Abstract
Karen Kurczynski suggests that the vulnerability of a paper support and the unfinished ‘open’ quality of drawing has made it a particularly significant medium for artists marginalised because of their gender, sexuality or race. She examines the work of the Native American artist Jaune Quick-to-See Smith and the Sámi artist Britta Marakatt-Labba and discusses drawings by the American artists Nicole Eisenman and Kiki Smith.
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