Skip to content
1981
Drawing and Knowledge
  • ISSN: 2057-0384
  • E-ISSN: 2057-0392

Abstract

Feminist epistemology positions knowledge in relationship to, or as contingent on, its knower. From this framework, drawing can be situated as a relational and embodied form of knowing the phenomenal world. Drawing opens a space in which we can explore the margin between perception and representation as an epistemological problem. It asks: ‘How can we locate the relationship between and what is known across time through the canon of drawing?’. Drawing is the enactment of this problem. It bridges the gap between the phenomenal and the constructed world of knowledge and, in doing so, visualizes the relationship between our senses and our sense of self. My research reflects on the visual history of ‘The Corinthian Maid’, a Roman origin story for the first act of drawing, and on its use in my own creative practice as a framework to explore the evolution of western ideas on gender, embodiment, knowledge and creativity. The Corinthian Maid functions as an access point through which to consider new understandings of the relationship between knowledge and the body, with drawing as our guide.

Loading

Article metrics loading...

/content/journals/10.1386/drtp_00131_1
2024-06-10
2024-11-08
Loading full text...

Full text loading...

References

  1. Anderson, E. (2020), The Stanford Encyclopedia of Philosophy, Stanford, CA: Stanford University, https://plato.stanford.edu/archives/spr2020/entries/feminism-epistemology/. Accessed 29 November 2023.
    [Google Scholar]
  2. Berger, J. (2005), Berger on Drawing, Cork: Occasional Press.
    [Google Scholar]
  3. Blackman, L. (2008), The Body, The Key Concepts, Oxford and New York: Berg Publishers.
    [Google Scholar]
  4. Jacobs, F. (1984), ‘Vasari’s vision of the history of painting: Frescoes in the Casa Vasari, Florence’, The Art Bulletin, 66:3, pp. 399416, https://www.jstor.org/stable/3050443. Accessed 29 November 2023.
    [Google Scholar]
  5. Petherbridge, D. (2010), The Primacy of Drawing, New Haven, CT and London: Yale University Press.
    [Google Scholar]
  6. Rosenblum, R. (1957), ‘The origin of painting: A problem in the iconography of romantic classicism’, The Art Bulletin, 39:4, pp. 27990, https://www.jstor.org/stable/3047729. Accessed 29 November 2023.
    [Google Scholar]
  7. Sadowski, P. (2018), The Semiotics of Light and Shadows: Modern Visual Arts and Weimar Cinema, London: Bloomsbury Academic Publishing.
    [Google Scholar]
  8. Stoichita, V. I. (1997), A Short History of the Shadow, London: Reaktion Books.
    [Google Scholar]
/content/journals/10.1386/drtp_00131_1
Loading
/content/journals/10.1386/drtp_00131_1
Loading

Data & Media loading...

  • Article Type: Article
Keyword(s): drawing; embodiment; gender; knowledge; process; shadow
This is a required field
Please enter a valid email address
Approval was a success
Invalid data
An error occurred
Approval was partially successful, following selected items could not be processed due to error