The work of this highschool student was exhibited at the Ian Potter Gallery in Melbourne. I saw it on May 27 2016.

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This student, I forgot to record the name, painted on bubble wrap. These views are from each side of the wrap.

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Keith Haring: Tuttomondo.

“I am becoming much more aware of movement. The importance of movement is intensified when a painting becomes a performance. The performance (the act of painting) becomes as important as the resulting painting.”

From Wiki


Wish I had read this before I gave my presentation last week.



Deanna Petherbridge

Performativity and Traces of Action

This writing is so dense. Rewarding but more difficult to read than Patricia McCormack. I have to read her book very slowly. I don’t know how she wrote it in such a short period of time. She had a lifetime of notes of course. I listened to Deanna Pethbridge at the Drawing Symposium at QCA in 2015. I wish I had done some research before I saw her opening address.

“All lines …write time.” True. All activity records time but the lines of a drawing attempt to preserve or record that temporal event. A handy way to relive the past in less scientific and technical times.

Petherbridge is also interested in “the emotive state of the artist and conditions of the making.” Hollander would add, the mind of the model.

The explanation of the Walter Sickert drawing was very detailed, almost forensic. This extreme form of critique is a little self serving. Similar examples exist in the literary world where critics find themes and expand on ideas not thought of by the author, often a subjective response from the viewer or reader. See my short exchange with Roman Longginou in the post dated 23.05.2016 in Words.

“The trace of an action that constitutes drawing….have become the orthodoxies of …conceptual and performance art”.

This is a great insight into modern art for me. Yves Klein and “the representation of pure phenomenology…the trace of the immediate”.

Petherbridge’s words explain very well the problems and ways artists can deal with “the intangible”.

After reading this piece I’d like to understand composition more. Its difficult for me to see the phenomenological elements of some classic drawings at first. Sad that these are found in the cartoons but then must be lost when the artists paints the “finished” paintings. Or perhaps other emotions are indicated in these resolved paintings.

The idea of touch is self evident. It seems to me is is often about technique. Perhaps in literary terms its almost onomatopoeic.

“Van Gogh’s noisy pen markings”  I’ve described some New Guinea Wooden masks in the same way. Words and thoughts are difficult but its easy to see the difference between a drawing that has life and a dynamic quality and one that is flat and lifeless.

Pages 103 – 117


Petherbridge, Deanna. The Primacy of Drawing : Histories and Theories of Practice. New Haven: Yale University Press, 2010.



I read the epilogue of the Rosand book.

An interesting overview.

“While hardly the exclusive prerogative of graphic media, the independence of the mark is essential to the graphic arts, to drawing and to printmaking.”

His insights into cubism an Picasso were well worth reading.

Rosand, David. Drawing Acts : Studies in Graphic Expression and Representation. Cambridge, UK ; New York: Cambridge University Press, 2002.


Having it in for organs.

Dynamic writing. True that humans need a body to be, think, act.

Powerful true words regarding de(signi)fiancé being a default pervert category where refusal to announce gender, sexuality or race is seen by society as “an act of protest”. I have a transgender friend who I have known for 30 years. Society finds her very threatening. Her life is difficult.

Reading this makes me want to go back in time and re see all that I have seen to revaluate it.

I don’t agree that all zombies  are without those markers of race gender and class. Surely they are more threatening if they are “people like us”. Im not a zombie expert by any means.

MacCormack, Patricia. Cinesexuality. Queer Interventions. Aldershot, England ; Burlington, VT: Ashgate, 2008. Pages 102-105.



Elizabeth Hollander

Very interesting essay on the model, “ the model’s sole end is the image she makes of herself”.

Interesting that the female pronoun is used for the model and the male pronoun for the artist.

I agree that the classic idea is that  the model is “something apart” from the artwork but the model is something more than “the audience” although I think that the model could be part of the audience.

A use for Venn diagrams in the above?

The author was herself a model. It was insightful to read about that experience. It complimented the reflections of our classmate who is also a life model. It showed the model’s acknowledgement of the impact their professionalism may have on the artwork and her response to different artistic media. Hollander sees the model as collaborator  in the process and distinguishes drawing and painting. Drawing is more intimate. I loved the quote from Quentin Crisp. I knew he was a life model. I didn’t know that he drew. I found some images on the web. Enjoyable.

I found the reflections of the experience of being a model for a piece of sculpture rang true. The insights into the model’s role in the sculptor’s finished product were more laboured. Whilst the artist may grapple with the relationship between the model and the emerging creation, I don’t think many art lovers think of this.

The reflections on photography were fascinating. The authors thoughts on fashion photography being the only the mode of photography that engages the model’s authoritative presence”, ring true. It is a collaboration. They are both in the employ of the magazine so the power divide is lessened. They are more equal.

“How a model contributes to a work of art is a secret in the sense that it is confined to the process of making in the studio.”

The argument that the invention of the camera allowed artists to create a more subjective vision of the model is very persuasive.

Hollander, Elizabeth. “Subject Matter: Models for Different Media.” Representations, no. 36 (1991): 133-46.