I visited several shows in New York this past week, but I have decided to focus on only two as they share similar themes with my own work: Signs of Life at Templon Gallery and Arbitrary Order at Alexander Gray Associates.
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The Drawing Marathon, part 2
I introduced The Drawing Marathon in my last post. Click here to read it.
On the first day, we drew 10 22” x 22” drawings. We chose a model, drew his/her head 10 times and described the space it held and was held in. My classmates and I thought that was a lot of drawings of heads. Little did we know that would be the focus for the following two weeks.
The Drawing Marathon offered many challenges. Drawing all day, cutting heavy paper that just wanted to curl, gluing sheets together, stapling giant pieces of paper onto walls, getting charcoal everywhere, using a wall rather than an easel (made a complete 180 to study the models)… The most frustrating challenge, however, was mental. Instead of focusing on space and composition, I often obsessed over likeness. I felt compelled to concentrate on facial features rather than the over all composition. Self conscious, I wanted to prove that I could draw “well”. It was a huge distraction.
During one of the critiques Graham argued that most artists can be separated into two groups: “image makers” and “image searchers”. Picasso was an “image maker”. Cezanne was a “image searcher”. I am interested in exploring this concept… if you have any resource suggestions or opinions of your own, please share in the comments below.
Prior to the Drawing Marathon, I struggled with how to start. I thought it was essential to begin with a specific idea or concept. Working without a plan seemed frivolous or half assed. I was wrong. A drawing is legitimate even if its story is not apparent when the process begins. In other words, a work is no less powerful if its meaning is uncovered after the work has already begun.
The biggest surprise and greatest growth opportunity was the night I volunteered myself to demonstrate the next day’s assignment (draw a crowd using the the 10 heads we drew over the weekend) in front of the entire class. I had no idea what I was getting into. At most, I thought I would be sticking a couple of small drawings onto a larger piece of paper with tape and drawing a few planes and shapes to create the groundwork for a composition.
I was incorrect. After somewhat haphazardly throwing my 10 heads onto the massive blank sheet of paper, I waited for Graham’s instructions. Comfortably wearing jeans, a long sleeve shirt, and a jean jacket, I had no idea I was about to draw vigorously across the sheet and nervously build a sweat for the next hour. Graham told me to redraw several of the heads 2-4x their size, add figures, hands and feet. I ran out of charcoal almost immediately. The TA’s helped me flip the drawing upside down two different times as directed. By the time I was finished, I had drawn for at least an hour in front the whole class. Prior to that I had never drawn in front of another person for more than 5 minutes.
The activity boosted my confidence and opened the possibility for play… even with people staring at me… (and, at least in my head, judging me).
Graham and his TA’s suggested I look closely at the work of Edvard Munch, Johannes Vermeer, Max Beckmann, Emile Nolde, van Gogh, Henri Matisse, and Francis Bacon. Over the next few weeks, I will reading about their work and sharing the highlights on the blog.
Reading:
Ninth Street Women, Mary Gabriel
Listening:
Peter Plagens: Artist-Slash-Critic, Glasstire
Watching:
William Kentridge – ‘Art Must Defend the Uncertain’ | TateShots
Introduction to the Drawing Marathon
For two weeks in June I participated in the Drawing Marathon at the New York Studio School and drew all day, every day. I woke up around 6AM, drank coffee, put on black clothes (essential for charcoal) and took the subway to the New York Studio School to draw until 6PM. At 6:30PM, our class met for critique. Around 8 or 9PM, class was dismissed. M-F, this was my routine. It was intense to say the least.
Our teacher and dean of the school Graham Nickson founded the Marathon programs in 1988. Since then, marathons have become a main component of the New York Studio’s MFA program. While NYSS offers a several types of “marathons”, the Drawing Marathon is the “original”. The course challenges students to engage with drawing as both a physical and cerebral activity.
Each Drawing Marathon is different based on what Graham feels is most appropriate. I met a few students who had participated in the program 8+ times. One marathon involved a bunch of umbrellas. Another, a miniature toy horse. In this summer’s session, we focused on the head as a means of understanding scale, space and depth.
A few days out and back in Houston, I’m still in a bit of daze. I got caught up in the city’s energy. Go, go go! Drawing, drinking, walking, looking at art, and meeting people. Now, I have a New York hangover. While I digest everything and catch up on sleep, read a much more well written New York Times article about the Drawing Marathon by Sarah Boxer.
Reading:
“Jerry Saltz on ’93 in Art”, Jerry Saltz, New York Magazine
Ninth Street Women, Mary Gabriel
“Probing the Proper Grounds for Criticism in the Wake of the 2019 Whitney Biennial”, Seph Rodney, Hyperallergic
Listening:
#188: Digital Minimalism, Cal Newport, 10% Happier with Dan Harris
Watching:
At Eternity’s Gate (2018)
On the Basis of Sex (2018)