November 27
Theme #9: Drawing Intervention
Project |
Instructions |
Supplies |
| Additive intervention | ||
| Find images in magazines, posters, newspapers, wallpaper, wrapping paper, online, from postcards or photocopied from books | Student's choice | |
| Add in drawn interventions | ||
| Focus on the concept of your drawing and think about meaning and message | ||
| Subtractive intervention | ||
| Find images in magazines, posters, newspapers, wallpaper, wrapping paper, online, from postcards or photocopied from books | Student's choice | |
| Integrate those found images into your own drawing (try a 50/50 integration) | ||
| Consider collage, projection and assorted transfer techniques to add interest and meaning to the work |
Examples and Inspiration
According to a standard dictionary, to intervene is “to come in between either by way of hindrance or modification.” In a “drawing intervention” the artist can hinder a found source by adding in their own drawn ideas, or modify their own drawings by inserting found imagery and materials. This kind of working method can be very fun and playful while also being conceptual and conveying complex messages. The artist can literally intervene in a message from popular culture and argue against the ideas put forth, or embrace those ideas by expanding and embellishing them. Your challenge is to find interesting materials to work with and to manipulate your media so that it expresses your ideas effectively. |
Yoshitomo Nara. U-ki-yo-e. 1999. Oil on book pages.
Hoptman, Laura. drawing now: eight propositions. New York: The Museum of Modern Art, 2002.
Additive Interventions
Marcel Duchamp. L.H.O.O.Q. 1919/ 1930. Pencil on postcard reproduction of the Mona Lisa.
Elger, Dietmar. Dadaism. Koln: Taschen, 2004.
the letters, L, H, O, O, Q, when pronounced in French sound like "Elle a chaud au cul" = "She has a hot ass" |
Brassai. Odalisque. 1934/35.
Hirsch, Robert. Seizing the Light: A History of Photography.
Boston: McGraw Hill, 2000.
Adrien Piper. Membership Has Its Privileges (Vanilla Nightmare series). Date unknown.
Beryl Graham. Sewn Diptych (detail). 1984.
Deepwell, Katy, ed. New feminist art criticism. Manchester: Manchester University Press, 1995.
Max Ernst. The master's bedroom it's worth spending a night in it. 1920. Collage, gouache and pencil on paper.
Elger, Dietmar. Dadaism. Koln: Taschen, 2004.
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Max Ernst. The master's bedroom it's worth spending a night in it. 1920. Collage, gouache and pencil on paper.
Elger, Dietmar. Dadaism. Koln: Taschen, 2004. |
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Subtractive Interventions
David Salle. The Flood. 2005 - 06.
Salle, David. "David Salle: Talks about his paintings after the Sistine Chapel." Artforum. Summer 2006: 330 - 331.
Some of Salle's sources |
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Katshusika Hokusai. The Wave. c. 1830. |
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Barbara Kruger. Untitled (I Shop
Therefore I Am). 1987.
Weintraub, Linda. Art on the Edge and Over: Searching for Art's Meaning in Contemporary Society. Litchfield, CT: Art Insights, Inc.. 1996.
Karl Haendel. $56,055. 2005. 93 X 130”. Pencil on paper.
Elaine Reichek. ET IN ARCADIA EGO . 2006.
Artforum. November 2006. p. 80.
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Elaine Reichek. ET IN ARCADIA EGO . 2006. |
Nicolas
Poussin. The Arcadian Shepherds. c. 1638. Fred S. Kleiner and Christin J. Mamiya, Gardner's Art Through the Ages. Twelfth ed. Vol. 1. Fort Worth: Harcourt Brace College Publishers, 2005. 2 vols. |
Ellen Gallagher. Bouffant Pride. 2003. Handmade collage, cutout, painting and photogravure on rag paper; edition of 20.
http://www.clevelandart.org/exhibcef/multiples/html/4522729.html
