Archive of Author | Jack Southern

Jack Southern is a Senior Lecturer in Fine Art at the University of Gloucestershire, and Drawing Studio Tutor across the MA and BA at City and Guilds of London Art School. Southern’s creative work spans teaching, research, writing and publishing, as well as a significant exhibition history as an independent Artist. He has also managed large-scale collaborative projects which draw on a fascination to bring Drawing theory and practice together through a diverse range of activities such as exhibition making, artists in-conversations, discussion and practical workshops. Key examples include Time / Image / Construction (2016) and Drawing making, Making drawing (2014), which both took place at Drawing Room, London. Southern devised, co-ordinated and curated these projects, working with Drawing Room co-directors, Kate Macfarlane and Mary Doyle as well as artists Cornelia Parker, Charles Avery, Dryden Goodwin, Franziska Furter, Claude Heath, Tim Knowles, Gemma Anderson and Emma Stibbon. These projects drew inspiration from Drawing Projects, (1st Edition published, July 2011 / by Black Dog Publishing), a major publication on contemporary drawing practice and theory (has sold nearly 100,000 copies worldwide) which followed the success of the Guardian Guide to Drawing (2009).

Southern’s further research into contemporary Drawing practice has been disseminated through conference/event contributions and published papers, including the Thinking Through Drawing conference (Drawing Network) at the Metropolitan Museum and Columbia University, New York, US (2014). Southern’s writing has been published in a number of newspapers and magazines including AN magazine, the Guardian, and the Telegraph.

Articles with Jack Southern

Drawing is political?

‘Drawing is political?’, examines the ever changing context which determines the politics of how we might look at, see, and understand Drawings today. In doing so, discusses the contemporary relevance of the medium of Drawing, in the context of the volume and velocity by which we experience images digitally in contemporary western culture. A fundamental proposition considers whether ‘traditional’ Drawing approaches are merely an antidote to the digital world, or in fact, whether original and authentic drawn responses are now more important than ever?