Join six internationally acclaimed artists and celebrities Aggie MacKenzie,Vic Reeves, Levi Roots, Alison Steadman and Lynne Truss for two hours of drawing in the inspirational surroundings of the National Portrait Gallery. Celebrity Come Draw With Me! from 6 to 8 pm on Thursday 26 January 2012 is a unique opportunity to draw in their company.

The National Portrait Gallery’s Victorian Galleries will be transformed into six exciting studios, where artists Rupert Alexander, Dryden Goodwin, Timothy Hyman RA, Michael Landy RA, Chris Orr RA and Posy Simmonds will lead workshops inspired by the collection. This is a special Big Draw event and places are limited, so book now to avoid disappointment.

Tickets £15
Only available online from the Big Draw Shop.

All ticket sales support the Campaign for Drawing, which co-ordinates the October Big Draw in 22 countries world-wide.

A day without drawing is a day without seeing
- Andrew Marr, Campaign for Drawing Patron, broadcaster and writer

The Campaign for Drawing has one aim: to get everyone drawing!

Drawing can promote engagement with museum and gallery collections, encourage civic participation and unite people of all ages, backgrounds and cultures. It is accessible and economical, requiring only pencil and paper. The Campaign pursues its aim through the year-round Drawing Action programme and its annual October Big Draw festival.
– Campaign For Drawing

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Kunsthøgskolen i Bergen, Vaskerelven 8, 5014 Bergen
9/1/2012 – 13/1/2012, 13:00 – 18:00
BISENSUAL 9 – 13 January 2012 Rom8, Bergen, Norway

Explorations into sensory ambiguities form a starting point for the work of eight artists, based in Bristol UK, in an exhibition of drawings that reveals a varied approach to the medium and its practice. From investigative activity to observational acumen, works include a mix of hands­-on, digital and other multiple processes, with additional soundscape. Material and speculative engagement is subtly poised in this eclectic gathering of work with its surprising twists, and nuanced appreciation of directions in contemporary drawing. All eight artists follow discrete practices in which drawing is a primary concern, and are research practitioners at the School of Creative Arts, University of the West of England. They are contributors to the University’s Advanced Centre in Drawing (ACID).

For further information contact: John France, Convenor Advanced Centre in Drawing, Senior Lecturer Drawing and Applied Arts, UWE. Email: john.france@uwe.ac.uk

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The ISEA International Reviewing Committee included 88 experts of 29 different nationalities from various media art related fields. Apart from the presentation panels, the ISEA Conference has also included a keynote program with Brian Massumi, Peter Weibel, Roy Ascott, Margaret Morse, Harald Welzer with Marko Peljhan, David d’Heilly with Fernando Garcia Dory, round-tables and workshops that have been realised with the cooperating institutions.

At the ISEA Ruhr 2010 Conference, crucial issues of the current debates in electronic art and media philosophy have beendiscussed. The themes have varied from aesthetic discourses to questions of art and engineering. The focal points of the Conference have been ‘Sounds’ and ‘Ecologies’. Among others, there have been panels on art and media in Latin America, on new art theory, on preservation of historical media art, on the phenomenon of materialisation and dematerialisation, on the role of the user in digital art, on the emerging notions of spatial layering & hybrid realities, on the latest developments in code art etc.

Dr Eugenia Fratzeskou presented her lecture Unfolding Space at the Algorithmic Topologypanel, one of the 51 panels of the ISEA Ruhr 2010 Conference. The panel was moderated by Timothy Druckrey (Director of the Graduate Photographic & Electronic Media program at MICA, curator, writer & editor) and took place on 27th August 2010 at VolksHochSchule Dortmund.

The focal point of the paper has been the ways in which the cosmological understanding of space as an uncontrollably changing informational substance and the expanded use of virtual environments necessitate new spatial research strategies for advancing site-specific art. The author’s research into interspatiality has inspired the creation of interpassages between digital and built spaces, enabling innovative spatial interventions. The conventional modes of VR are challenged, as built boundaries unfold to reveal the hidden dimensions of architecture by visualising paradoxical heterogeneous spaces in a virtual environment. Most importantly, the inherent abstraction and flaws of VR are revealed through innovative types of site-specific digital drawing.

Visit the ISEA Ruhr 2010 Conference Proceedings and Dr Eugenia Fratzeskou’s end-of-conference report in Digimag for more information.

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ISEA 2011 Istanbul Conference was the academic core of the Symposium and took place mainly at the prestigious Sabanci Center’s towers situated at Levent, the rapidly developing and expanding business district of Istanbul. The ISEA2011 Istanbul Conference hosted more than 450 paper presentations, over 70 panels and 60 workshops that were complemented by fora, networking, meetings and special events. All submissions were selected and reviewed by an international jury of professionals and academics from various disciplinary backgrounds. Sean Cubitt, Roman Verostko, Oliver Grau, William Uricchio, Jay Bolter, Sara Diamond, Christiane Paul and Terrence Masson contributed as keynote speakers. The Conference comprised of a rich variety of topics including mapping, user experience and space; perfection, error and the sublime; art and activism in the digital age; interdisciplinary teaching and new media arts; algorithmic art; robotics; sound; bacteria art; consumption; augmented reality; hacking, and many others. The combination of presenters, the themes and the structure of presentations inspired rigorous discussions on emerging issues, inspired new ideas and potential, while facilitating the development of new collaborations and partnerships.

Mapping & the User Experience was one of the paper sessions of the ISEA2011 Istanbul Conference andtook place on 19 September 2011 at Sabanci Center. The issue of mapping was one of the most important emerging topics that dominated several paper sessions and workshops such as Mapping the City and Urban Identity, Mapping and the Subject as Body, Mapping as Walking as Learning to See in the Digital Age as well as exhibitions and events dealing not only with space and architecture but also with a rich variety of other emerging fields, discourses, inter-disciplinary types of international research and practice. The importance of mapping is recognised and highlighted as a challenging integral part of spatial practice and research across digital and electronic media arts, hard sciences and the humanities. The issue of exactitude in ‘mapping’ the physical world has been debated extensively in science and has deeply influenced the formulation of scientific paradigms. As we pass from Modernist reduction and mathematical formalism to contemporary complexity, uncertainty and complementarity, our perception and understanding of the relationship between physical and virtual worlds are changing in the most unexpected manner. In particular, the developments in Quantum physics and scientific visualisation have revealed an emerging kind of multi-dimensionality that characterises the fuzzy boundaries between reality and virtuality and probes new relationships between part and whole. As a result, a new understanding of space and reality in general, as well as of the limitations of science, is developing.

A synopsis of Dr Eugenia Fratzeskou’s paper Mapping Uncertainty follows:

The issue of exactitude in ‘mapping’ the physical world has been  debated extensively in science and has deeply influenced the  formulation of scientific paradigms. As we pass from Modernist reduction  and mathematical formalism to contemporary complexity, uncertainty and  complementarity, our perception and understanding of the relationship  between physical and virtual worlds are changing in the most unexpected  manner. In particular, the developments in Quantum physics and  scientific visualisation have revealed an emerging kind of  multi-dimensionality that characterises the fuzzy boundaries between  reality and virtuality and probes new relationships between part and  whole. As a result, a new understanding of space and reality in general,  as well as of the limitations of science, is developing.

In  contemporary art, architecture and the related disciplines, the changing  relationship of data flows and data matrices inspires new types of  spatial research and practice. As a designed environment, built  space can be perceived as a fragment of an excessive superimposition of  dynamically interacting algorithmic, geometrical, topological and  structural grids. A creative exploration of the data flows into, from  and within the physical structures of the built environment, challenges  our common assumptions about space and our experience of it.

Emerging  types of site-specific digital art are developing, for creatively  investigating the point of intersection between the various types of  reality and their ‘exchanges’. This paper offers an investigation into  the ways through which, potential in-between spaces can be creatively  revealed, through new kinds of site-specific intervention. The emphasis is placed on how it is possible to ‘trace’ and interact with the half-  and by- products of algorithmic flows that remain unbuilt, their  meta-dimentionality and the emerging paradoxes, through different modes  of innovative spatial intervention such as, mixed realities para-sites, ‘injections’, ‘cuts’, interruptive site-specificity and others. Selected cases from the author’s own practice and research in digital  site-specific art and other examples of spatial practices and research in art and architecture are discussed in conjunction with the  relevant scientific, cosmological and philosophical theories.

For more information visit: http://isea2011.sabanciuniv.edu/content/mapping-and-user-experience

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29.10.11 – 27.11.11
The Artspace
The Ropewalk Gallery
Maltkiln Road
Barton UponHumber
North Lincolnshire
DN18 5JT
Tel: 01652 660380

Admission Free
Open Monday – Saturday – 10am – 5pm, Sundays & Bank Holidays – 10am – 4pm

The exhibition in The Ropewalk Artspace Gallery offers The Sporting League project up for public consumption. Visitors can participate in score prediction and compete at table soccer. The artist will be relaying The Sporting League fixtures live in the gallery space each Saturday for the duration of the show. The Sporting League’s official blog is also featured on a-n’s Artists Talking website which provides all the latest news and developments from the project. See the Sporting League Blog and Marc’s website at www.marcrenshaw.com

This exhibition is funded by Arts Council England.

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Project Supervision: Director of Studies Stephen Farthing RA, Rootstein Hopkins Research Professor in Drawing at the University of the Arts London.
Project Funding:  The Rootstein Hopkins Foundation

Project Aim & Research Question:  To establish the role of drawing in planning the 2012 Olympics in London.

The Context: At a time in history when the relationship between the drawn image and text has become of considerable interest,  to those involved in  curriculum development and the teaching of creativity. The planning of the Olympic Games offers researchers an unusually focused opportunity to take a snap shot of how drawing was used across a broad range of areas of creative thinking in the UK during the decade leading up to 2012.

Project Goals:
• To support a PhD studentship and thesis.
• To make a contribution to the scholarly understanding of the role of drawing in planning.
• To publish the findings through a conference, a book and exhibition.
• In terms of heritage the organizers and funders see this project as not simply a way of auditing the use of drawing in London 2012 but as a means of creating an accessible archival heritage that will be of considerable pedagogical value.

Method: Mindful of the scale of the project and the vast amount of material that may or may not be made available to our researcher, our proposal is, that in the first instance we should take three time slices through the material.  Group 1 will comprise of drawings made between 1997 and Dec.2000 in relation to the BOA report prepared for Government ministers.  Group 2 will comprise of drawings made post 6 July 2005 announcement and before 24th Aug 2008, Group 3 will comprise of drawings made post Beijing during the period 24th Aug 2008 – 27th July 2012. We would expect that during the period Feb 2012- Sept 2013 the appointed PhD student will be given reasonable access to as wide a range as possible of drawings produced during the planning process, the practicalities of this will clearly need to be worked on.  It is important to note that research at UAL is controlled by an Ethics Committee that will ensure confidentiality.

The Material: During our review of the “Bigger Picture of Drawing” as it relates to London 2012  we would expect to  view : Maps, Diagrams, Plans, Perspectives and Doodles  that are both hand and computer generated,  these will include Early Concept Drawings, Working Drawings, Sketches  and Presentation Drawings.   In terms of subject matter or professional source we would ideally like to review drawings from the following areas: General Master Planning, Architectural Design relating to a range of Olympic Buildings, Public Transport( road and rail). Logo Design, Equipment design, Event Design , Opening and Closing Ceremony Design , Clothes Design, Merchandising Design . This list is clearly not definitive, we would expect it to take its own shape as the project develops but what we are certain of from the outset is that our review will not attempt to be definitive. Clearly some of our sources: especially stamp and coin designs, retail outlet design we expect be able to access without your help, so what we are looking for at this stage  is  help with access to the core components.

Time Line: It is anticipated that the project will formally start during this coming Autumn (probably November 2011 and conclude in October 2014).
Between October 2011 – January 2012 we will aim to Define the Scope of the Review.
Between February 2012 – September 2013 we will aim to Review Material and Create a Virtual Archive.
From January 2014 the PhD student will be engaged in Writing Up, while The Project Supervisor develops the Exhibition and Book.

Please read the CCW (Camberwell, Chelsea, Wimbledon) Rootstein Hopkins Doctoral Bursary Terms and Conditions

You can download the Application Pack from the University of the Arts website.

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Submissions are be sought from academics, industry professionals, practitioners and others engaged in the fields of:  Aboriginal and Torres Strait Islander Cultural Practices; Art and Design , Digital Schemas; Fashion Templates; Architectural and Engineering Designs; Creative Writing; Mathematical, Musical and Dance notation, Media and Communications Concepts; Cartography and Scientific Schematics; Architectural and Mathematical Modeling; Business and Financial Mapping; Legal, Educational and Political Visualisations. Proposals for papers, workshops, panels  and other innovative modes of presentation will be sought in three broad streams, that address the following themes:

1.  Drawing  and  Notation. Drawing as a sometimes intuitive other times  driven by  convention  means of mapping   appearance  and movement  . With special reference to innovative methods of notation .

2. Drawing  as Writing Drawing after, before and as a part of writing. An exploration of literacy and communication.

3. Drawing: recording and discovery. Drawing as a speculative activity and means of  holding and transferring information.

All proposals should be 30 minutes in duration – please refer to your chosen theme in your abstract. Please use the following link to register and submit an abstract for Drawing Out: 2012

Schedule for submissions:

• Authors submit their abstracts by 28th October 2011
• The abstracts are plain text, and are entered directly into the webpage.
• There is no need for any uploading of PDF’s at this stage. All abstract submissions will be via an external website, authors must create their own log in name and password
• Abstracts are reviewed and accepted/rejected by 18th November 2011
• Authors are notified of acceptance/rejection by 30th November 2011
• Authors log into the system and upload their papers by January 6th 2012
• Feedback on papers recived by 3rd February 2012

Authors log into the system and download/print the reviews, then upload the final/edited version of the papers by 17th February 2012. Powerpoints to e.webb-ingall@chelsea.arts.ac.uk by 24th February 2012. Please see below for proposed schedule for the 3 day conference:

Wednesday 28th March 2012 daytime

National Gallery, London – Theme: What makes a good drawing?

Wednesday 28th March 2012 evening

Opening of Exhibtion at Central Saint Martins Gallery, Kings Cross, London

Details of exhibition TBC

Thursday 29th March 2012 daytime

Chelsea College of Art and Design, 45 Millbank, London

Friday 30th March 2012 daytime

Wimbledon College of Art, Merton Hall Road, London

Friday 30th March 2012 evening

Closing conference event at Wimbledon Gallery

Details of exhibition TBC

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‘Back to the Drawing Board’ at The Crocus Gallery, Nottingham 08  – 22 October
‘The Drawing Project’ at The Crompton Tavern, Derby 03 – 27 October (a Crocus Gallery and N.O.N. Project)

NatWest are currently accepting votes for their Community Force project. We need votes to win £6000 which will cover our running costs for 2012.

Communities are important to all of us. At the heart of each and every one you’ll find great people doing great things to make them better places. NatWest CommunityForce is a new initiative which sees us working with local communities to support the people, projects and charities making a real difference where you live. - NatWest Community Force website

Please vote for us at: http://communityforce.natwest.com/project/4448. Pass this on and ask friends to vote for us as The Crocus Gallery is a valuable resource for artists. To avoid charging artists to exhibit work we rely on funding. It is a resource that enables artists to show work and also offers opportunities for young aspiring arts professionals to gain knowledge and experience in the running of an art gallery.

Thanks for your help and we look forward to seeing the results,

Alyn Mulholland, Gallery Manager

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The exhibition concentrates on ‘reveal’ drawings, marks of movement created by wax applied to hands and feet, exposed with pencil. Alongside, are large drawings of unconscious scribbles and scrawls painstakingly recreated with ballpoint pen and pencil.

View Larger Map

Touch & Trace, a solo show by Kate Smith at Derby Museum and Art Gallery is also on until 29th October.

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Below is a quote from Julio Lopez Tornel

There is a tendency in the wider contemporary art context to regard abstraction as an out-dated mode of practice; as formalistic and largely decorative, despite the movement’s initially being born of a radical idealism.

Where does the common ground lie between scientific and automatic drawings? Within their mutual disregard for aesthetics. They try to break the membrane of the visible to show the precise structure of things (whether objects, or the mind). To embrace this core function, and catch it “in fraganti”.

My work constantly refers to the invisible, striving to evidence through physical realities that which can only be sensed. Invisibility and idealism are two parallel ideas within the visual field: the visible being the material, the surface, and the periphery – the excretion into existence. And yet I believe there is sensation in all, right down to the nucleus (chaotic and absurd, perhaps) that which we see being a result of this materialisation.

I want to violate the surfaces with my graphite appendages, to wield them as scalpels, to rip off the curtain of nature to openly show their true charm and beauty. To draw between visionary and voyeur; visible only to those who scrutinise. The vertigo resulting from the dizzying need to see deeper – faster.
- Julio Lopez Tornel

Centre for Recent Drawing is open for this exhibition 4 – 27 August 2011; from 1 – 6pm Thursdays to Saturdays at 2 – 4 Highbury Station Road, Highbury Islington, London. C4RD is a Registered UK Charity 1123530, and would particularly like to acknowledge the support for this exhibition of www.artupdate.com.

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