By Jean-Luc Nancy, Philip Armstrong
"Originally written for an exhibition Jean-Luc Nancy curated on the Museum of excellent Arts in Lyon in 2007, this booklet addresses the medium of drawing in gentle of the query of form--of shape in its formation, as a formative strength, as a beginning to shape. during this experience, drawing opens much less towards its fulfillment, goal, and accomplishment than towards a finality ceaselessly and the limitless renewal of ends, towards lines of experience marked by means of tracings, suspensions, and everlasting interruptions. Recalling that drawing and layout have been as soon as used interchangeably, Nancy notes that "drawing" designates a layout that continues to be with out undertaking, plan, or purpose. His argument bargains a manner of rethinking a few old phrases (sketch, draft, define, plan, mark, notation), such as rethinking drawing in its photo, filmic, choreographic, poetic, melodic, and rhythmic feel. If drawing isn't reducible to any type of closure, it by no means resolves a stress particular to drawing yet permits the excitement of drawing to come back into visual appeal, that's additionally the excitement in drawing, the gesture of a wish that is still in way over all wisdom. Situating drawing in those phrases, Nancy engages a couple of texts within which Freud addresses the strength of wish within the rapport among aesthetic and sexual excitement, texts that still flip round the comparable questions touching on shape in its formation, shape as a formative strength. among the sections of the textual content, Nancy has positioned a sequence of "sketchbooks" on drawing, composed of a wide variety of quotations on artwork from assorted writers, artists, or philosophers"--
"Originally written for an exhibition Jean-Luc Nancy curated on the Museum of excellent Arts in Lyon in 2007, this publication addresses the medium of drawing in gentle of the query of form--of shape in its formation, as a formative strength, as a start to shape. during this feel, drawing opens much less towards its fulfillment, goal, and accomplishment than towards a finality forever and the limitless renewal of ends, towards strains of feel marked by way of tracings, suspensions, and everlasting interruptions"-- Read more...
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Additional info for The pleasure in drawing
18416$ $CH8 03-27-13 14:51:44 PS PAGE 43 The Form-Pleasure To address more directly the pleasure at issue, let us draw on an analysis from Freud’s work on the subject of aesthetic form. What is at issue is in no way a question of entering into a psychoanalysis of art. On the contrary. 22 Freud establishes at the least a parallel, and at the most a continuity, between sexual pleasure and aesthetic pleasure (as we will see, indecision on this point stems from the underlying difficulty that he encounters).
18416$ $CH7 03-27-13 14:51:41 PS PAGE 35 CONSENTING TO SELF manner in which the Painter thinks Things. ’’ —Roger de Piles, The Idea of the Perfect Painter 36 ................. 18416$ $CH7 03-27-13 14:51:41 PS PAGE 36 Gestural Pleasure That classical aesthetics was an aesthetics of pleasure should not lead us to believe that pleasure has no place outside aesthetics. In truth, no aesthetics is exempt from a pleasure principle (whether related or not to Freud’s ‘‘pleasure principle,’’ which indeed we will have to address).
What is imitated, however, is not given with sensation or perception. What mimesis must take hold of and make evident, what it must show or present, is nothing other than the Idea. It would not be out of place to say that drawing 20 ................. 18416$ $CH5 03-27-13 14:51:33 PS PAGE 20 FORMA FORMANS manifests or puts to work the very design [dessein] of mimesis—the formative and rousing force of the Idea, the ostention and emotion of truth. This also amounts to saying that the form that drawing draws—the form it traces, opens, and designates—is essentially valuable as a formative force, prior to any other determination or quality, and so prior to being, in a sense, a beautiful form.