Recently I posted about our family of New York Studio School influences, and Tina Kraft. I found a few more drawings that show aspects of a process that changed the way I draw.
These portrait sketches by Tina Kraft demonstrate a technique of using marks to activate the white paper. The marks are both in and around the head, describing the figure as well as the space around it, even the process of drawing itself. By jumping from mark to mark we learn the relationship of one point to another: the eyebrow to the mouth, the mouth to the shoulder. Our eyes are invited to follow the artist as she touches the back of the head, then touches the wall, then comes back to the head. By following her pathway of observations we learn about the space and the surface. Some marks are points to locate on objects, some are imaginary measurements that float like spider silk between elements, relating the subject to the act of drawing as observation (verb) to the physical drawing itself (noun). For all the space and form and curious searching that they describe, they also remind us that they are marks on flat paper.
This first image was from the ‘Transience and Eternity’, Angie Dixon’s exhibition at Foster/White in the 1990’s. It was a combination of installation and paintings. It was about creation and the formation of everything before it becomes tangible. The paintings were meant to be of the actual tangible results of the creative formation. The installation …
Art 21 by Michael Neault | Jan 7, 2013 Ilya Repin, “Unexpected Visitors” (or “They Did Not Expect Him”), 1884-1888. Oil on canvas. 63.19 x 65.95 in. The Tretyakov Gallery, Moscow, Russia. When you approach a painting in a gallery, it feels like you’re looking at the entire piece all at once, but what your …
William Kentridge is a South African artist best known for his prints, drawings, and animated films. These are constructed by filming a drawing, making erasures and changes, and filming it again. Below are several short videos by Kentridge with a focus on philosophy and his process. Click here for a selection of longer works. The first …
THIS WEEKEND! Printmaker’s Show Reception: Saturday March 23, 5:00-7:00 Show Open: Saturday, March 23, 11:00-7:00 Saturday, March 24, 11:00-5:00 Seattle Artist League 10219 Aurora Ave N, Seattle, WA 98133 Come by this weekend to see monotypes, drypoints, woodcuts, linocuts, and more, as students and teachers show their stuff at the first annual Seattle Artist League …
Tina Kraft: drawing the head and the wall
Recently I posted about our family of New York Studio School influences, and Tina Kraft. I found a few more drawings that show aspects of a process that changed the way I draw.
These portrait sketches by Tina Kraft demonstrate a technique of using marks to activate the white paper. The marks are both in and around the head, describing the figure as well as the space around it, even the process of drawing itself. By jumping from mark to mark we learn the relationship of one point to another: the eyebrow to the mouth, the mouth to the shoulder. Our eyes are invited to follow the artist as she touches the back of the head, then touches the wall, then comes back to the head. By following her pathway of observations we learn about the space and the surface. Some marks are points to locate on objects, some are imaginary measurements that float like spider silk between elements, relating the subject to the act of drawing as observation (verb) to the physical drawing itself (noun). For all the space and form and curious searching that they describe, they also remind us that they are marks on flat paper.
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This first image was from the ‘Transience and Eternity’, Angie Dixon’s exhibition at Foster/White in the 1990’s. It was a combination of installation and paintings. It was about creation and the formation of everything before it becomes tangible. The paintings were meant to be of the actual tangible results of the creative formation. The installation …
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Art 21 by Michael Neault | Jan 7, 2013 Ilya Repin, “Unexpected Visitors” (or “They Did Not Expect Him”), 1884-1888. Oil on canvas. 63.19 x 65.95 in. The Tretyakov Gallery, Moscow, Russia. When you approach a painting in a gallery, it feels like you’re looking at the entire piece all at once, but what your …
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William Kentridge is a South African artist best known for his prints, drawings, and animated films. These are constructed by filming a drawing, making erasures and changes, and filming it again. Below are several short videos by Kentridge with a focus on philosophy and his process. Click here for a selection of longer works. The first …
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