The Jerwood Drawing Prize is the largest and longest running annual open exhibition for drawing in the UK, originally established in 1994. The exhibition aims to promote and reward excellence and talent in contemporary drawing practice through the support and recognition of the work of all artists in the field of drawing, including that of established artists and that of emerging artists engaged in the discipline of drawing. The exhibition is open to all artists resident or domiciled in the UK, and works are submitted through the regional collections centres in Cardiff, Cheltenham, Edinburgh, Falmouth, Manchester and London.
The context for the original development of the exhibition was the debate around the nature, value, status and representation of drawing as a contemporary practice and within art education in the early 1990s. The open drawing show has been developed as a forum to test, evaluate and disseminate current drawing practice and has encompassed and informed debates, both in current practice and in education.
As a project it has been firmly established within the heart of an art school since 1994, where the research and academic ethos provides an immediate forum for questioning the value of drawing today, and engendering dialogue and debate around the subject. The reach of the project is more tangible than could be imagined at the outset, where it set out to see who was drawing, what kinds of drawing were being made, and to provide a regular opportunity to show this work, selected by a distinguished and independent panel each year.
The number of artists submitting work, and the coaches of students arriving at the Jerwood Space and each venue every year testify to the interest and focus of many established and emerging artists on the role of drawing within their practice, be it exploratory, affirmative, generative, transformative, or summative. The visitor numbers on the tours also testify to the popularity of the exhibition with a wider audience.
The administrative centre for the exhibition is based at Wimbledon College of Art, one of London's outstanding specialist art schools. The project is delivered through the working partnership of Wimbledon College of Art and the Jerwood Charitable Foundation.
Application forms for the Jerwood Drawing Prize 2009 are now closed. Please visit: www.jerwooddrawingprize.org for further information.
The selection panel for the Jerwood Drawing Prize 2009 is Tania Kovats, Artist; Roger Malbert, Senior Curator, Hayward Touring Exhibitions, South Bank Centre; Nicholas Usherwood, Writer, Art Critic & Curator.
announce the 66 artists shortlisted for the Jerwood Drawing Prize 2009, which
includes a first prize of £6,000, a second prize of £3,000, and two student awards of
£1,000 each.
Group meeting:
Workshop reflective plan
- Look into 3 artist of general interest
- Choose one of those artists most interested in and make a slightly more in depth investigation on them
- Possibly if time make each choice different in terms of
o Drawing as a process/main body generator (conventional)
o Drawing as a main body of a working practice (conventional)
o Drawing as a generator or main body (unconventional)
Prepare this for individual choice of interest in a proposal to the rest of the group [include visual references].
This way it should help us establish a common interest of choice with a bit of research already founded to continue our investigation with.
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ReplyDeleteOK so from this lecture at the Jarwood space we astablished that matirials used to create drawings are not nessaserally fixed to pen n pencil on paper. from that exabition alone there was (massve list coming up)....
ReplyDeletecharcole, pen, ink, pencil, enamal, thread, water colour, cut steel, film anermation (stop motion), earth, cutting, hole punching, paper, card, pins, newspaper, diarypage, £10 note, bone (there are probably others but thats what i have)
Not only was there a wide range of matirials but also subject matter (another list cummin up)...
repitition, giometry, city scapes, obsessive detail, war, changing landscape, narative i.e family, impromtue/ spontaniouse
we discussed the way the exabition was displayed. the fact that the artist had compleat controle of how there work was exibited everything was hung at the qweens eyeleval and 90% of the work was behind glass and framed. why do we think that is?? is it because it maes the work more profesional? or is it to give the work perspective?? or something else? (discuss?)
things that came up were..
the pins. the idea and consept behind the work making it a drawing without that it is just
pins stuck in paper.
printing. the fact that it is mono crome with paper left showing threw justafys it as a drawing.
film. that the hat being unravaled in the film was a line.
oils. that the mark make was qwick and gestural
HOW was line used?
it was used to sugest shape, light n dark, measurement, decoration and pattern
We also breifly looked at the idea of text and how text can be a drawing and can change the context of an image different words have diferent meanings for example if ther is an image of a mouth and next to it is the word love it would have totaly different conotations if next to it was writen the word deseet.
'words become drawings drawngs become words' karan said that i think.
thats all the notes i have from the discussion i hope thats ok love ya all emxxxxx
interesting blog. It would be great if you can provide more details about it. Thanks you.
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