Tag Archives: ual

Conference Locations and Downloads for 29th and 30th March

Chelsea site – 29th March 2012

Please enter through building labelled A – The Millbank entrance

Wimbledon Site – 30th March 2012

Please enter through main gates and follow directions

Feel Free to click the links below to download PDFs of the schedule and Welcome packs including all Bios and Abstracts for the 29th and 30th March

Drawing Out 2012 schedule download


Bios and Abstracts – Welcome Pack Download



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Length of paper not more than 3,500 words, talk time of 30 minutes

Your Conference Paper must follow these formatting specifications exactly.



14 point Arial , ALL CAPITALS, bold, centered.

Author listing: Your name and email, 12 point Arial, italic, centered

Double space between Title/Author Information and the body of the paper



12 point  Arial, small caps, bold, centered.



10 point Arial, bold, centered.

Double space between section headings, section subheadings and text.



10 point Arial, Fully justified, Single space, no blank lines or double spacing between paragraphs .



Material must be accompanied by a bracketed in-text reference, which will correspond to its end-text full bibliographic information in the References section.



Reference text: 8 point, Arial, fully justified, no space between references.



Please note for online uploads for review, it is neither possible nor necessary to include images at this stage.

For those submitting for online publication only please ensure any images to be used are copyright free – any images used are at your own risk and we will have a strict take down policy if this is not adhered to.


Any Password issues:

Note you can reset these at any time from the login screen. Just press the ‘reset’ button and enter your email address. The system will look up the email address from users in this conference and reset the the userid and password from the username.






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2 Keynote Speakers Announced for Drawing Out 2012: John Harding and Professor Mark Burry

John Harding

John Harding is one of Australia’s leading playwrights, with eleven productions staged and /or broadcast here and abroad.He is the founding member of Ilbijerri ATSI Theatre Cooperative (Melbourne), and a tireless worker in the struggle to create a space for Indigenous people on the Australian Stage. Harding wrote “Up The Road” for Ilbijerri’s first production, and went on to win the Australian Human Rights Award, for its second extended production and national tour in 1997, toured nationally by Belvoir Theatre and directed by Neil Armfield. Harding directed his last three major productions: “Enuff at the Malthouse” (2002), “No Parking” (2001) at Theatreworks, and “Second Helping”(2005), at North Melbourne’s Arts House.

Harding is also an accomplished performer, co-writing and co-starring in “Blak and Tran II” (2004) with Hung Le, and “Natives Striking Blak” (2007) for Ilbijerri Theatre. He has worked in television for the ABC’s “Blackout” show, and SBS’s “ICAM Program. He has also written a book of poetry published in 1994 by Dynamo House. During his time at SBS John created the first Indigenous comedy show, “The Masters”, directed by Michael Riley.

Harding has recently moved into film and has made three documentaries, “Nganampa Manta” for the Pitjatjanjara people and “Fitzroy Stars” for Movie Mischief, both bought by Message Stick for ABC television. The third documentary short film was commissioned by City of Melbourne and called “Lets Talk Treaty” as a part of the 2011 Laneways Program.

Harding has lectured on Indigenous theatre in various universities and schools and works in the School of Global Studies, Social Science and Planning.

Abstract: Drawing as discovery!

Harding plans to develop a  paper on the nature of Australian Aboriginal and Torres Strait Islander “drawing” in its traditional and contemporary senses. The way the traditional practices articulated land, space and place through the drawn mark – and rites, initiation, cultural practices etc. Drawing as discovery of land, lineage, family, weather, role of animals/birds etc – relate traditional to contemporary art and practices. The problems of European colonisation with colonisers bringing their own way of seeing land and space – different perspectives Aboriginal drawing from “looking down on land” perspective; European from “looking across land” perspective etc.

Professor Mark Burry

Professor Mark Burry has published internationally on two main themes: the life and work of the architect Antoni Gaudí in Barcelona, and putting theory into practice with regard to ‘challenging’ architecture; he has also published widely on broader issues of design, construction and the use of computers in design theory and practice.  As architect to the Temple Sagrada Família since 1979, Mark Burry has been a key member within the local design team based on site in Barcelona, untangling the mysteries of Gaudí’s compositional strategies for his greatest work, especially those coming from his later years, the implications of which only become apparent as they are resolved for building purposes. In 2004, in Professor Burry was awarded a ‘Diploma i la insignia a l’acadèmic corresponent’ with the title Il.lustrisim Senyor by the Reial Acadèmia Catalana de Belles Arts de Sant Jordi in recognition of his contribution to this project.

Abstract: Drawing out the model

We agree that motivation for drawing can range between a fine art perspective to more practical uses such as the representation of intentions and descriptions of undertakings.  At one end of the spectrum there is no presumption of practical utility whereas at the other the effectiveness and therefore value of the drawing will be determined by how unambiguously it communicates its message to others.  This is not to imply that there are different levels of importance or intellectual engagement between these opposites, but it does point to a set of understandings about drawing that inevitably calls on different sets of priorities depending on the intended end use of the drawing.  If a drawing is destined to framed to delight in the gallery that same drawing will offer a wholly different appeal if it were a study destined to inform the plastic experimentation leading to a sculpture.  It is curious that one word encompasses these two quite distinct poles and all that lies in between.

As viewers it is quite clear that we might not presume a single reading of a drawing, but seldom do we have the chance to expect more from a drawing beyond a single ostensible purpose.  The field where a sketch might have appeal both in the gallery and the studio is sculpture, but even when the innate beauty of a sketch leading to a sculpture is admired for its own sake, the fact that its title will almost inevitably point it to being a study for a sculpture may well colour its appreciation.  The gallery destined sketch is less common is architecture although many architects are happy to present their early thoughts – sketches – as drawings with artistic value separate if not actually beyond their original purpose.  One suspects for many mature signature architects the sketch might be their major drawn contribution in highly successful projects and understandably, they would wish its fundamental status be consolidated through exhibition or publication establishing its credentials as the primary distillation of what goes on to be a winning idea.

Where the architect assumes a sculptor’s approach – a strong formal element in the work for example – the simple dialectic between artistic delight and rich source of spatial and material information source becomes less straightforward.  Antoni Gaudí is a case in point.  Many are drawn to his work appreciating the degrees of difficulty he set himself and all those he collaborated with whether it be the structural bravura within his entire oeuvre, his consummate skill as a constructor, colourist, formalist, rationalist, geometer, planner, sculptor and artist.  Almost all his work begs the question “how did he get this done?”  Even his less unconventional work points to an intimate dialogue between architect and maker, indeed far more intimate that would have been common even for his generation.  We read accounts of how Gaudí, the son of a coppersmith, picked-up the tools himself in order to explain his intentions through active example; hardly the commonplace actions of worldly architects of that time whose drawings were far more redolent of opportunity for personal decision-making by the craftspeople charged with working from them.  Drawings then were intended to imply the outcome far more than the highly specific legal documents that architectural drawings have become today.

But just how important were drawings to Gaudí as a principal means to correspond with his builders?  We cannot be certain because what drawings that survived in his studio after his death in 1926 were destroyed when it was sacked and set on fire during the first year of the 1936-39 Spanish Civil War, and he wrote nothing at all about any aspect of his practice.  We are aware that his last twelve years were devoted to the Sagrada Família Church and that his principal design medium was plaster modelling and he was drawn to use only sets of intersecting highly evolved geometries having completely eschewed the freeform that had characterised much of his mature earlier work.  We know this through the virtually uninterrupted apprenticeship leading-up to the model makers working on site today.  The Passion Façade, still under construction today, is based not on a scale model like most of the rest of the building but on a drawing.  The drawing does not survive but a plate photograph of it does.  It is more than an ‘ordinary’ drawing, and certainly well beyond a sketch despite it including the essence of the sketch that was subsequently embellished with gouache and charcoal over a long period of time.  Could it be that for Gaudí the model was the drawing and that this key drawing of the Passion Façade, rather than being just an exception is the exception that proves an important point of difference between Gaudí and his peers, and probably every architect since?  Mark Burry has been collaborating with the Sagrada Família Church for over thirty years.  He is currently responsible for the design leadership to complete the Passion Façade, the Sala Creuer (the space above the crossing where the six principal towers join the main body of the church), and the main front (Glory Façade).  In his keynote address he will show that Gaudí always worked in more than three dimensions, and as a consequence ‘drawing’ (2 and 2½ D) and ‘modelling’ (3D) were somewhat constraining regardless of their artistic merits as cultural productions in their own right.  In understanding this like Gaudí we have to draw out from his models into a rather different sense of what drawing has to offer.

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Submit a paper for Drawing Out: 2012

DRAWING OUT: 2012  is a transdisciplinary conference  and collaboration between RMIT Melbourne & The University of the Arts London.

Working with the assumption that drawing is not simply a way of thinking and communicating  but an integral part of our everyday and professional lives DRAWING OUT: 2012  will address, how drawing  functions as a part of  literacy  through three themes; Drawing and Notation Drawing as Writing Drawing: recording and discovery

Submissions are be sought from academics, industry professionals, practitioners and others engaged in the fields of:  Aboriginal and Torres Strait Islander Cultural Practices; Art and Design , Digital Schemas; Fashion Templates; Architectural and Engineering Designs; Creative Writing; Mathematical, Musical and Dance notation, Media and Communications Concepts; Cartography and Scientific Schematics; Architectural and Mathematical Modeling; Business and Financial Mapping; Legal, Educational and Political Visualisations.

Proposals for papers, workshops, panels  and other innovative modes of presentation will be sought in three broad streams, that address the following themes:

1.  Drawing  and  Notation. Drawing as a sometimes intuitive other times  driven by  convention  means of mapping   appearance  and movement  . With special reference to innovative methods of notation .

2. Drawing  as Writing Drawing after, before and as a part of writing. An exploration of literacy and communication.

3. Drawing: recording and discovery. Drawing as a speculative activity and means of  holding and transferring information.

All proposals should be 30 minutes in duration – please refer to your chosen theme in your abstract

Please use the following link to register and submit an abstract for Drawing Out: 2012


Schedule for submissions:

Authors submit their abstracts by 28th October 2011
The abstracts are plain text, and are entered directly into the webpage.
There is no need for any uploading of PDF’s at this stage. All abstract submissions will be via an external website, authors must create their own log in name and password

Abstracts are reviewed and accepted/rejected by 18th November 2011

Authors are notified of acceptance/rejection by 30th November 2011

Authors log into the system and upload their papers by January 6th 2012

Feedback on papers recived by 3rd February 2012

Authors log into the system and download/print the reviews, then upload the final/edited version of the papers by 17th February 2012

. Power points to e.webb-ingall (@)chelsea.arts.ac.uk by 24th Febraury 2012

Please see below for proposed schedule for the 3 day conference:

Wednesday 28th March 2012 daytime

National Gallery, London – Theme: What makes a good drawing?

Wednesday 28th March 2012 evening

Opening of Exhibtion at Central Saint Martins Gallery, Kings Cross, London

Details of exhibition TBC

Thursday 29th March 2012 daytime

Chelsea College of Art and Design, 45 Millbank, London

Friday 30th March 2012 daytime

Wimbledon College of Art, Merton Hall Road, London

Friday 30th March 2012 evening

Closing conference event at Wimbledon Gallery

Details of exhibition TBC

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