This video discusses examples of ‘expanded’ drawing—a term borrowed from Rosalind Krauss’ 1979 essay Sculpture in the Expanded Field—that is used to identify artwork that is part-way between traditional drawing and other disciplines and practices. In particular, the video discusses how these examples employ representational elements of traditional drawing jointly with the time and space in which their material forms are located. These include use of scale, and proximity to a represented subject—making the latter a type of site-specificity. It also includes the drawing of continuities between represented and actual spaces, as well as openness to the physical and temporal environment implied in unfixed materials, and in actual or potential movement. Also discussed are spatial works that claim a place within expanded drawing by employing line or drawing’s traditional temporal or future orientation that comes from its role in planning and preparation.
Francis Alÿs works with video as a means to document actions that often occur in public spaces. In the iconic video-performance work Sometimes Making Something Leads to Nothing, (1997) the artist pushes a large block of ice around the streets of Mexico City until it completely melts away.
While Alÿs’ videos are both documentation and the work itself, in the gallery context the spatial arrangement of different works, and whether they are projected or on a screen, adds to our understand of these works.
Alÿs’ work offers us some interesting examples of expanded drawing. In his work The Greenline (2004) Alÿs literally takes a line for a walk by ‘following the portion of the ‘Green Line’ that runs through the municipality of Jerusalem’ while carrying a leaking can of green paint.
On 21 February 2019 NAS lecturer Ben Denham, spoke with Joyce Hinterding about her drawing work.