Slowness and Acceleration
As the original and most personal form of visual artistic expression, drawing occupies a prime position in the educational proﬁle and philosophy of the Drawing and Print course at Burg Giebichenstein. The speciﬁc character of drawing imagination continues to represent the most important foundation for subsequent design considerations; equally, it is also important as a discipline in its own right. The principle of slowness that this path is based on ﬁrst has to be accepted, which is no easy decision in the context of the demands and pressure to stand out at an early stage. You ﬁrst have to make a lot of things your own. No matter how much talent you may have, you won’t get very far in this tough profession unless you have the necessary experience. These are the prerequisites for succeeding in a given design niche.
Another factor is that the art landscape has changed considerably. Up to a few years ago, artists were able to draw with a degree of self-certainty, but this seems to have completely evaporated. In addition, new reasons for working with established artistic techniques are opening up. Graphics and drawing have long since arrived in the media age. Nowadays, this applies not only ostensibly to the image aesthetics of photos, ﬁlm, video, comics or computer-generated images, but also includes equally complex technological production processes from design right through to presentation. This hybridisation of the understanding of images is opening up new spheres of thought for media-reﬂective and historical issues. In addition, points of reference for difﬁcult contemporary problems are being found and a lively area of experimental development concepts for new image models is being created. Today, the traditional image disciplines of graphics and drawing do not appear to be signiﬁcantly under threat from the loss of their authority in art history terms; instead, diverse opportunities are opening up for these disciplines’ current position in society’s image world.
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