Camille Casemier Johnson

The course looks at the role of the observer and the performer through drawing and performance. Both practices respond to each other by mapping movement and moving mappings. We will be exploring performance through drawing: drawing as a description, a medium, and a score for an embodied gesture. We will use drawing to imagine movement and to move concepts, in which drawing can act as tracing and foreseeing. Performances become descriptions and embodied drawings and vice versa.
We will look at performance art, presence practice, being seen and remarking on what will remain unseen, scores, methods of performance documentation and notation, as well as drawing as mark making and thinking process. We will look at artists like Sol Lewitt, Lygia Pape, Monica Baer, among other artists at the intersection of drawing as a performance practice like Janine Antoni, David Hammons, Stanley Brown; Artists in conversations such as Paul Chan and Martha Rosler, Devin T. Mays and David Schutter, John Baldessari and Paul Thek, Matthew Goulish and Lin Hixson. We will work through texts like Walkaround Time: Dance and Drawing in the Twentieth Century by Cornelia H. Butler, Tentacular Thinking: Anthropocene, Capitalocene, Chthulucene by Donna Haraway, and
'White Elephant Art vs Termite Art' by Manny Farber.
Working in and with public space as surface, students should expect to create traditional and non-traditional drawings and performances, blurring the line of traditional drawing material and embodied practice. Performance will be approachable, self determined, nothing more or less than walking if you so choose. Students will produce a final show at No Nation.

The course looks at the role of the observer and the performer through drawing and performance. Both practices respond to each other by mapping movement and moving mappings. We will be exploring performance through drawing: drawing as a description, a medium, and a score for an embodied gesture. We will use drawing to imagine movement and to move concepts, in which drawing can act as tracing and foreseeing. Performances become descriptions and embodied drawings and vice versa.
We will look at performance art, presence practice, being seen and remarking on what will remain unseen, scores, methods of performance documentation and notation, as well as drawing as mark making and thinking process. We will look at artists like Sol Lewitt, Lygia Pape, Monica Baer, among other artists at the intersection of drawing as a performance practice like Janine Antoni, David Hammons, Stanley Brown; Artists in conversations such as Paul Chan and Martha Rosler, Devin T. Mays and David Schutter, John Baldessari and Paul Thek, Matthew Goulish and Lin Hixson. We will work through texts like Walkaround Time: Dance and Drawing in the Twentieth Century by Cornelia H. Butler, Tentacular Thinking: Anthropocene, Capitalocene, Chthulucene by Donna Haraway, and
'White Elephant Art vs Termite Art' by Manny Farber.
Working in and with public space as surface, students should expect to create traditional and non-traditional drawings and performances, blurring the line of traditional drawing material and embodied practice. Performance will be approachable, self determined, nothing more or less than walking if you so choose. Students will produce a final show at No Nation.