SUSAN MORRIS: UNTITLED MOTION CAPTURE DRAWINGS
ART EXCHANGE, UNIVERSITY OF ESSEX
9 NOVEMBER – 8 DECEMBER, 2012
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SYMPOSIUM: Involuntary Drawing: Art and Automatism
Friday 16th November, 2012
Art Exchange, University of Essex
Art Exchange
University of Essex (Recording of Discussion)
This symposium considers issues raised by Susan Morris: Motion Capture Drawings and the previous exhibition at Art Exchange, Graphology. It will explore the interaction of automatism, abstraction and the unconscious in avant-garde and contemporary art. Contributions will be by Professor Michael Newman (Professor of Art Writing at Goldsmiths College and the Art Institute of Chicago), Ed Krčma (University College Cork), Margaret Iversen (University of Essex) and artist Susan Morris.
TIMETABLE:
2:00 – Greeting from Jess Kenny, Curator, Art Exchange Gallery
2:00 – 3:00 – Ed Krčma (University College Cork), Action/Abstraction
3:00 – 3:45 – Michael Newman (Professor of Art Writing at Goldsmiths College) Compulsory Drawing
3:45 – 4:00 – Tea break
4:00 – 4:30 – Susan Morris (Artist), Drawing in the Dark
4:30 – 5:00 – Margaret Iversen (University of Essex), Desire and the Diagrammatic
5:00 – 5:30 – General Discussion
BIOGRAPHIES OF SPEAKERS:
Margaret Iversen is Professor in the School of Philosophy and Art History, University of Essex. She is author of Beyond Pleasure: Freud, Lacan, Barthes and Alois Riegl: Art History and Theory. Recent publications include Chance and Writing Art History (with Stephen Melville). From 2008-2011, she was Director (with Diarmuid Costello) of the AHRC-funded research project, “Aesthetics after Photography.” Her essay, ‘Index, Diagram, Graphic Trace’ will soon appear in a special issue of Tate Papers devoted to Involuntary Drawing. She is currently writing a book on photography, trace and trauma.
Ed Krčma is Lecturer in History of Art at University College Cork, Ireland. His research focuses upon the history and theory of drawing after 1940, with a particular interest in issues of temporality and embodiment. He has written articles, papers and exhibition catalogues on such artists as Henri Matisse, Willem de Kooning, Robert Rauschenberg, Tacita Dean and Susan Morris. He recently contributed to the catalogue for Tacita Dean’s Turbine Hall commission at Tate Modern, and is working on a book project concerning the relationship between drawing and thinking. He co-curated the exhibition ‘Motion Capture: Drawing and the Moving Image’ at the Lewis Glucksman Gallery, Cork, and is author of ‘Lightning and Rain: Phenomenology, Psychoanalysis and Matisse’s Hand’ which will soon appear in a special issue Tate Papers, ‘Involuntary Drawing’, edited by Margaret Iversen.
Susan Morris is an artist primarily interested in automatic writing or drawing. Her PhD, On the Blank: Photography, Writing and Drawing, was completed in 2007 at Central St Martins, University of the Arts, London. Recent exhibitions include Timewarp, 2009, at the Centre Rhénan d’Arts Contemporains d’Alsace, and Sontag Montag, 2009, at Five Years, London. In 2010 she was awarded a Wellcome Trust grant to make new work for the John Radcliffe Hospital, Oxford. Large tapestries woven directly from data tracking her sleep/ wake patterns over a period of twelve months will be installed at the hospital later this year. In 2012 she will be exhibiting her Motion Capture Drawings in solo shows in London and Essex. Recent papers include a presentation of her work in July 2010 at the Centre for Freudian Analysis and Research’s 25th Anniversary Conference (Lacan in the UK: Art, Clinic, Feminism, Literature), and for the Making in Two Modes conference, University of Cork, Ireland, September 2010. An essay about the Motion Capture work, ‘Drawing a Blank,’ was published in JCFAR, Volume 20, in 2010 and her paper ‘Drawing in the Dark’, will soon appear in a special issue Tate Papers, ‘Involuntary Drawing’, edited by Margaret Iversen.
Michael Newman is Professor of Art Writing and 2012-13 program leader in critical studies at Goldsmiths. He also teaches in the Art History Department at the School of the Art Institute of Chicago. His publications include books on Jeff Wall, Richard Prince and Seth Price, and numerous essays on contemporary artists including Douglas Gordon, Steve McQueen, Tacita Dean, Alfred Jensen, Agnes Martin, Hanne Darboven, Joëlle Tuerlinckx, Dara Birnbaum, Jaki Irvine, Uriel Orlow, and Hilary Lloyd, as well as essays on blindness, the wound, the horizon, primitivism, contingency, materiality, memory, and nonsense. He has published two essays on drawing: “Giuseppe Penone: Sticking to the World—Drawing as Contact, “ in Giuseppe Penone, New York, The Drawing Center, 2004; and “The Traces and Marks of Drawing” in The Stage of Drawing: Gesture and Act, ed. Avis Newman and Catherine de Zegher, London: Tate Publishing and New York: The Drawing Center, 2003; and ‘Derrida and the Scene of Drawing,’ Research in Phenomenology, vol.24, fall 1994, p.218-34. The first volume of his selected essays, on the still and moving image, will be published by Ridinghouse in 2013.