DescriptionThis one-day symposium examines the interrelationships of drawing and engaging with sites of history and narrative. At the heart of this will be drawing as an embodied act, drawing in the expanded field, variable in definition, and as both individual and collective processes. Exploring expanded drawing methodology through connecting and curating of sites’ narrative and histories might involve capturing textures, vistas, traces, movement of history and narrative. How does drawing engage with histories and narratives of sites? What does processes of methods of drawing reveal from a particular site or place? What is the relationship of the final work to a site’s history or narrative? How is history and narrative defined?
My abstract and paper presentation title: – ‘Drawing with archaeological excavation and communicating with past landscapes in a post-digital epoch’ (Gant,S. 2022) was one of 16, peer selected from an open, international call, from practitioners, art historians and theoreticians.
Three keynote presentations by Anita Taylor, practicing artist, Dean, Duncan of Jordanstone College of Art & Design at University of Dundee, founder and director of Jerwood Drawing (now Trinity Buoy Wharf Drawing Prize) and founder director of Drawing Projects UK, Deanna Petherbridge (CBE), a practicing artist, curator and writer of The Primacy of Drawing: Histories and Theories of Practice, published June 2010, Layla Curtis, a practicing artist and founder of Edgework, an artist-led, online store and multidisciplinary journal with a focus on place.
|2 Sept 2022
|University of Huddersfield, United Kingdom
|Degree of Recognition
- contemporary drawing
Documents & Links
Provenance Illusions and Elusive Paradata: When Archaeology and Art/Archaeological Practice Meets the Phygital
Research output: Contribution to Journal › Article › peer-review