à lire, cet excellent article d’Anne Quito «Drawing is the best way to learn, even if you’re no Leonardo Da Vinci». elle y raconte les aspects positifs du dessin. dessiner est bon pour la santé et nous rend meilleurs. toute l’histoire de «je ne suis pas bon en dessin» n’a rien à voir avec le fait que dessiner peut nous aider à penser, à solutionner un problème, à visualiser quelque chose, etc.

«Drawing shouldn’t be about performance, but about process. It’s not just for the “artists,” or even the weekend hobbyists. Think of it as a way of observing the world and learning, something that can be dun anytime, like taking notes, jotting down a thought, or sending a text.»

tout n’est pas oeuvre d’art. on deviendrait anxieux face à nos capacités artistiques vers la puberté.

«The self-consciousness associated with ‘good’ drawing, or a naive form of realism, is mostly to blame,” he explains to Quartz. ”If you take a step back, and define drawing as symbolic mark-making, it’s obvious that all human beings draw. Diagrams, maps, doodles, smiley faces: These are all drawings!»

sans parler que l’observation, la concentration, un état nécessaire au dessin.

«The observation that’s necessary for drawing is also enriching. “Drawing makes us slow down, be patient, pay attention,” he says. “Observation itself is respectful, above all else.»

à lire absolument.

photo de Rifqi Ali Ridho

j’ai déjà parlé de la difficulté d’écrire une démarche ou une bio d’artiste. j’ai trouvé ce week-end l’article What We Learned from Writing 7,000 Artist Bios qui en parle largement. selon leurs expériences sur le site artsy, on nous conseille et nous explique comment tout ça fonctionne. j’ai apprécié qu’ils tiennent compte de l’étape où nous sommes dans notre cheminiement d’artiste. selon eux, une bio ne devrait pas dépasser 120 mots, de là l’importance de ce qu’on y met.

«These are the three cornerstuns—tried, tested, and used today by our writers at Artsy—of the perfect artist bio:

The bio should summarize the artist’s practice—including medium(s), themes, techniques, and influences.

The bio should open with a first line that encapsulates, as far as possible, what is most significant about the artist and his or her work, rather than opening with biographical tidbits, such as where the artist went to school, grew up, etc. For example: John Chamberlain is best known for his twisting sculptures made from scrap metal and banged up, discarded automobile parts and other industrial detritus.

The profile should be between 80 and 140 words. The ideal bio is ~120 words, though a tightly written 80-word bio is preferable to a longer bio that includes repetition and filler sentences.»

vraiment pertinent.

photo de Dan Cook.