Presence: Drawing Symposium 2021

Presented by THE NATIONAL CENTRE FOR DRAWING

Friday 26 March 2021

9.30am–5pm

Cell Block Theatre / Online

$150 In Person (including lunch and refreshments) / $50 Online

In this time of forced introversion and on-line communication, The National Centre for Drawing’s 2021 Drawing symposium delves into the question of what Drawing is and does now, how it connects us to the present and makes us present in the world.
Eight very different artists from all over the world will talk to you and each other about the role of drawing in their practice and the drawings that inspire them.

Hosted in the National Art School’s historic Cell Block Theatre, you are invited to attend either online or in person. If you are not in Sydney there will be online options for you to join the conversation.

 

Speakers

Gerry Davies (UK), Maria Kontis (VIC), Anita Fricek (Austria), Margaret Roberts (NSW), Peter Bonner (USA), Aida Tomescu (NSW), James Nguyen (VIC), Lucienne Rickard (TAS)

Background

We hope that the unusual events of 2020 will enable us to link more closely with artists across the globe and in this context, which generates a strange disjunction between physical presence and on-line connection, the symposium will consider what drawing has to offer the simple idea of being present.

Drawing is powerfully and particularly about presence. The symposium will consider ways that drawing can conjure, evoke, embody and restore this quality of actualisation in both material and non-material, real and virtual modes of being. Emerging from an increasing need to occupy digital environments, the symposium encourages conversations about what this means in the context of drawing.

Presence refers to the state of existence, while also suggesting what is not visible, but rather sensed. The symposium invites discussion on the various ways drawing can elicit presence; from the graphic mark as record/trace to durational, performative and spatial manifestations.

Given the theme and the climate, the symposium will navigate physical and on-line participation.

National Centre for Drawing

The National Centre for Drawing at the National Art School promotes and nurtures practice, research and scholarship in drawing in all of its manifestations. Positioned at the core of an educational institution and cultural precinct, it enables a range of audiences to engage more deeply with drawing. Through the practice of drawing, curatorial projects, exhibitions, publications, conferences, lectures and other special events, it nurtures a curiosity around drawing that is grounded in precedent but extends towards the unknown.

Program

9.30–9.45am

Introduction

 

9.45–10.45am

Anita Fricek and Margaret Roberts

 

10.45–11am

Questions

 

11–11.30am

Morning Tea

 

11.30am–12.30pm

Gerald Davies and Maria Kontis

 

12.30–12.45pm

Questions

 

12.45–1.30pm

Lunch

1.30–2.30pm

Peter Bonner and Aida Tomescu

 

2.30–2.45pm

Questions

 

2.45–3.15pm

Break

 

3.15–4.15pm

James Nguyen and Lucienne Rickard

 

4.15–4.30pm

Questions

 

4.30–4.45pm

Final remarks and close

 

4.45pm

Closing drinks

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Opening night: The Neighbour at the Gate 

Join us on Thursday 10 July for the opening night of The Neighbour at the Gate, a major exhibition at the National Art School Gallery, curated by a guest curatorium led by Clothilde Bullen (Wardandi Noongar and Badimaya Yamatji), with Micheal Do and Zali Morgan (Whadjuk Balladong and Wilman Noongar).

Bringing together newly commissioned works by leading Australian artists Jacky Cheng, Elham Eshraghian-Haakansson, Dennis Golding (Kamilaroi/Gamilaraay), Jenna Mayilema Lee (Gulumerridjin (Larrakia), Wardaman, KarraJarri), James Nguyen and James Tylor (Kaurna, Thura-Yura language region), the exhibition reckons with the echoes of immigration policies and the legacies of Colonialism in Australia, unravelling how these forces continue to shape First Nations and Asian Australian experiences and relationships.

Across various mediums and perspectives, The Neighbour at the Gate charts the entangled legacies of exclusion and resilience, drawing vital parallels between the past and present, memory and nationhood.

The Neighbour at the Gate has been made possible with the generous support of the NSW Government through its Blockbusters Funding initiative.

RSVP at the link in bio.
Burned trees build no homes. 

Today we acknowledge World Environment Day with this work by alum Una Foster, now in the National Art School Collection.
—
Una Foster, ‘Burned Trees Build No Homes’, c.1945, commercial print on paper; image courtesy the artist and National Art School © Una Foster. From the National Art School Collection.
This end of financial year, support the next generation of artists through the National Art School’s Pathways Program.

Your donation will be vital in helping us build a more inclusive and vibrant arts community — creating crucial pathways for talented artists to become leading international artists, regardless of their background.

Support our EOFY campaign via the link in bio and help us to break down barriers to art education.
In June, we celebrate World Pride Month. Like many other culturally significant times, it’s a month that’s meaningful to our community and the Oxford precinct we are part of. 

In 2015, NAS alum Todd Fuller (@fuller_todd) sent members of the public black and white drawings depicting two men engaged in a passionate kiss. The participants were encouraged to respond to the image by colouring in the figures, with the resulting images compiled by Fuller into a mixed media video animation. 

Fuller gifted this work to the National Art School Collection, a collection that performs a major role within the National Art School as both a teaching resource and a historical record. Visit our website to find out more about the works in our collection.

—
Todd Fuller, ‘The Unite Project - 3rd generation ‘, 2015, mixed media animation, colour and sound, 13.35 mins loop; image courtesy the artist and National Art School © Todd Fuller. From the National Art School Collection - Gift of Todd Fuller.
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