Works & Information: Robin Rhode

Perry Rubenstein Gallery: Robin Rhode

http://www.perryrubenstein.com/artists/robin-rhode/video/promenade/

Synopsis and interviews with Robin Rhode / Leif Ove Andsnes on 'Pictures Reframed' 2009 

http://www.picturesreframed.com/project

                                

 

A line of enquiry through digital practice on drawing in contemporary art

If conventional drawing is with a pen/cil/stick tool applied to making marks on a canvas - ok??? then physical act of replicating this sensation of drawing with application of Laser tagging/grafitti, could this be said an act of drawing???
if so how far does this concept go with changing the tools and mediums????

some argue that writing is simply writing and not a means of drawing visual symbols [visual language] that inform [or translate] a written and spoken language.... So if that is the case how would writing a code or formula to design/record a traceable made mark within or to a canvas realistically or virtually be a way drawing???

Can you write visual language as you could draw spoken language?

http://www.wired.com/gadgetlab/2007/02/paint_whole_bui/

Paint Whole Buildings with Light Graffiti

• By Rob Beschizza  February 21, 2007  |  1:04 pm  |  Categories: R&D and Inventions

The Graffiti Research Lab takes a laptop, projector, a high-resolution camera, and a 60 megawatt green laser, and decides to do something cool with it. The rest of the story might speak for itself, but to believe it, it must be seen: astonishing laser-guided light-graffiti that covers entire buildings.

The L.A.S.E.R. Tag installation, stashed in the back of a van or upon a cart, aims the camera on the target surface and tracks the laser pointer’s movement over it. It then uses the high-powered DLP projector to paint the traced image.

The sad thing is that most will use it to slash out tags rather than do anything creative with it. I know, deep down, that my first personal experience of this technology will likely be seeing the name “SUB” projected onto Canary Wharf as my train rolls into London’s Liverpool St. Station.

Thankfully, the system looks kinda complicated and expensive to set up (it’s open-source!), which, one hopes, may encourage more scenes from classic video games. The how-to is here.

Watch the video past the jump.

L.A.S.E.R. Tag [Graffiti Research Lab via Pop Science]

the line

paula has pretty much hit the nail on the head with what il be doin but just to clarafy i will be looking at how the drawn line is inportant to his work and why that medium in perticular is perfect for the work he does talk a little bit about the conventional asspects of it and reference a few on his works easy peesy maybe throw in a few other artists that draw in the same way will see how many words i cn get loveings emxxxxx

research for group project

Hey Guys,

we've come up with some ideas about the research for the back-up of our group practice:

The actual question was: 

assess the role that drawing plays in the work of the chosen artist and position his drawing practice in light of the ideas discussed in the lectures and the reading.

the artist: Robin Rhode 

the thematic issues are: 

1. to be analyzed by Emma: the role of the conventional drawing in his work; analyze the line, representation (what does he depict), why does he use 'conventional' drawing? what is the purpose of it? 

2. to be analyzed by Johnny: performance (the drawer - the artist, the person/s in the photograph) as a way of drawing in space

3. to be analyzed by me: the interplay between 2D and 3D; the role of objects (basketball, geometric b&w constructivist figures, shovel, vinyl record, etc.) in his drawings, why to use actual objects and not the depiction of them, what consequences/function does it have? 

-assemblage - possible reference

4. to be analyzed by Cat: how does the narrative is conveyed through drawing? Mention the sequences of images (photographs), drawing as a means of telling a story...

-------------------------------------------

i suggest each of us expand her/his point, so that we know what others are writing about...

P.

Johnny, what was the website with mind-mapping software, please?

notes from jarwood drawing prize

OK 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)....

charcole, 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

notes for structure for researching projects: mindmap

Find hyperlinks to artists and notes on topic at the collumn on the right hand side of blogg.

Considered books to extract essay material and notes from : what is drawing, Visual Literacy, vitamin D - New perpectives in drawing, writing on drawing, Jerwood drawing prize2009, The solo project.

Gallery visit & group plan

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. 

 

The Jerwood Charitable Foundation and Drawing Projects UK are delighted to 
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.

 

The winners of the Jerwood Drawing Prize

 

First Prize £6000 

Mit Senoj, a.k.a. Tim Jones

 

Second Prize £3000

George Charman

 

Student Awards £1000

Frances Stacey

Roxanne Goffin

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.

relevant exhibition

hay guys i hope this works i am a virgin blogger but i found this exhibition on in bristol that i think im gonna go 2 didnt no if u guys might be interested let me no ......i might have posted this in the wrong place but oh well i hope u find it lovage emxxxxx

http://www.bristol.gov.uk/ccm/navigation/leisure-and-culture/museums-and-galleries/;jsessionid=44F8B3E10F94219868733537E469439F.tcwwwaplaws3

1st drawing session

Notes: Getting started

1^st Group meeting: 

Getting organised with ideas we had brainstormed:

 Following our introduction lecture we had a discussion based on initial ideas about the modules (The Graphic Act) topic – Drawing; different aspects around the topic and what it may mean within different but relevant areas.

 We brainstormed some of those issues that were raised and spoke about them:

 

The Graphic Act – Drawing:

 

-       Gesture

-       Concept

-       Childhood/Primitive

-       Digital art

-       Text on/in drawing

-       Processing

-       Convention/resemblance

-       Left/right hand side of brain sketching/drawing

-       Research?

 

We then ran through some artist’s names we could maybe identify a connection with these different aspects and ideas of drawing to there practice:

 

-       Robin Rhodes;          Performs live drawings in reaction to his environment, Also draws sequencial still images portraying a moving image and narrative.

-       Richard Long;         making marks/ gesture & emvironment

-       Tracey Emin;         Use of text and light in drawing

Note: Chase up BBC Program early this year based on 2 artists and there use of light 

-        Bruce Nauman; ???

-       Andy Warhol; Use/process of different medias

-       Jean-Michelle Basquet; Sketch & drawing on painting

 

The group is to choose an artist -  As we are undecided at early stages we decide to have a group meeting and workshop drawing session to help reveal or promote a common interest.

 

To get us started we brainstorms ways to encourage draw and how we might go about it:

 

-       Start of with a stream of conscious/unconscious drawing – (nothing to focus on really) just what is in our minds at the time and impressions from our workshop environment.

-       Employ music and draw to that

o     Classical (emotional & fluent sounding)

o     Contempory drum and bass (Heavy and rigid sounding)

 

-       Employ a projector

o     Still images

o     Moving images

 We would take photographs and video record most of our (relevant) activity.

 

Plans for our 1st meeting - Drawing workshop:

I. We agreed that practice comes before theory. Therefore we're planning to have a few drawing sessions to see what we are into as a group and individuals. 

As we go, we'll be adjusting the sessions to our current needs and problems.

 

Next session - on Monday, possible exercises: stream of consciousness, drawing without looking, drawing to music, photographing the images, recording the session/images, ... what else ?

The booking of a drawing room is in progress. 

II. We also discussed how drawing can be experienced /analyzed. 

a. Drawing as a gesture; where the stress is on artist's body - the activity

b. concept as a drawing - conceptual approach, drawing as an outcome of thought 

c. text as a drawing - using letters and fonts to create images

d. line drawing - drawing concerned just with line, (not shade, volume, not physical properties of a drawn image)

any other?

Also we've got some tasks to complete:

Paula: double check if the drawing room has been booked

Paula, Emma, Cat, Johnny: think about what we can do on Monday- how to get the most of it?

Emma and Paula: bring paper for Monday

Emma, Johnny, Cat, Paula: bring materials - charcoal, pencils, marker pens, graphite, clothes, sponges, masking tape, glue...

anything else that can be used as a drawing tool...

Johnny: photo camera

Emma: tripod

Paula: tape

did someone say that he/she will rent a video camera from Dean?

Introduction

This is a space our group will share and upload ideas and research based upon our module investigation into 'The Graphic Act' project. 

The Course outline:  [click on image to view]