PARSONS FESTIVAL!
Please join us for this event
at 66 W. 12th street
room 404
4:30 pm!
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Tag Archives: drawing
Faculty Showcase: Ronnie Lawlor’s Illustrations Chosen for American Illustration 30
Two of Parsons Illustration Alum and current Illustration faculty member Ronnie Lawlor‘s illustrations have been selected for American Illustration 30. They are from the series she did of the annual balloon blow-up for the Macy’s Thanksgiving Day parade. The drawings were also featured on NBC news this year!
Congrats, Ronnie!
Alumni Update Week: Veronica Lawlor at Urban Sketchers Conference this past May
Parsons Illustration Alum and current Adjunct Faculty member Veronica Lawlor took part in the Urban Sketchers’ Conference this past May. The conference took place in Portland, OR and was comprised of lectures, sessions, and practical sessions that put drawing into action. Ronnie was an instructor/presenter at the symposium and is on the board of directors for Urban Sketchers. She was interviewed about her background and inspirations on the symposium blog. Here’s a snippet:
When I search for “reportage drawings”, your name appears everywhere on the results. What is reportage drawing and why do you think reportage drawing as an art genre is important?
The word reportage comes from the French, meaning ‘the act or process of reporting’. Reportage drawing can be journalistic or descriptive of place and can carry the artist’s opinion. Since it is painted or drawn and not photographed, reportage illustration can take liberties with ‘reality’ in order to be clearer in meaning. It is important to the art genre because it is a direct artistic response to a place or situation, right there on the spot, and it becomes very instinctive. In that it is different from the majority of artistic experience that involves the artist alone in a studio working.
Since there is a direct connection between the artist’s hand, eye and mind, it can be very emotional as well. Reportage is so rewarding for me because I love it as a way to interact with the world and contribute.
You are the author for several books and your works are exhibited in galleries and museums. Can you tell us more and what these achievements mean to you in your role as artist, illustrator and educator?
The gratifying thing about having my work published and in gallery or museum settings is that I am able to reach the public with it. To me, art is always about communication with people. When my drawings of September 11th were exhibited at the Fire Museum in New York City, I had firemen coming up to me with tears in their eyes telling me how emotionally affected they were by seeing them. That kind of emotional connection is such a big part of the reason why I started drawing in the first place. I can be a bit shy at times, but I’m really an extrovert at heart, and drawing allows me to reach out to people who I might otherwise never come in contact with.
You can read the rest of the interview here. You can also see more of Ronnie’s work at her website.
From Lascaux Caves to Autocad–Brett Littman from the Drawing Center visits Parsons!
Parsons The New School for Design Presents:
Is This A Drawing? From Lascaux Caves to Autocad
Brett Littman, Executive Director of the Drawing Center
The kick-off event of a collaboration between The Drawing Center and Parsons. Free and Open to the Public.
Tuesday,
March 9, 2010
6:30 pm
The New School
66 West 12th Street
Room A510
Brett Littman, Executive Director of The Drawing Center — is the only fine arts institution in the United States to focus solely on the exhibition of drawings –, will present a lecture entitled “From Lascaux Caves to Autocad.” A wide range of issues will be explored, including: What is the relevance of drawing in contemporary culture? How does one define the activity of drawing today? What does it mean to expand the definition of drawing to encompass architecture, design, music, science, dance? This talk will also explore the curatorial decisions that have shaped the Drawing Center’s upcoming programming.
Maurice Sendak Happenings around the City
Sendak in SoHo
Animazing Gallery Sendak in Soho
http://www.animazing.com/gallery/pages/show_SENDAK-IN-SOHO.html
Through Nov 8, 2009
Maurice Sendak Event! A collection of original published & conceptual illustrations from the collection of the renowned artist and author who created Where the Wild Things Are.
54 Greene St. NYC 10013
Corner of Greene & Broome Toll Free 800.303.4848 Phone 212.226.7374 Mon – Sat 10-7PM Sundays 11 – 6PM
Spike Jonze: The First 80 Years
Through October 18, 2009
http://www.moma.org/visit/calendar/film_screenings/7592
Tell Them Anything You Want: A Portrait of Maurice Sendak
2009. USA. Directed by Lance Bangs, Spike Jonze. Produced by Perry Moore, Hunter Hill, Allison Sarofim, and Vincent Landay. 40 min.
Maurice at the World’s Fair
2009. USA. Directed by Spike Jonze, Lance Bangs. With Spike Jonze, Catherine Keener, Bob Stephenson. 4 min.
Where the Wild Things Are [clip]
2009. USA. Directed by Spike Jonze. 5 min.
Where the Wild Things Are: Original Drawings by Maurice Sendak
through November 1, 2009
The Morgan Library & Museum
225 Madison Avenue at 36th Street
New York, NY 10016
This special exhibition features original drawings and manuscript pages from the classic children’s book Where the Wild Things Are by Maurice Sendak (b. 1928). The show is part of a citywide celebration honoring Mr. Sendak and marking the premiere of a new Warner Bros. movie adaptation, directed by Spike Jonze.
The exhibition presents a rare opportunity to witness Sendak’s creative process—from his early drafts about an unnamed boy in search of wild horses to the well-known narrative about a child named Max taming the beastly “things” of his own imagination. Twelve drawings and two manuscript pages will be on view in the Morgan’s historic McKim building.
The exhibition includes such iconic images as Max in his wolf suit, grinning in his tree-filled bedroom; his arrival in the land of “wild things”; and his triumphant departure by sailboat. Also on view are a pencil drawing for the cover illustration of a sleeping “wild thing” as well as a preliminary sketch—not incorporated into the final published version—of a mischievous Max on all fours atop the dinner table slurping a strand of spaghetti.
Drawings on tracing paper show Sendak’s process of transferring preliminary sketches to another sheet for further development, while manuscript drafts offer a window into the author’s composition process. After drafting preliminary text about a boy seeking wild horses, Sendak entreats himself to “Drop this story for time being—I’m forcing it, and it won’t be forced.” After another try at a story about Max and the wild things—in verse—Sendak writes ALL BAD!!! and goes on to refine the story into the text that has become familiar to millions of readers.
Since its publication in 1963, Where the Wild Things Are has become one of the most beloved of all modern children’s books. Like most of Sendak’s works, it is partly autobiographical, born of long family dinners in 1930s Brooklyn, favorite monster movies from childhood, and a keen understanding of the importance of fantasy as a way to learn and grow. While the book went on to win a Caldecott Award and has been adapted for the stage and now the screen, Sendak’s drawings reveal its most enduring legacy: the ability to convey the innocence and imagination of a child.
The Morgan held exhibitions of Sendak’s work in 1981 and 1988, and he recently lent original Jean de Brunhoff drawings from his own collection to the Morgan’s 2008 exhibition Drawing Babar: Early Drafts and Watercolors.
The works on view in the exhibition, on loan from the Rosenbach Museum & Library in Philadelphia, are part of a group of some ten thousand items by Sendak, including preliminary and finished drawings and manuscripts for over one hundred books, as well as prints, acrylic paintings, hand-made books, publishers’ proofs, first and foreign printed editions, and a wide range of ephemera. It is the largest collection of the artist’s work in the world.
Related events will be held at several locations around the city, including Lincoln Center, The Museum of Modern Art, and The New York Public Library. Animazing Gallery will hold an exhibition, Sendak in SoHo, from October 1 – November 8.
This exhibition was organized in cooperation with the Rosenbach Museum & Library, Philadelphia.
Peter Kuper: All Over the Map (at Society of Illustrators)
Wednesday, September 30, 2009–In a slide presentation at the Society of Illustrators (NY), artist and Parsons Illustration Alum Peter Kuper will present everything from his world travels to political illustrations to graphic novels. Included will be work from his newest book, Diario de Oaxaca, a sketchbook journal of his two years living in Mexico.
Peter Kuper has won both gold and silver medals from the Society of Illustrators and his art has appeared on the covers of Time and Newsweek as well as Mad where he has drawn Spy vs Spy since 1997.
$15 non-members/$10 members/$7 students
Wednesday, September 30, 2009
6:30pm – 9:30pm
Society of Illustrators
128 East 63 Street, NY, NY
RSVP kevin@societyillustrators.org or call 212 838 2560
CJ Picture Book Awards deadline approaching
Illustration Alum Jill Bliss featured on 20×200
Illustration Alum Jill Bliss is staying busy. Two different prints of hers were recently featured on Jen Bekman’s 20×200 website. Here is Jill’s artist statement:
In all the work that I do, I’m interested in the boundaries between separate communities or ideas—the common ground where things intersect, cross-pollinate and co-habitate.
In ecology, an area that contains habitats common to two communities, as well as others unique to the transition zone itself, is called the ecotone. This area is typically characterized by greater species diversity and population density than occur in either of the individual communities.
In my mind, “people, plants and animals” or “art, craft and design” are not so different from one another. I believe that everything and everyone are interconnected and similar—it’s just a matter of each functioning with a different set of materials, and at varying speeds and scales. I hope to call attention to these ideas in my work, and to celebrate the small overlooked details that showcase these interconnections and samenesses.
Head over to 20×200’s site and there might still be some of Jill’s prints available. And of course, check out Jill’s website for more goods and information.
Keep up the amazing work, Jill!
[seen above: Handmade Treehomes, #1A by Jill Bliss]
Quick Hit: A quoi ca sert l’amour
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Quick Hit: Cartooning and Comics for the Kids
James Sturm and two of his former students, Alexis Frederick-Frost and Andrew Arnold, have created Adventures in Cartooning: How to Turn Your Doodles Into Comics. Here’s the official description:
In this action-packed cartooning adventure, kids will have as much fun making comics as reading them!
Once upon a time . . . a princess tried to make a comic. And with the help of a magical cartooning elf, she learned how – well enough to draw her way out of an encounter with a dangerous dragon, near-death by drowning, and into her very own adventure! Like the princess, young readers will discover that they already have the drawing and writing skills it takes to make a comic – they just need a little know-how. And Adventures in Cartooning supplies just that.
Here’s what Booklist has to say about it:
Not quite a how-to book, as the cover might suggest, this is rather a stupendous new high for children’s graphic novels, spearheaded by comics maestro Sturm (Satchel Paige: Striking Out Jim Crow, 2007). Ostensibly, this is the adventure of an eager knight, a sweet-toothed horse, and a magic elf hunting down a gum-chewing dragon, and those reading for the adventure itself will not be disappointed, filled as it is with humor, action, and a great girl-empowering twist. But along the way, lessons in the language of sequential art are woven seamlessly into the narrative, explaining the basics of how elements such as panels and word balloons work, while concluding bonus features offer specifics on terminology (like gutters and stems) and common symbols (like speed lines). Newcomers Andrew Arnold and Alexis Frederick-Frost, using varying page compositions to keep the sizable volume visually captivating, have constructed a tale that works just as well as a read-aloud for the very young as it does a lesson for everyone from fans of the form to the wholly uninitiated. As an examination of the medium, it’s a supremely worthy spiritual legacy to Scott McCloud’s seminal Understanding Comics (1993). As a straight-up graphic adventure, it may be the best of the year.
Grab a copy for your little one (or yourself) here.