TY  - BOOK
AU  - Nancy,Jean-Luc
AU  - Armstrong,Philip
ED  - Project Muse.
TI  - The pleasure in drawing
SN  - 9780823250950
AV  - NC17.F7 L96713 2013
U1  - 741.01/17 23
PY  - 2013///
CY  - New York
PB  - Fordham University Press
KW  - ART / Techniques / Drawing
KW  - bisacsh
KW  - PHILOSOPHY / Aesthetics
KW  - ART / Criticism & Theory
KW  - Drawing
KW  - Philosophy
KW  - Electronic books.
KW  - local
N1  - Translation of: Plaisir au dessin. -- Paris : Hazan ; Lyon : Musee des beaux-arts de Lyon, c2007. -- 239 p. : ill. (some col.) ; 28 cm; Includes bibliographical references
N2  - "Originally written for an exhibition Jean-Luc Nancy curated at the Museum of Fine Arts in Lyon in 2007, this book addresses the medium of drawing in light of the question of form--of form in its formation, as a formative force, as a birth to form. In this sense, drawing opens less toward its achievement, intention, and accomplishment than toward a finality without end and the infinite renewal of ends, toward lines of sense marked by tracings, suspensions, and permanent interruptions"--; "Originally written for an exhibition Jean-Luc Nancy curated at the Museum of Fine Arts in Lyon in 2007, this book addresses the medium of drawing in light of the question of form--of form in its formation, as a formative force, as a birth to form. In this sense, drawing opens less toward its achievement, intention, and accomplishment than toward a finality without end and the infinite renewal of ends, toward lines of sense marked by tracings, suspensions, and permanent interruptions.  Recalling that drawing and design were once used interchangeably, Nancy notes that "drawing" designates a design that remains without project, plan, or intention. His argument offers a way of rethinking a number of historical terms (sketch, draft, outline, plan, mark, notation), which includes rethinking drawing in its graphic, filmic, choreographic, poetic, melodic, and rhythmic sense.  If drawing is not reducible to any form of closure, it never resolves a tension specific to drawing but allows the pleasure of drawing to come into appearance, which is also the pleasure in drawing, the gesture of a desire that remains in excess of all knowledge. Situating drawing in these terms, Nancy engages a number of texts in which Freud addresses the force of desire in the rapport between aesthetic and sexual pleasure, texts that also turn around the same questions concerning form in its formation, form as a formative force.  Between the sections of the text, Nancy has placed a series of "sketchbooks" on drawing, composed of a broad range of quotations on art from different writers, artists, or philosophers"--
UR  - https://muse.jhu.edu/books/9780823250950/
ER  -