mind-spirit-body-matter
drawn to the human

 

an intensive drawing workshop

28 June to 2 July 2010

This page will be updated periodically.
Detailed information, including a reading list, tool kit, maps and support information will be sent to participants.

This in-depth exploration of the symbolic, perceptual and imaginative language of drawing is open to all artists, designers, teachers of art and others, keen to extend their knowledge of the expressive and analytical tools of drawing and of the strategies of the sketchbook. A diversity of informed responses to the human body in early ritual, late Renaissance, modern and post-modern cultures afford the rich speculative ground for this enquiry. Working in small groups, alongside leading experts and key practitioners, participants will enjoy rare access to a range of world class collections that Cambridge uniquely, as a city and home to a great university offers, among them: Kettle's Yard, Fitzwilliam Museum and Graham Robertson Study Room, and the Museum of Archaeology & Anthropology. Participants will come away with an enhanced sense of their strengths and abilities, and stimulated by the experience of group endeavour over five days.

Workshops and discussions will be led by artist and art historian, Glenn Sujo. His most recent curatorial projects, doctoral research and publications have explored the art of internment, Holocaust memory and the diagnostic language of drawn marks.

Programme

Monday 28 June, 12pm - 7pm

Tuesday 29 June, 10am - 7.30pm

Wednesday 30 June, 10am - 6pm

Thursday 1 July, 10am - 8.00pm

Friday 2 July, 10am - 3pm

 

Booking

Places are limited and candidates are advised to book early. Cost £350 includes five days tuition, practical drawing sessions, curatorial introductions to the collections, evening lectures, lunch, refreshments and a festive meal. Deposit £100 or £150 if taking up accommodation, difference to be paid by 23 April 2010.

A limited number of scholarship places are available to full-time students at £225. We cannot offer refunds due to late cancellation unless your booking is substituted.

College accommodation is available on a first come, first served basis. To secure rooms, reservations must be made by 19 February 2010.

Bookings:
Online through the University of Cambridge estore.

Please address all enquiries to Kettle's Yard, Castle Street, Cambridge CB3 OAQ

Tel (01223) 748100

 

Contributors

Lucilla Burn is the Keeper of Antiquities at the Fitzwilliam Museum and a Fellow of Newnham College University of Cambridge. Her interests include painted Greek vases and terracottas, and the classical tradition. She is author of Greek Myths: The Legendary Past, British Museum, 2002 (sixth edition).

Andrée Grau trained as a dancer in her native Switzerland and in London. She graduated from the Benesh Institute in 1976 and was awarded an MA in Social-Anthropology — Ethnomusicology (1979) and a PhD in Social Anthropology from The Queen's University of Belfast (1983). She has carried out fieldwork in Southern Africa, among the Venda; Aboriginal Australia, among the Tiwi of Melville and Bathurst Islands; India (Madhya Pradesh, Karnataka, Gujarat) and London, looking at performance from cross-cultural and interdisciplinary perspectives. She is widely published in the fields of dance, music, visual anthropology and social anthropology. Her research interests include dance and identity; dance in transnational contexts and a cross-cultural conceptualisation of the body. She is Professor of the Anthropology of Dance at Roehampton University.

Anita Herle (MPhil, PhD, FRAI) is an anthropologist who has worked among the Nagas (India), Tamu shamans (Nepal), Torres Strait Islanders (Australia), the Vanuatu and generally among South Pacific groups. More recently, as Senior Curator for Anthropology and Deputy Director at the Museum of Archaeology and Anthropology at the University of Cambridge, she has overseen the development of the Museum’s photographic collection and the Visual Histories Project. She helped steer the Leverhume funded interdisciplinary research project at Cambridge entitled, ‘Changing Beliefs of the Human Body’, which culminated in the Assembling Bodies: Art Science, Imagination exhibition at MAA, of which she is lead curator.

Charlotte Hodes is a painter whose current practice takes the form of large scale, digitally collaged and intricately hand-cut paper and ornately decorated ceramic forms. Her work combines the naked or draped female figure with art historical motifs, producing often complex patterns. Drawing serves to build a visual archive of source imagery: the collage, cut line of scalpel blade providing an equivalent to a pencil line. Her visual sources are often drawn from museum collections: the ceramic factory at Spode or the Wallace Collection in London (2005-2007) where, as artist-in residence, she drew inspiration from  eighteenth century French paintings and porcelain. Winner of the prestigious Jerwood Drawing Prize in 2006, Hodes’ solo exhibitions include Fragmented Images, Wallace Collection London 2007; Drawing Skirts, University Gallery, Northumbria 2008; Silhouettes and Filigree , Marlborough Fine Art 2009. She is Senior Research Fellow in Drawing at London College of Fashion, University of the Arts London.

Alice Mackenzie is a performer, choreographer, storyteller and workshop leader with an interest in the body in all its subtle quirks and gestures. Alice graduated with a BA (hons) degree in Dance Theatre from the Laban Centre in 2007. Since then, she has performed for a variety of companies: The Cholomondeleys, the Featherstonehaughs, Stan Won´t Dance, Unearthed Performance, and with Kirstie Simpson. Her own works have been performed at the Exposure Platform, Berlin and Paradiso II, Stockholm. Her installations have been shown at the Battersea Arts Centre, London; the George’s House Gallery, Folkstone; and Viewfinder Gallery, Greenwich. She is particularly interested in the body’s transformations.

Deanna Petherbridge is an artist whose practice is entirely drawing based, and who has devoted the last twenty years to teaching, lecturing and writing about drawing.  Her book The Primacy of Drawing: Histories and Theories of Practice,Yale University Press,will be published in late Spring 2010. She was Professor of Drawing at the Royal College of Art from 1995-2001 where she launched the first PhD programme in Drawing and she has held research professorships at various universities. Apart from personal exhibitions she has curated The Primacy of Drawing 1991-2, The Quick and the Dead: Artists and Anatomy 1997-8 and Drawing as Vital Practice, 2007. She was a Scholar at the Getty Research Institute, Los Angeles in 2001-2 and has held various international residencies.

Glenn Sujo completed his studies in fine art and the history of art at the Slade School of Art (Dip FA) and Courtauld Institute of Art (MA, PhD). He has lectured extensively in universities in Britain, the United States and Israel. He contributed to the recovery of drawing language in art polemics and higher education through practice-led research, exhibitions, publications and as curator of Drawing on these Shores, A View of British Drawing and its Affinities (national tour). He is the Convenor of the ‘mind-spirit-body-matter: drawn to the human’ symposium, Kettle’s Yard, Cambridge, June 2010. His researches into the subject of the ‘imagination in internment’ culminated in the exhibition Legacies of Silence: The Visual Arts and Holocaust Memory, Imperial War Museum, London (2001). His works are represented in major public collections in Britain, United States and Israel.

Sarah Warsop is a choreographer, dancer and designer. She recently exhibited Lying in Wait, a film collaboration with Idris Khan, at Victoria Miro Gallery and at Birmingham’s Ikon Gallery. Sarah has performed and exhibited at Tate Britain, Queen Elizabeth Hall, Royal Opera House, The Natural History Museum and in galleries and theatres around the world. As a dancer she has worked with the Rambert Dance Company, Siobhan Davies Dance, Merce Cunningham, and a host of others. Sarah has received grants, awards and commissions from Arts Council England, Time Out, The South Bank Show, Lawrence Olivier, Cape Farewell, The Royal Opera House, Victoria Miro and Siobhan Davies. Her work has featured on BBC Two and BBC Three.

Rodney Wilson is a freelance producer of arts programmes for television.
From 1986 to 1998 he was Director of the Film, Video and Broadcasting Department of the Arts Council of England. During this period he devised new, innovative arts formats for television, such as Dance for the Camera. Since 1998 he has been a producer for BBC Classical Music Television and is currently executive producer on a multi-country music documentary series for the European Broadcasting Union.