Drawing & Mapping (2)

2 Nov

Drawing as a simple primal activity, an end in itself, or more normally a means of situating the self in the world; as an expressive and a communicative activity. The cognitive and political significance of mapping. Both mapping and drawing serve to establish the position of the reader/viewer in relation to space referenced. Maps and drawings may be essentially public or private either way these essential communicative systems are freighted with signficance.

 ‘Drawing never dies, it holds on by the skin of its teeth, because the hunger it satisfies. The desire for an active, investigative, manually vivid relation with the things we see and yearn to know about . . . is apparently immortal.’

Robert Hughes, critic

Mapas Mentais (Mental Maps), Desde A até M (From A to M), Anna Maria Maiolino (Brazilian, 1942-)

See Big Think Article:

The Matrix: The Political Dance of Modern Drawing at the MoMA

“The contemporary conception of drawing,” de Zegher continues, “emphatically stresses reciprocity and empowerment, acknowledging that a single line can challenge and change the understanding of the ground itself.” Works such as Anna Maria Maiolino’s Desde A até M (From A to M) From the series “Mapas Mentais” (Mental Maps) (shown above) rework the theoretical landscape of the “mental map” of drawing and allow for disenfranchised voices to be heard rather than drowned out by the din of the Picasso crowd. Women artists, de Zegher contents, lead a chorus of “compassionate witnessing” that the 21st century will need to negotiate the new global reality and to survive.


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