was nominated
Gavin Wade, for the fifty-first Venice Biennale. for the Turner Prize in 1997. Her work is represented
Marco Maggi was born in Uruguay and is an MFA, in international collections, including the Tate Gallery
Jon Houlding was born in 1972, and graduated from University of New York. His exhibitions include Poetics (London) and the Museum of Modern Art (New York
the Royal College of Art in 2005. He is now a practis- of the Handmade, Museum of Contemporary Art, Los City).
ing artist living and working in London. Angeles (2007); Gyroscope, Hirshhorn Museum, Wash-
ington (2006); Drawing From the Modern 19752005, Charles Poulsen is a sculptor. Drawing on paper
Dean Hughes was born in 1974 and studied at Chel- Museum of Modern Art, New York City (2005); Fifth is important to him, as he values its immediacy of
sea College of Art and Design, London. His recent Gwangju Biennial, Korea (2004); Works on paper since expression. In 2006 he made a huge drawing on the
exhibitions include Doggerfisher in Edinburgh; Living 1960, Museum of Fine Arts, Boston (2003); Twenty- land by cutting into living heather on the Southern
Dust at Norwich Gallery; and at the Jack Hanley Gal- fifth Sao Paulo Biennial, Brazil (2002). Upland Way. He exhibits widely in the UK and has
lery, San Francisco. He lives and works in Manchester. made work in Germany and the USA.
Jordan McKenzie is a performance/visual artist
Benot Jacques was born in Brussels, Belgium in whose work interrogates drawing as a performative Matthew Ritchie was born in 1964, and lives and
1958 and studied at the act. He has exhibited both nationally and internation- works in New York City. His multimedia installation
Royal Academy of Art, Brussels and the Ecole Nation- ally and is currently a visiting lecturer at Kingston The Universal Adversary was exhibited at Andrea Rosen
ale Superieure of Visual Arts, Cambers. He lives and University and Wimbledon College of Art in contem- Gallery, New York City in September 2006. His next
works in France. porary performance practice. Originally interested major project will be an outdoor pavilion conceived
in queer body-based identity politics, his current in collaboration with David Altmejd and supported by
Marvin Jordana was born in 1971 in Naga City, the research is concerned with drawing and its relation- TBA 21,Vienna.
Philippines, and currently lives in Los Angeles, Cali- ship to iconic minimalist sculpture.
fornia. Since 2004 he has had exhibitions in Houston, Annette Robinson lives and works in London.
Texas, including Art Star Houston, Downtown Stomp Ming-Hui Chen was born in Taiwan in 1977. Chen She currently lectures on the BA drawing course at
Around, Project Row Houses, Buffalo Bayou Xmas Tree has exhibited regularly in Taiwan, Japan and China Camberwell College of Art and is part of the newly
Show and Artcrawl Houston. He exhibits regularly in since the mid 1990s, and more recently she has been established drawing research group at the University
various and random parts of Los Angeles at his own invited to exhibit in the UK, including at LCB Depot, of the Arts.
volition. Leicester (2005), Lakeside Arts Centre, and Surface She has been awarded two international fellowships,
Gallery, Nottingham (2006). She is a leading scholar of in Norway and France, and has exhibited widely both
Naomi Kashiwagi was born 1982 in Halifax, and womens art of Taiwan. nationally and internationally.
now lives and works in Manchester. Her Fine Art stud-
ies at Manchester Metropolitan University included Paul Noble was born Dilston, Northumberland in Ugo Rondinone was born in 1963 in Brunnen, Swit-
exchanges to Venice and Tokyo. She has exhibited 1963. His selected solo exhibitions from 19902005 zerland and he currently lives and works in New York.
in the UK, Italy and Finland. Her exhibitions include include Ye Olde Worke, Cubitt Gallery, NOBSON, He has exhibited extensively throughout Europe and
Notions of Drawing at CIP House, London; Duet at the Chisenhale Gallery, Albright Knox Gallery, Maureen the United States and has work in numerous public
British Art Show Sideshow, Nottingham; and Nation- Paley, Whitechapel Art Gallery, Migros Museum, and collections.
wide Mercury Art Prize, Air Gallery, London (2005). Museum Boijmans Van Beuningen. His solo publica-
tions include Paul Noble, Whitechapel Gallery and Anne-Marie Schneider, a French artist, was
Hew Locke studied at Falmouth and the Royal Col- Migros Museum; Unified Nobson, Newtown, Alberta born in 1962. Her exhibitions include tre un Autre,
lege of Art. His earlier works include brightly coloured Press (2004); and Nobson Central,Verlag der Buchhand- Tracy Williams Ltd, New York City (2006); Vertige, Le
papier mach sculptures, and highly textured char- lung Walther Knig (2000). Printemps de Septembre Toulouse (2005); trangement
coal drawings that rework the fine art traditions of Proche, Saarland Museum, Saarbrcken (2004); Fragile
European masters. He explores global cultural fusions, John OConnell is an artist working in sculpture, Incassable at the Muse dArt Moderne de la Ville de
creating complex sculptural reliefs made of market- drawing, film and video. In 2005 he was awarded the Paris (2003); FRAC Picardie (1997); and Documenta X,
stall mass-produced toys, souvenirs and consumer Further Film Residency at no.w.here lab in London. (1997).
detritus. His recent exhibitions include the Dublin Darklight
film festival, Magazine in Edinburgh, Brazil in New York, David Shrigley was born in England in 1968. He has
James [Jim] Madden has moved from studying Peripheral Visions in Cork and Archttype at the Transi- exhibited his drawings, photographs and sculptures in
architecture at the Rhode Island School of Design in tion Gallery in London. galleries and museums worldwide. He is the author
1975, to painting at the School of the Art Institute of numerous books and over the past five years has
of Chicago (in 1994) and the University of Iowa (in Cornelia Parker was born in 1956 in Cheshire, started to make animated films. He lives and works in
1996). His Castaways drawings are an exploration of England. Her solo exhibitions in the last three years Glasgow, Scotland.

xxiv

drawing pre.indd xxiv 01/09/2007 09:51:07

 the artists
Barthlmy Toguo was born in Cameroon in 1967, Borough of Barnet Public Collection; and The Royal the Royal Academy Schools from 1991 to 1995. Her
and today lives and works in Paris, Dsseldorf and College of Art Print and Drawing Archive. He is cur- group shows include Only Make-Believe, Compton
Bandjoun in Cameroon. He studied at the Abidjan rently a Fellow at the Royal Academy Schools. Verney; The Real Ideal, Sheffield Millennium Gallery;
School of Fine Arts, Ivory Coast, the Grenoble Grad- and Drawing Inspiration, Abbot Hall Gallery. Her recent
ual School of Art, France, and at Klaus Rinke Studio at Monika Weiss was born in Poland and is now based solo shows include Danielle Arnaud Contemporary
the Kunstakademie in Dsseldorf. Toguo is concerned in New York City. She creates environments that Art (2006) and Ha Gamle Prestegard, Norway (2007).
by arts presence in Africa, and especially in Cameroon. relate to the body and to the tension that character- In 2004 she won the Jerwood Drawing Prize.
ises specific relationships between biology and culture.
Stephen Walter was born in 1975 and studied In her drawings and multimedia installations, which Erwin Wurm was born in Bruck/Mur in 1954.
at Middlesex University, Manchester Metropolitan are combined with performance and sound, Weiss Between 1979 and 1982 he attended both the Acad-
University and the Royal College of Art. He lives and explores the physical properties of the act of drawing, emy of Applied Arts and the Academy of Fine Arts, in
works in London. His work is held in both public and with reference to the ancient, medieval symbols, and Vienna, Austria. His work is involved in the liberation
private collections in Europe, including the British concepts of the world and the human being. of objects from their fields, altering their significance
Museum; the Houses of Parliament Museum; Deut- in the process, and appealing visually to both to recog-
sche Bank; the Trussardi Foundation, Milan; London Sarah Woodfine was born in 1968, and studied at nition and alienation.

xxv

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drawing pre.indd xxvi 01/09/2007 09:51:08
 drawing now

drawing 01-32.indd 1 01/09/2007 09:46:49

 anna barriball

Black Wardrobe
Tape on wardrobe
(2003)

drawing 01-32.indd 2 01/09/2007 09:47:21

 anna barriball

One Square Foot VI Pencil on paper (2002)

drawing 01-32.indd 3 01/09/2007 09:47:23

 nayland blake

Untitled
Charcoal on paper
(2000)

drawing 01-32.indd 4 01/09/2007 09:47:24

 nayland blake

Untitled
Graphite on paper
(2005)

drawing 01-32.indd 5 01/09/2007 09:47:26

 astrid bowlby

Chrysanthemum 2
Cut paper
(2006)

On Some Far: Detail

Ink on cut paper
(2003)

drawing 01-32.indd 6 01/09/2007 09:47:27

 julie brixey-williams

locationotation: Deborah Kay Ward, in front room,

Islington, London N1, 11.30 am on Sat 9th June
2001
Pirouette drawing from a series performed
simultaneously by 52 dancers
Graphite powder on watercolour paper
(2001)

drawing 01-32.indd 7 03/11/2008 16:02:28

 julie brixey-williams

locationotation: Niki McCretton, on the managers desk at the Tacchi-Morris

Arts Centre, Taunton, Somerset, 11.30 am on Sat 9th June 2001
Pirouette drawing from a series performed simultaneously by 52 dancers
Graphite powder on watercolour paper
(2001)

locationotation: Abigail Salisbury, in Kensal Green

cemetery, 11.30 am on Sat 9th June 2001
Pirouette drawing from a series performed
simultaneously by 52 dancers
Graphite powder on watercolour paper
(2001)

drawing 01-32.indd 8 03/11/2008 16:02:29

 julie brixey-williams

locationotation: Susan Bowman, on a tiled floor,

in the kitchen, Ealing W13, 11.30 am on Sat 9th
June 2001
Pirouette drawing from a series performed
simultaneously by 52 dancers
Graphite powder on watercolour paper
(2001)

locationotation: Mel Shearsmith, on grass, inside a bamboo pyramid next to

Clifton Observatory, Bristol, 11.30 am on Sat 9th June 2001
Pirouette drawing from a series performed simultaneously by 52 dancers
Graphite powder on watercolour paper
(2001)

drawing 01-32.indd 9 03/11/2008 16:02:30

 julie brixey-williams

locationotation: Brenda Hawkes, on a tiled floor,

in the kitchen, Ealing W13, 11.30 am on Sat 9th
June 2001
Pirouette drawing from a series performed
simultaneously by 52 dancers
Graphite powder on watercolour paper
(2001)

10

drawing 01-32.indd 10 03/11/2008 16:02:30

 julie brixey-williams

locationotation: Joe Ballantyne, on the pavement, by the

bus stop, Newham Grange Road, Cambridge, 11.30 am
on Sat 9th June 2001
Pirouette drawing from a series performed simultaneously
by 52 dancers
Graphite powder on watercolour paper
(2001)

locationotation: Beccy Birchill, on a lino floor, in the warm-up studio,

Harbour House, Kingsbridge, Devon, 11.30 am on Sat 9th June 2001
Pirouette drawing from a series performed simultaneously by 52 dancers
Graphite powder on watercolour paper
(2001)

11

drawing 01-32.indd 11 03/11/2008 16:02:31

 javier cambre

Another Night in Rented Rooms

Graphite on paper
(2003)

12

drawing 01-32.indd 12 01/09/2007 09:47:38

 javier cambre

13

drawing 01-32.indd 13 01/09/2007 09:47:40

 javier cambre

14

drawing 01-32.indd 14 01/09/2007 09:47:41

 javier cambre

15

drawing 01-32.indd 15 01/09/2007 09:47:43

 louise clarke

Feather Light
Dip pen and ink
(2005)

16

drawing 01-32.indd 16 01/09/2007 09:47:45

 cullinan + richards artlab

Savage School Text Type 11 Commemorative

Schematic Drawing C+J Racing Tapestry for
Working Womens Club Bar for Shock Workers
Kent Whitstable Lydden Race Track
Watercolour, felt pen, pencil on watercolour paper
(2006)

17

drawing 01-32.indd 17 01/09/2007 09:47:46

 angela eames
Making it up ink
Inkjet print on canvas on stretcher
(2004)

18

drawing 01-32.indd 18 01/09/2007 09:47:48

 angela eames
Making it up graphite
Inkjet print on canvas on stretcher
(2004)

19

drawing 01-32.indd 19 01/09/2007 09:47:50

 angela eames

Making it up biro
Inkjet print on canvas on stretcher
(2004)

20

drawing 01-32.indd 20 01/09/2007 09:47:53

 angela eames

Making it up charcoal
Inkjet print on canvas on stretcher
(2004)

21

drawing 01-32.indd 21 01/09/2007 09:47:55

 jacob el-hanani

Gauze
Ink on paper
(2001)

22

drawing 01-32.indd 22 01/09/2007 09:47:57

 tracey emin

Sexy Dolly Monoprint on paper (2005)

23

drawing 01-32.indd 23 01/09/2007 09:47:58

 simon evans

Failing at living alone Mixed media on paper (2005)

24

drawing 01-32.indd 24 01/09/2007 09:48:00

 simon evans

Ideas for New Continents 2004

Mixed media on paper
(2004)

25

drawing 01-32.indd 25 01/09/2007 09:48:02

 brian fay

Woman Meditating after Corot

Digital drawing on paper
(2005)

26

drawing 01-32.indd 26 01/09/2007 09:48:05

 brian fay

Vermeer x 3
Digital drawing on paper
(2005)

27

drawing 01-32.indd 27 01/09/2007 09:48:06

 christoph fink

Atlas of Movements, Studies of Continental Europe (bicycle), a selection: movements #6 (Gent-Faro), #7 (Gent-Genve-Zrich-Gent), #8 (Gent-Den Haag-
Gent), #12 (Gent-Venetia-Gent), #28 (Gent-tour du Mt Blanc-Gent), #35 (Gent-Etna(-Gent)), #37 (Gent-Pointe de corsen-Grenoble-Genve-Gent)
Blue ink on paper
(20003)

28

drawing 01-32.indd 28 01/09/2007 09:48:08

 christoph fink

Atlas of Movements, Studies of Continental

Europe (bicycle), a selection: movements #6
(Gent-Faro), #7 (Gent-Genve-Zrich-Gent),
#8 (Gent-Den Haag-Gent), #12 (Gent-Venetia-
Gent), #28 (Gent-tour du Mt Blanc-Gent), #35
(Gent-Etna(-Gent)), #37 (Gent-Pointe de corsen-
Grenoble-Genve-Gent): Reworked version
Blue and black ink on paper cut-out
(2003)

29

drawing 01-32.indd 29 01/09/2007 09:48:10

 christoph fink
Atlas of Movements, Studies of Continental
Europe (bicycle), a selection: movements #6
(Gent-Faro), #7 (Gent-Genve-Zrich-Gent),
#8 (Gent-Den Haag-Gent), #12 (Gent-Venetia-
Gent), #28 (Gent-tour du Mt Blanc-Gent), #35
(Gent-Etna(-Gent)), #37 (Gent-Pointe de corsen-
Grenoble-Genve-Gent): Reworked version
Blue ink on paper
(20003)

30

drawing 01-32.indd 30 01/09/2007 09:48:13

 christoph fink

Atlas of Movements, Movement 35 (Gent-Etna

(-Gent)): detail: Reworked version
Pencil and ink on paper cut-out detail
(19982003)

31

drawing 01-32.indd 31 01/09/2007 09:48:15

 julia fish

[Shadow drawing for] Living Room

SouthEast two
Gouache on paper
(2002)

32

drawing 01-32.indd 32 01/09/2007 09:48:18

 maryclare foa

Manhattan Trace, 31st December 2003, 16 miles

approx. (18.56 kilometres)
Raw Hertfordshire chalk on New York pavement
2003

33

drawing 33-64.indd 33 01/09/2007 09:52:56

 maryclare foa

34

drawing 33-64.indd 34 01/09/2007 09:53:07

 maryclare foa

35

drawing 33-64.indd 35 01/09/2007 09:53:09

 maryclare foa

36

drawing 33-64.indd 36 01/09/2007 09:53:11

 maryclare foa

37

drawing 33-64.indd 37 01/09/2007 09:53:13

 maryclare foa

38

drawing 33-64.indd 38 01/09/2007 09:53:15

 maryclare foa

39

drawing 33-64.indd 39 01/09/2007 09:53:17

 jeff gabel

Woman with direct attitude & no personality that likes to go shopping with her mother Pencil on paper (2004)

40

drawing 33-64.indd 40 01/09/2007 09:53:20

 jeff gabel
British father at 3-yr-olds birthday party where
everyone is drinking socially
Pencil on paper
2003

41

drawing 33-64.indd 41 01/09/2007 09:53:21

 jane harris

3:21 Pencil on Fabriano (2000)

42

drawing 33-64.indd 42 01/09/2007 09:53:23

 susan hauptman

Self-Portrait (with Branch)

Charcoal on paper
2004

Self-Portrait (La Perla #2) Charcoal on paper (2005)

43

drawing 33-64.indd 43 01/09/2007 09:53:25

 hewitt & jordan

Work - Shy: collaborative drawing

Marker pen with stick attached, floor and walls of
project space
(2001)

44

drawing 33-64.indd 44 01/09/2007 09:53:28

 jon houlding

The Beginning (Plenum I)

Pen and ink on paper, mounted on
two-part wooden structure, three felt
sandbags, cord
(2005)

45

drawing 33-64.indd 45 01/09/2007 09:53:30

 jon houlding

46

drawing 33-64.indd 46 01/09/2007 09:53:32

 jon houlding

47

drawing 33-64.indd 47 01/09/2007 09:53:33

 dean hughes

A paper bag with some stickers stuck

inside it
Brown paper bag, adhesive stickers
(2006)

48

drawing 33-64.indd 48 01/09/2007 09:53:35

 benot jacques

L Astre Blue
Ballpen and collages on pattern-making paper
(2005)

49

drawing 33-64.indd 49 01/09/2007 09:53:38

 benot jacques

Je Flipper
Pen and ink on paper
(2005)

50

drawing 33-64.indd 50 01/09/2007 09:53:39

 benot jacques

51

drawing 33-64.indd 51 01/09/2007 09:53:41

 marvin jordana

King Pain, under 59 & 110 Freeway by Diverse

Works, Houston
Marker, oil, coloured pencil
(2005)

52

drawing 33-64.indd 52 01/09/2007 09:53:43

 marvin jordana

Cali-Graphy, The Box, Los Angeles

Charcoal
(2005)

53

drawing 33-64.indd 53 01/09/2007 09:53:45

 marvin jordana

Scroll, 1st Street Bridge, East Los

Angeles
Charcoal
(2004)

54

drawing 33-64.indd 54 01/09/2007 09:53:47

 naomi kashiwagi

Of course it would have worn out

sooner or later
Pen, manuscript paper, piano
(2005)

55

drawing 33-64.indd 55 01/09/2007 09:53:49

 hew locke

Hemmed in Two Luckman Version

Cardboard, acrylic, marker pen, wood, mixed media
(2004)

56

drawing 33-64.indd 56 01/09/2007 09:53:50

 james madden

Sentinel
India ink on paper
(2002)

57

drawing 33-64.indd 57 01/09/2007 09:53:52

 marco maggi

Manual to Settle Sediments

(a drawing biography)
H9 lead on paper
(2003)

58

drawing 33-64.indd 58 01/09/2007 09:53:54

 marco maggi

59

drawing 33-64.indd 59 01/09/2007 09:53:55

 jordan mckenzie

Untitled: Die
MDF, pastel, graphite
(2002)

60

drawing 33-64.indd 60 01/09/2007 09:53:57

 jordan mckenzie

61

drawing 33-64.indd 61 01/09/2007 09:53:58

 jordan mckenzie

62

drawing 33-64.indd 62 01/09/2007 09:53:59

 jordan mckenzie

63

drawing 33-64.indd 63 01/09/2007 09:54:00

 ming-hui chen

Brewed Ink Tar (2002)

64

drawing 33-64.indd 64 01/09/2007 09:54:01

 ming-hui chen

65

drawing 65-96.indd 65 01/09/2007 09:56:06

 paul noble

Sea V The Carnival Between

Pencil on paper
(2005)

66

drawing 65-96.indd 66 01/09/2007 09:56:16

 paul noble

Ye Olde Ruin Pencil on paper (20045)

67

drawing 65-96.indd 67 01/09/2007 09:56:17

 john oconnell

Landscaping
Super 8 mm film stills
(2005)

68

drawing 65-96.indd 68 01/09/2007 09:56:19

 john oconnell

69

drawing 65-96.indd 69 01/09/2007 09:56:20

 cornelia parker

Explosion Drawing Charcoal, sulphur, saltpetre (2001)

70

drawing 65-96.indd 70 01/09/2007 09:56:21

 cornelia parker

71

drawing 65-96.indd 71 01/09/2007 09:56:24

 cornelia parker

Subconscious of a Monument
Soil excavated from beneath the Leaning
Tower of Pisa, wire
(2005)

Pornographic Drawing
Ink made from dissolving video tape
(confiscated by HM Customs & Ex-
cise) in solvent
(2005)

72

drawing 65-96.indd 72 01/09/2007 09:56:27

 charles poulsen

27th January 2006, two

Wax stick and black gouache, on Fabriano
(2006)

73

drawing 65-96.indd 73 01/09/2007 09:56:28

 matthew ritchie

Installation view of the Elector Series, at Portikus, Frankfurt-am-Main, Germany Mixed media (2005)

74

drawing 65-96.indd 74 01/09/2007 09:56:30

 matthew ritchie

Elector Anne IX
Ink on Denril
(2005)

75

drawing 65-96.indd 75 01/09/2007 09:56:31

 annette robinson

Kinder Drawing series

Tracing paper, drafting film, gel pen, pen and ink
(2005)

76

drawing 65-96.indd 76 01/09/2007 09:56:32

 annette robinson

77

drawing 65-96.indd 77 01/09/2007 09:56:34

 ugo rondinone

FUENFZEHNTERJUNIZWEITAUSENDUNDDREI Ink on paper, wooden frame (2003)

78

drawing 65-96.indd 78 01/09/2007 09:56:36

 ugo rondinone

NEUNUNDZWANZIGSTERJULIZWEITAUSENDUNDZWEI Ink on paper, wooden frame (2002)

79

drawing 65-96.indd 79 01/09/2007 09:56:38

 anne-marie schneider

Vertige dAmour
Graphite on paper
(2005)

80

drawing 65-96.indd 80 01/09/2007 09:56:40

 anne-marie schneider

81

drawing 65-96.indd 81 01/09/2007 09:56:41

 anne-marie schneider

82

drawing 65-96.indd 82 01/09/2007 09:56:43

 anne-marie schneider

83

drawing 65-96.indd 83 01/09/2007 09:56:45

 david shrigley

Untitled Ink on paper (2005)

84

drawing 65-96.indd 84 01/09/2007 09:56:47

 david shrigley

85

drawing 65-96.indd 85 01/09/2007 09:56:48

 david shrigley

86

drawing 65-96.indd 86 01/09/2007 09:56:49

 barthlmy toguo

The Lovers Bed II

Watercolour on paper
(2004)

87

drawing 65-96.indd 87 01/09/2007 09:56:51

 stephen walter

The Suburban Isles (Similands)

Pencil on paper collage
(20045)

88

drawing 65-96.indd 88 01/09/2007 09:56:52

 stephen walter

Detail 2 Throw Away After Use, A London Town Pencil on paper (20024)

89

drawing 65-96.indd 89 01/09/2007 09:56:54

 stephen walter

Detail 3 Once Upon A Time There was a Land

Covered in Forest, Then There was a City, Then
a Suburbanite Thinking About Trees
Pencil on paper
(20024)

90

drawing 65-96.indd 90 01/09/2007 09:56:57

 monika weiss

Lethe Room: View of the installation at the Lehman College Art Gallery
Plaster, metal, wood, motor, crayons, pigment, paper, the artist
(2004)

91

drawing 65-96.indd 91 01/09/2007 09:56:59

 sarah woodfine

The Garden Pencil on paper in perspex box (2005)

92

drawing 65-96.indd 92 01/09/2007 09:57:01

 sarah woodfine

Untitled (Castle)
Pencil on paper in snow dome
(2005)

93

drawing 65-96.indd 93 01/09/2007 09:57:03

 edwin wurm

Spanish/American table of conspiracy Pen and paper (2003)

94

drawing 65-96.indd 94 01/09/2007 09:57:05

 edwin wurm

The Idiot
Pencil and paper
(2003)

95

drawing 65-96.indd 95 01/09/2007 09:57:06

drawing 65-96.indd 96 01/09/2007 09:57:07
 artwork details
page 2 2003 Pirouette drawing from a series performed simultane-
Anna Barriball 72 x 330 x 312 inches overall ously by 52 dancers
Black Wardrobe Graphite powder on watercolour paper
Tape on wardrobe page 7 2001
2003 Julie Brixey-Williams 21 x 29.6 cm
177.8 x 70 x 40 cm locationotation: Deborah Kay Ward, in Front Room,
Installation View Frith Street Gallery, London 2003 Islington, London N1, 11.30 am on Sat 9th June 2001 page 10
Saatchi Collection Pirouette drawing from a series performed simultane- Julie Brixey-Williams
Courtesy the artist and Frith Street Gallery, London ously by 52 dancers locationotation: Brenda Hawkes, on a Tiled Floor, in the
Photographs Stephen White Graphite powder on watercolour paper Kitchen, Ealing W13, 11.30 am on Sat 9th June 2001
2001 Pirouette drawing from a series performed simultane-
page 3 21 x 29.6 cm ously by 52 dancers
Anna Barriball Graphite powder on watercolour paper
One Square Foot VI page 8 2001
Pencil on paper Julie Brixey-Williams 21 x 29.6 cm
2002 locationotation: Abigail Salisbury, in Kensal Green
30 x 30 cm Cemetery, 11.30 am on Sat 9th June 2001 page 11
Courtesy the artist and Frith Street Gallery, London Pirouette drawing from a series performed simultane- Julie Brixey-Williams
Photographs Stephen White ously by 52 dancers locationotation: Joe Ballantyne, on the Pavement, by the
Graphite powder on watercolour paper Bus Stop, Newham Grange Road, Cambridge, 11.30
page 4 2001 am on Sat 9th June 2001
Nayland Blake 21 x 29.6 cm Pirouette drawing from a series performed simultane-
Untitled ously by 52 dancers
Charcoal on paper Julie Brixey-Williams Graphite powder on watercolour paper
2000 locationotation: Niki McCretton, on the Managers Desk at 2001
48 x 38 inches the Tacchi-Morris Arts Centre,Taunton, Somerset, 21 x 29.6 cm
Nayland Blake 11.30 am on Sat 9th June 2001
Courtesy Matthew Marks Gallery, New York Pirouette drawing from a series performed simultane- Julie Brixey-Williams
ously by 52 dancers locationotation: Beccy Birchill, on a Lino Floor, in the Warm-
page 5 Graphite powder on watercolour paper Up Studio, Harbour House, Kingsbridge, Devon, 11.30
Nayland Blake 2001 am on Sat 9th June 2001
Untitled 21 x 29.6 cm Pirouette drawing from a series performed simultane-
Graphite on paper ously by 52 dancers
2005 page 9 Graphite powder on watercolour paper
12 x 9 inches Julie Brixey-Williams 2001
Nayland Blake locationotation: Mel Shearsmith, on Grass, Inside a Bamboo 21 x 29.6 cm
Courtesy Matthew Marks Gallery, New York Pyramid next to Clifton Observatory, Bristol, 11.30 am
on Sat 9th June 2001 pages 1215
page 6 Pirouette drawing from a series performed simultane- Javier Cambre
Astrid Bowlby ously by 52 dancers Another Night in Rented Rooms
Chrysanthemum 2 Graphite powder on watercolour paper Graphite on paper
Cut paper 2001 2003
2006 21 x 29.6 cm 30.5 x 30.5 cm
180 x 360 x 72 inches overall Collection of Jorge Bared
Julie Brixey-Williams
Astrid Bowlby locationotation: Susan Bowman, on a Tiled Floor, in the page 16
On Some Far: Detail Kitchen, Ealing W13, 11.30 am on Sat 9th June 2001 Louise Clarke
Ink on cut paper Feather Light

97

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 drawing now
Dip pen and ink the artist 2003
2005 Courtesy Jay Jopling/ White Cube, London 21 x 16.5 cm
4 x 3 inches Photograph Stephen White Christoph Fink

page 17 page 24 page 30

Cullinan + Richards artlab Simon Evans Christoph Fink
Savage School Text Type 11, Commemorative Schematic Failing at Living Alone Atlas of Movements, Studies of Continental Europe
Drawing C+J Racing Tapestry for Working Womens Mixed media on paper (bicycle), a selection: movements #6 (Gent-Faro), #7
Club Bar for Shock Workers Kent Whitstable Lydden 2005 (Gent-Genve-Zrich-Gent), #8 (Gent-Den Haag-Gent),
Race Track Courtesy of Jack Hanley Gallery, San Francisco #12 (Gent-Venetia-Gent), #28 (Gent-tour du Mt Blanc-
Watercolour, felt pen, pencil on watercolour paper Gent), #35 (Gent-Etna(-Gent)), #37 (Gent-Pointe de
2006 page 25 corsen-Grenoble-Genve-Gent): Reworked version
21 x 29.7 cm Simon Evans Blue ink on paper
Ideas for New Continents 20003
page 18 Mixed media on paper 357 x 41.5 cm
Angela Eames 2004 Christoph Fink
Making It Up Ink 41.3 x 35.6 cm
Inkjet print on canvas on stretcher Courtesy of Jack Hanley Gallery, San Francisco page 31
2004 Christoph Fink
154 x 154 cm page 26 Atlas of Movements, Movement 35 (Gent-Etna (-Gent)):
Brian Fay detail: Reworked version
page 19 Woman Meditating after Corot Pencil and ink on paper cut-out detail
Angela Eames Digital drawing on paper 19982003
Making It Up Graphite 2005 46 x 41 inches
Inkjet print on canvas on stretcher Dimensions variable Christoph Fink
2004
page 27 page 32
154 x154 cm
Brian Fay Julia Fish
page 20 Vermeer x 3 [Shadow drawing for] Living Room SouthEast Two
Angela Eames Digital drawing on paper Gouache on paper
Making It Up Biro 2005 2002
Inkjet print on canvas on stretcher Dimensions variable 25 x 22.5 inches
2004
page 28 pages 339
154 x154 cm Maryclare Foa
Christoph Fink
Atlas of Movements, Studies of Continental Europe Manhattan Trace, 31st December 2003, 16 miles approx.
page 21 (18.56 kilometres)
Angela Eames (bicycle), a selection: movements #6 (Gent-Faro), #7
(Gent-Genve-Zrich-Gent), #8 (Gent-Den Haag-Gent), Raw Hertfordshire chalk on New York pavement
Making It Up Charcoal 2003
Inkjet print on canvas on stretcher #12 (Gent-Venetia-Gent), #28 (Gent-tour du Mt Blanc-
2004 Gent), #35 (Gent-Etna(-Gent)), #37 (Gent-Pointe de
page 40
154 x154 cm corsen-Grenoble-Genve-Gent)
Jeff Gabel
Blue ink on paper
Woman with Direct Attitude & no Personality that Likes to
page 22 20003
go Shopping with her Mother
Jacob El-Hanani 357 x 41.5 cm
Pencil on paper
Gauze Christoph Fink
2004
Ink on paper 10.8 x 17.2 cm
page 29
2001
Christoph Fink page 41
Atlas of Movements, Studies of Continental Europe Jeff Gabel
page 23
(bicycle), a selection: movements #6 (Gent-Faro), #7 British Father at 3-yr-olds Birthday Party where Everyone
Tracey Emin
(Gent-Genve-Zrich-Gent), #8 (Gent-Den Haag-Gent), is Drinking Socially
Sexy Dolly
#12 (Gent-Venetia-Gent), #28 (Gent-tour du Mt Blanc- Pencil on paper
Monoprint on paper
Gent), #35 (Gent-Etna(-Gent)), #37 (Gent-Pointe de 2003
2005
corsen-Grenoble-Genve-Gent): Reworked version 15.25 x 21.6 cm
66 x 88.7 cm including frame
Blue and black ink on paper cut-out

98

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 artwork details
page 42 pages 501 H9 lead on paper
Jane Harris Benot Jacques 2003
3:21 Je Flipper 30 x 21 cm
Pencil on Fabriano Pen and ink on paper
2000 2005 pages 603
Private collection 15 x 22 cm Jordan McKenzie
Untitled: Die
page 43 page 52 MDF, pastel, graphite
Susan Hauptman Marvin Jordana 2002
Self-Portrait (La Perla #2) King Pain Under 59 and 110 Freeway by Diverse Works, 190 x 190 x 190 cm
Charcoal on paper Houston
2005 Marker, oil, coloured pencil pages 645
54 x 40 inches 2005 Ming-Hui Chen
Susan Hauptman 122 x 366 cm Brewed Ink
Courtesy of Forum Gallery, New York Tar
page 53 2002
Marvin Jordana 1250 x 1450 x 550 cm
Susan Hauptman Cali-Graphy,The Box, Los Angeles
Self-Portrait (with Branch) Shown at the Pier-2 Art District, Taiwan
Charcoal
Charcoal on paper 2005
2004 page 66
91 x 366 cm Paul Noble
52 x 38 inches
Susan Hauptman Sea V The Carnival Between
page 54 Pencil on paper
Courtesy of Forum Gallery, New York Marvin Jordana 2005
Scroll, 1st Street Bridge, East Los Angeles 300 x 200 cm
page 44 Charcoal Courtesy Maureen Paley, London
Hewitt & Jordan 2004
Work Shy: Collaborative Drawing 91 x 792 cm page 67
Marker pen with stick attached, floor and walls of
Paul Noble
project space page 55
Ye Olde Ruin
2001 Naomi Kashiwagi
Pencil on paper
Of Course it Would Have Worn Out Sooner or Later
20034
pages 457 Pen, manuscript paper, piano
426 x 732 cm
Jon Houlding 2005
Courtesy Maureen Paley, London
The Beginning (Plenum I) 20 x 29 cm
Pen and ink on paper, mounted on two-part wooden pages 689
structure, three felt sandbags, cord page 56
John OConnell
2005 Hew Locke
Landscaping
381 x 121 cm Hemmed in Two Luckman Version
Super 8 mm film stills
Carboard, acrylic, marker pen, wood, mixed media
2005
2004
page 48
Hew Locke and DACS
Dean Hughes pages 701
Photograph Joshua White
A Paper Bag with Some Stickers Stuck Inside It Cornelia Parker
Brown paper bag, adhesive stickers page 57 Explosion Drawing
2006 James Madden Charcoal, sulphur and saltpetre
35 x 30 cms Sentinel 2001
India ink on paper 61 x 61 cm
page 49 2002 Courtesy the artist and Frith Street Gallery, London
Benot Jacques 7 x 4 feet Photograph by Stephen White
L Astre Blue
Ballpen and collages on pattern-making paper pages 589 page 72
2005 Marco Maggi Cornelia Parker
26 x 35 cm Manual to Settle Sediments (A Drawing Biography) Pornographic Drawing

99

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 drawing now
Ink made from dissolving video tape (confiscated by 200 x 300 x 3 cm 2005
HM Customs & Excise) in solvent Private collection, Belgium 25.4 x 30.52 cm
2005 Courtesy Galerie Eva Presenhuber, Zrich
61 x 61 cm David Shrigley
Courtesy the artist and Frith Street Gallery, London page 79 Untitled
Photograph Stephen White Ugo Rondinone Ink on paper
NEUNUNDZWANZIGSTERJULIZWEITAUSENDUNDZ- 2005
Cornelia Parker WEI 25.4 x 31.32 cm
Subconscious of a Monument Ink on paper, wooden frame
Soil excavated from beneath the Leaning Tower of 2002 page 86
Pisa, wire 200 x 300 cm David Shrigley
2002 Collection Milgrom, Melbourne Untitled
Dimensions variable Courtesy Galerie Eva Presenhuber, Zrich Ink on paper
Installation view, RIBA London, 2005 Sadie Coles HQ, London 2005
Courtesy the artist and Frith Street Gallery, London 25.4 x 31.32 cm
Photograph Stephen White pages 803
Anne-Marie Schneider David Shrigley
page 73 Vertige dAmour Untitled
Charles Poulsen Graphite on paper Ink on paper
27th January 2006,Two 2005 2005
Wax stick and black gouache on Fabriano 11 78 x 8 inches 25.4 x 22.83 cm
2006 All images are courtesy of the artist and Tracy Wil-
94 x 94 cm liams, Ltd, New York page 87
Barthlmy Toguo
page 74 The Lovers Bed II
page 84
Matthew Ritchie Watercolour on paper
David Shrigley
Installation View of the Elector Series at Portikus, 2004
Untitled
Frankfurt-am-Main, Germany 112 x 110 cm
Ink on paper
Mixed media
2005
2005 page 88
25.4 x 30.47 cm
Matthew Ritchie Stephen Walter
Courtesy Andrea Rosen Gallery, New York The Suburban Isles (Similands)
David Shrigley Pencil on paper collage
page 75 Untitled 20045
Matthew Ritchie Ink on paper 75 x 99 cm
Elector Anne IX 2005
Ink on Denril 25.4 x 30.49 cm page 89
2005 Stephen Walter
30.48 x 22.86 cm David Shrigley Detail 2 Throw Away After Use, A London Town
Matthew Ritchie Untitled Pencil on paper
Courtesy Andrea Rosen Gallery, New York Ink on paper 20024
2005 101 x 153 cm
pages 767 25.4 x 30.44 cm
Annette Robinson page 90
Kinder Drawing series page 85 Stephen Walter
Tracing paper, drafting film, gel pen, pen and ink David Shrigley Detail 3 Once Upon a Time There was a Land Covered
2005 Untitled in Forest,Then There was a City,Then a Suburbanite
21.8 x 29.7 cm Ink on paper Thinking About Trees
2005 Pencil on paper
page 78 25.4 x 22.83 cm 20024
Ugo Rondinone 100 x 75 cm
FUENFZEHNTERJUNIZWEITAUSENDUNDDREI David Shrigley
Ink on paper, wooden frame Untitled page 91
2003 Ink on paper Monika Weiss

100

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 artwork details
Lethe Room: View of the Installation at the Lehman 2005 page 94
College Art Gallery 17 x 85 x 16 cm Edwin Wurm
Plaster, metal, wood, motor, crayons, pigment, paper, Courtesy Danielle Arnaud contemporary art Spanish/American Table of Conspiracy
the artist Pen and paper
2004 page 93 2003
92 x 125 x 60 inches Sarah Woodfine 29.7 x 21 cm
Untitled (Castle)
page 92 Pencil on paper in snow dome page 95
Sarah Woodfine 2005 Edwin Wurm
The Garden 38 x 38 cm The Idiot
Pencil on paper in perspex box Courtesy Danielle Arnaud contemporary art Pencil and paper
2003
29.7 x 23 cm

101

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drawing 97-102.indd 102 01/09/2007 09:59:02