Drawing in the Visual Arts has been subject of scrutiny, fragmentation, and interpretation. Whether viewed as an objective academic pursuit or subjective experimental and explorative act, drawing can be perceived as largely changeable and mutable. In reflection on art history and art practice, it would seem drawing has been relegated to an unseen space in Visual Art, its role defined by purposes other than those that lead to drawing for drawing’s sake.
The aim of this dissertation is to reaffirm the notion that drawing, with all its breadth and influence, is pivotal to the understanding of art-making. This dissertation examines drawing employed by artists following a historically Western discourse of art-making. From an initial look at Renaissance art practice around drawing, this examination tracks the characterisation of drawing to where its newfound status emerges in the 21st century. As a background to this research is established, reference is made to contemporary artists who have enlisted drawing as a contributing factor in their art practice. I then analyse my own art practice in relation to
these artists and themes which I have discussed.
Drawing has rarely been subjected to theoretical discourse. This dissertation, through an inherent narrative, aims to acknowledge and identify hidden discourses around drawing with reference to authors such as Phillip Rawson, John Elderfield, and Johanna Burton. / Thesis (M.A.)-University of KwaZulu-Natal, Pietermaritzburg, 2010.
| Identifer | oai:union.ndltd.org:netd.ac.za/oai:union.ndltd.org:ukzn/oai:http://researchspace.ukzn.ac.za:10413/7446 |
| Date | January 2010 |
| Creators | Nobin, Meryl Louise. |
| Contributors | Nyoni, Vulindlela. |
| Source Sets | South African National ETD Portal |
| Language | en_ZA |
| Detected Language | English |
| Type | Thesis |
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