Full immersion: Margaret Olley Drawing Week 2019, the 20th anniversary of a NAS tradition 

Full immersion: Margaret Olley Drawing Week 2019, the 20th anniversary of a NAS tradition 

In the last week of February, three hundred and fifty students will return from the Summer break to commence the next stage of their studies at the National Art School. They will be hungry for the stimulation and rigour of the BFA program, but before they divide off for their timetabled classes they will participate in Margaret Olley Drawing Week. In this special week, just before Week One of the academic year, there are no AM and PM sessions and no shifts between subjects: just full immersion in drawing, a discipline that is at the core of all study at the School.

The tradition of Drawing Week began in 1999, when Noel Thurgate and Michael Downs were newly-appointed heads of the NAS Drawing Department. Their application for the job had included a simple idea, inspired by the New York Studio School’s Drawing Marathons. By enabling students to develop their drawings over a longer, more continuous spell of time than regular classes allowed for, they could be encouraged to make, unmake and remake their work. This would improve the quality of their drawings and perhaps more significantly, students would experience a new depth in their own potential as makers.

With only half of January and a sliver of February to turn this proposal into reality, Thurgate and Downs marshalled their colleagues and were ready on the 15th February to commence the inaugural Drawing Week, across two locations: the teaching studios of NAS’s Darlinghurst campus, and a vast, disused customs shed at Darling Harbour. The event was a huge success, both educationally and for the culture of the School. As the report on the first Drawing Week noted: “an ad hoc lunchtime forum developed where all the staff sat in a semi-circle with the participating students and talked about anything from Aristotle to discount art materials.”

This success aside, nobody could have foreseen that over the next two decades, thousands of National Art School students would participate in Drawing Week. Through a period when the tertiary sector has been subjected to one cutback after another, Drawing Week has thrived, with the generous support of the Margaret Olley Trust in recent years. Still, economy of means is paramount, and Drawing Week has often occupied urban sites in transition, from an abandoned theme park (Sega World at Darling Harbour, 2001) to a decommissioned power station (White Bay, 2005) and a gutted skyscraper in the Sydney CBD (60 Margaret Street, 2016). As an extra-curricular activity it can incorporate areas of study that sit on the fringe of the core Drawing program, with specialist artist-lecturers brought in to offer their experience in a particular area of drawing, or its intersection with other forms such as performance art, animation or photography.

In 2019, fifteen different workshops have been offered to students. They will head to locations including the State Library of New South Wales, the Hill End historical precinct and Cronulla Sewerage Treatment Plant. Befitting the anniversary Noel Thurgate will be back, leading a group who have elected to make drawings of the industrial harbour environment at Cockatoo Island. As he and Downs wrote in 1999, students can expect “a flying start to their work, in whatever area they are enrolled.”

– Joe Frost, Drawing Lecturer, National Art School 

Arthur Boyd: Landscape of the Soul Installation View at NAS Gallery. Photo: Peter Morgan.

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What's happening at the National Art School on 6 September? RSVP to our Open Day today to find out. (Link in bio)
Hear artist James Nguyen (@jamesnguyens) discuss the process of his artwork ‘Homeopathies_where new trees grow’ (2025), a site-specific installation created for The Neighbour at the Gate, now on at NAS Gallery.

In response to the exhibition, Nguyen created a large-scale suspended textile, dyed with introduced weeds and contaminated mud collected along the Duck River and Parramatta River in Sydney. These local sites, like many places in Vietnam, continue to be contaminated by Agent Orange, dioxins and toxic leachates that account for the industrial scale manufacturing of chemical weapons along Homebush Bay.

The Naarm/Melbourne-based, Vietnamese Australian artist positions his personal experiences and perspectives in dialogue with others in his interdisciplinary practice, moving between live and online performance, video, drawing and installations. This work was made in conjunction with Nguyen’s aunt, Nguyễn Thị Kim Nhung, and uncle, Nguyễn Công Chính, who you can hear in conversation with the artist in the Artist Talks archive on our website.

The Neighbour at the Gate is now on until Saturday 18 October 2025. 11am – 5pm, Monday to Sunday. Plan your visit at the link in bio.

The Neighbour at the Gate has been made possible with the generous support of the NSW Government through its Blockbusters Funding initiative.
Congratulations to our recent BFA graduate Samuel Chan (@__szwc), who has been named one of three recipients of the ‘most exceptional’ prize at the Dr Harold Schenberg Arts Awards.

Now in its 16th year, the Dr Harold Schenberg Arts Awards offers the largest prize pool for emerging artists in Australia and is part of PICA’s ‘Hatched: National Graduate Show’. To be part of ‘Hatched’ exhibition is an honour as it showcases the next generation of Australia’s contemporary creative voices, presenting artworks by 23 outstanding art school graduates from across the country.

Sam’s award-winning installation work includes 'At Eventuality’s End' - an evocative sculptural piece previously featured in our ‘Queer Contemporary: Chaosophy ‘exhibition as well as the NAS Grad Show.

Inspired by our alumni success stories? Join our Open Day on 6 September to explore your own creative path and get application-ready with one-on-one consultation sessions. (Link in bio)

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(In order of appearance in the video)

'Embrace', 2024, resin, stainless steel hook, Conte crayon, 47 x 14.5 x 9.5cm

‘Transfiguration’, 2024, Chillagoe White Pearl marble, mild steel, incense, 172 x 26 x 26cm 

'Noose', 2024, resin, graphite, titanium rod, 30 x 14 x 5cm 

'At Eventuality's End', 2024, hand-dyed paper, wire mesh, mild steel rod, 255 x 80 x 60cm

Image courtesy and © the artist, photograph: Jennifer Leahy (@silversalt_photography)

@pica_perth
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