Good art, bad art – what is a ‘good’ drawing?

Doris Rohr

    Research output: Contribution to journalArticle

    Abstract

    The article addresses subjectivity in relation to assessment of drawing as Fine Art practice within Higher Education contexts. How can we measure the quality of a drawing in contemporary Fine Art? What standards can one take recourse to, or use, to define boundaries and definitions for excellence? The role of outsider art, and of art not produced or valorised within institutional norms, is an area of tension within academic contexts. Do we overly valorise rejection of norms and traditions, or to the contrary, do we create neo-conformism in the way we teach drawing within Fine Art? This article asks to reconsider aesthetics as a potential way of redressing the need to build overarching standards and measuring codes, independent from agents and institutions which have become interested parties and stake holders: the curatorial function of museum and gallery, market forces, Research Council and Arts Council. A more meaningful dialogue with different types of public needs to be sought, to redress criticism that contemporary arts practices are elitist and removed from the realities of everyday life.
    LanguageEnglish
    Pages11-26
    JournalVisual Enquiry: Learning & Teaching Art 2: 1
    Volume2
    Issue number1
    DOIs
    Publication statusPublished - Apr 2013

    Fingerprint

    Art
    Fine Arts
    Rejection
    Teaching
    Excellence
    Outsider Art
    Subjectivity
    Criticism
    Everyday Life
    Stakeholders
    Elitist
    Aesthetics

    Keywords

    • aesthetics
    • drawing
    • subjectivity
    • beauty
    • outsider art

    Cite this

    Rohr, Doris. / Good art, bad art – what is a ‘good’ drawing?. 2013 ; Vol. 2, No. 1. pp. 11-26.
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    title = "Good art, bad art – what is a ‘good’ drawing?",
    abstract = "The article addresses subjectivity in relation to assessment of drawing as Fine Art practice within Higher Education contexts. How can we measure the quality of a drawing in contemporary Fine Art? What standards can one take recourse to, or use, to define boundaries and definitions for excellence? The role of outsider art, and of art not produced or valorised within institutional norms, is an area of tension within academic contexts. Do we overly valorise rejection of norms and traditions, or to the contrary, do we create neo-conformism in the way we teach drawing within Fine Art? This article asks to reconsider aesthetics as a potential way of redressing the need to build overarching standards and measuring codes, independent from agents and institutions which have become interested parties and stake holders: the curatorial function of museum and gallery, market forces, Research Council and Arts Council. A more meaningful dialogue with different types of public needs to be sought, to redress criticism that contemporary arts practices are elitist and removed from the realities of everyday life.",
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    note = "Reference text: Arts and Humanities Research Council, http://www.ahrc.ac.uk/Funding-Opportunities/Research-funding/RFG/Assessment-criteria/Pages/Assessment-criteria.aspx accessed 1st September 2012. Association of Art Historians (2003) Working with Students with Disabilities London: AAH. Brand-Claussen, J{\'a}di and Douglas (1998) Beyond Reason: Art and Psychosis: Works From the Prinzhorn Collection Berkeley, Calif., University of California Press in association with the Hayward Gallery, London. Doubal, Rosalie The List 5th June 2008 (Issue 604) http://www.list.co.uk/article/8805-lucy-skaer/ accessed 6th February 2013. Edwards, Betty (1989) Drawing on the Right Side of the Brain New York: Tarcher/Putnam. Fetter, Bette 24th January (2013) Being Visual: Raising a Generation of Innovative Thinkers http://www.being-visual.com/being-visual-raising-a-generation-of-innovative-thinkers accessed 6th February 2013. Gordon Graham (1997) Philosophy of the Arts: An Introduction to Aesthetics London: Routledge. Jay, Martin (1993) Downcast Eyes: the Denigration of Vision in 20th Century French Thought London: University of California Press. Jenkins, David Fraser (ed) (2004) Gwen John and August John London: Tate Publishing. Kant , Immanuel (2007) [1790] Critique of Judgement Oxford: Oxford University Press. Moriarity, Lesa (2007) Art Brut Education Kit http://www.artbrutedu.exhibit905.info/ (accessed 6th February 2013). Leaver-Yap (2007) ‘Lucy Skaer: Drawing Close’ in Map 10, 30 May 2007 Paterson, Mark (2007) The Senses of Touch: Haptics, Affects and Technologies, Oxford: Berg. Pattison, Stephen (2008) Seeing Things: Deepening Relations with Visual Artefacts. London: SCM Press. Raw Vision Magazine (2013) http://www.rawvision.com/outsiderart/whatisoa.html accessed 6th February 2013. Rothenberg, David (2011) Survival of the Beautiful, London: Bloomsbury. Tate Gallery (2009) London http://www.tate.org.uk/whats-on/tate-britain/exhibition/turner-prize-2009/turner-prize-2009-artists/turner-prize-2009-1 (accessed 6th February 2013)",
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    Good art, bad art – what is a ‘good’ drawing? / Rohr, Doris.

    Vol. 2, No. 1, 04.2013, p. 11-26.

    Research output: Contribution to journalArticle

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