Rose montgomery whicher

What are cookies? To find out more about web accessibility, and the accessibility features of this site, please visit our web accessibility page. Journal subscribers libraries and organisations. What drawing is remains a background question to the articles in this issue which look at the status of drawing in art practice and education, the impact of digital technology, and drawing as an educational tool. Accessibility options You can change the contrast and text size on this website. Default contrast.

High Contrast. Low Contrast. Font size. Small font size. Default font size. Since the invention of photography in the 19th century, new technologies continue to challenge the monopoly drawing once had in depicting visual experience and composing visual images. The place of drawing in fine art has also changed: already subservient to painting, printmaking and sculpture, drawing now appears to have been 1. Rose Montgomery-Whicher - Engage.

Unframing Vision Drawing in a technological age Rose Montgomery - Whicher Research affiliate at the Institute for the Humanities, University of Manitoba, Canada Word count: Pages: 11 In the tradition of Western art, skill in drawing has been considered central to education in art and design.

The place of drawing in fine art has also changed: already subservient to painting, printmaking and sculpture, drawing now appears to have been 1 marginalized by new image-making technologies, particularly digital technologies, and by increasing use of non-traditional media. These developments call into question the once close relation between art, design, and drawing.

Practitioners, philosophers, art historians, curators and educators are compelled to ask whether conventional practices of drawing are threatened by new technologies, and perhaps more importantly, whether the demise of these practices may imply a loss of particular ways of thinking, of seeing, and of being in relation to the world and to others. In this article, I want to examine the strength of drawing as a marginal practice, suggesting that the enduring significance of drawing and by implication its significance in art and design education is to be found in the ways in which it differs from dominant practices and media in contemporary culture.

Surrounded by modes of communication and image-making which are fast, virtual, and relatively easy, drawing seems a remarkably slow, cumbersome, and difficult way to make a visual image; mastery requires effort, skill, focused attention and much practice. These ways of thinking about practice illuminate questions of skill, work and pleasure, and provide a means of reconsidering the personal and pedagogical significance of drawing in a technological age. Practice conceived as to practice is a means to an end.

The end is mastery. Accordingly, a reasonable degree of competence in drawing, if not mastery, is attainable by those who are willing to practice. The point of course is that devoting that much time to disciplined drawing practice is not so simple!

Yet, the statement is provocative, for it implies that practice, rather than talent, may be the crucial factor in determining artistic success.

In contrast to the popular belief that drawing is a mysterious ability accessible to only the talented few for whom it is relatively effortless, an emphasis on practice conceives of drawing as a teachable skill, making drawing accessible to all, if they are willing to work at it. Numerous artists and art educators support this view of practice. I liked it there, because I took along a sketch pad and drew incessantly. I think I provoked situations so that professors would punish me.

I was isolated and no one bothered me drawing, drawing, drawing. I could have stayed there forever drawing without a stop. No matter how accomplished his youthful work appeared to be by conventional standards, he knew that the expressive potential of his drawing would continue to develop if he worked at it.

We can imagine that for the teenage Picasso, the experience of drawing, alone, in the bare, whitewashed room, accentuated the quiet attentiveness of drawing, the delight of watching the image take shape on the paper. It is not only accomplished artists who speak of the experience of drawing as pleasurable, fulfilling and necessary for its own sake.

A young man who owns a hairdressing business at which he works full time, devotes as much time as possible to drawing and painting. But for me, the actual process is at least as important as the finished work. To me, the important thing is to have had the experience. What Nicolaides, the hobbyist and the hairdresser share with accomplished artists such as Picasso is an orientation to drawing that conceives of practice as a life-long activity.

This more inclusive conception of practice permits them to acknowledge a rich layer of lived meaning which lies below the surface of instrumental orientations to drawing practice in the service of mastery or preparation for other works.

While each of these people engages in drawing as a means to an end, such as developing their drawing skills, or planning the composition of a painting, they think of each act of drawing as part of a life-long practice, so that, in addition to mastering and maintaining skills and producing works of art, each experience is meaningful in itself.

Or, more accurately, in addition to their enjoyment of the experience of drawing, these artists and hobbyists develop skills and produce works of art. Thus drawing as a practice is a way of thinking about drawing which seems to be more inclusive than thinking of drawing practice primarily to practice skills or to do preparatory work for the production of works of art. For those who engage in drawing as a practice, the means and ends of drawing merge in the experience of ongoing work.

These include: going for walks, playing with children, mentoring young people, caring for the sick, for plants and for animals. Some of these practices have become professional activities, such as teaching or nursing. In virtue of being professionalized, some non-rationalized practices seem to be rationalized: one can take courses, earn degrees, and belong to professional societies.

Nevertheless, what is at the heart of the professions of teaching or nursing is a non-rationalized impulse to mentor young people or to care for the sick. Drawing is humble, modest, marginal. Consider the following instances: 4 The snow has finally melted in this Canadian city, and for the first time in months it is warm and sunny. Children are making chalk drawings and hopscotches on the sidewalks, colourful counterparts to the crocuses that have just sprung up in the lawns.

While going for a walk in the welcome coolness of the early morning, a visitor to south India discovers intricate, geometric mandalas, drawn in chalk in front of the doorways of some homes and shops.

OCLC does not sell books and the actual content is not provided in our database. Libraries add bibliographic records to WorldCat representing books and other items in their collections. The Classify prototype helps librarians apply classification numbers to resources in library collections. Your local library may be able to help you gain access to a resource found through Classify and WorldCat.

Classification schemes are used to provide a systematic arrangement of materials. The classification numbers applied to books and other materials are used to arrange items on shelves and to support browsing, filtering and retrieval of bibliographic information in online systems.

The Classify prototype is designed to help users apply classification numbers. Classify provides a user interface and a machine service for assigning classification numbers and subject headings. The database is searchable by many of the standard numbers associated with books, magazines, journals, and music and video recordings.

Learn More About Classify. Enter ISBNs with our without hyphens. Title: Author:. Editions Displaying 1 to 7 of 7. Displaying 1 to 7 of 7.