Abstract
At a time when art's typically embattled relationship to politics appears to have reached a certain reconciliation, if not friendship, drawing has enjoyed a particular resurgence. Indeed, in keeping with the more general “documentary turn” in recent art, drawing has rediscovered its original function of bringing the world into view. From Andrea Bowers and Sam Durant's painstaking graphite re-creations of photographs of political protestors, through D-L Alvarez's obscured renditions of found images of Charles Manson and the Black Panthers, to Emily Prince's intimate pencil memorial to all the American soldiers who have died in Iraq, one senses a growing impulse to stake a physical claim, as if putting pencil to paper might counter the disconnect that constitutes our experience of politics and war today.
Sign-in/Register to access full text options 
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callDisclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
