Blog

Behind the Scenes at the Museum für Naturkunde Berlin

During the Wunderkammer Drawing Workshop we’ve been so lucky to meet some of the scientists that work at the Natural History Museum and not only hear about their research but gain access to the research collections and draw from their specimens. It has been fascinating to learn how different disciplines within the natural sciences record and document their specimens. There are varying traditions according to…

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Drawing Workshop within Power Cage Exhibition

Bei diesem Zeichenworkshop werden die Teilnehmer*innen selbst den Geist der Naturalisten beim Aufzeichnen ihrer Exemplare verkörpern.Wie könnte der Prozess des Zeichnens durch Beobachtung die Sichtweise und letztendlich die Ergebnisse dieser frühen Wissenschaftler beeinflusst haben? Wir werden die einzigartige Intimität dieses meditativen Prozesses erforschen und uns gleichzeitig auf ein interpretatives und kreatives Terrain begeben, um die verlorenen wissenschaftlichen Werke von Jeanne Viellepreux-Power neu zu kreieren. Im…

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BDR in der Tagesspiegel

“Drawing and Wonder” read full article HERE. “Pilze können die Wahrnehmung verändern – und genau darum geht es Mira O’Brien: Mit der Hilfe von Pilzen will die 36-Jährige lehren, die Welt um sich herum anders zu sehen. Der Plan ist jedoch nicht, sie zu essen und auf eine halluzinogene Wirkung zu warten, sondern sie zu zeichnen. „Denn je genauer wir uns ein Objekt anschauen, desto detaillierter…

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Drapery in Art History and in the Sketchbook

Flowing folds of fabric can be incredibly expressive, suggestive, or even uncanny, making drapery a crucial subject to master for artists throughout the centuries. The formal properties of drapery have been used to accentuate and guide compositions, even serving as emotional cues, within sculpture, drawing and painting. Being able to proper render drapery has also been a way for artists to put their technical mastery…

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Josef Albers “Interaction of Color”

I first encountered Albers’ Interaction of Color as an undergraduate student at the Slade School of Fine Art, in London, U.K. The Slade had one of the original sets of screen prints that accompanied the first edition, so I spent hours poring over the prints and marveling at the mutability of color. Years later, when I was asked to teach a Color class at the School of…

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Supply List for Color: Theory and Practice

Available to purchase at first class: mixed media paper block  (12 Euro from Boesner) – make sure to bring 12 Euro exact change to first class. Bring:  Clean palette or disposable palettes Scissors glue stick Optional: your own brushes other optional materials will be discussed during the workshop, as things progress and individual interests develop Provided by Berlin Drawing Room: acrylic paint brushes (used) paper…

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“Painting Exploded” Instructor Alisa Margolis

Upon first encountering Alisa Margolis’ paintings online I was unsure whether I was looking at paint. The American artist’s work ranges from technically rendered explosions and carefully constructed rubble to the Baroque meets deep space and the Athenians at a rock concert. “There’s something primal about painting, the materiality, the color- it produces endorphins,” I caught up with Margolis outside the Spati in Mitte, her…

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Klara Hobza draws water

To hone her drawing practice, Klara Hobza visits the water. Wherever she is, everyday she tries to find the closest river, lake or ocean to draw its surface. “Water forces you not to cling to landmarks” she says, and I recall some introductory art class professor referring to drawing as “mapping”. Not here.  Hobza’s Drawing Water Workshop with the Berlin Drawing Room arose out of her deep…

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