Frances StarkBicornate Bicornous (That which is Below corresponds to that which is Above, and that which is Above corresponds to that which is Below, to accomplish the miracle of the One Thing), 2013.
Photo : courtesy of the artist and Galerie Buchholz, Berlin/Cologne/New York

The Sketch in the Work of Frances Stark, Jacolby Satterwhite, and Sue Tompkins

Emily Rosamond

Facebook0 Tweet0 LinkedIn0 Email0

What are the temporalities of sketching, and what happens to the immediacy of the sketch in a highly mediated context? What happens, in other words, when the temporality of the sketch becomes engulfed in the complex temporalities of other media, in which the quickness and immediacy of the sketch have not been directly presented to audiences but, rather, have been indirectly represented using other media? What happens when the fetish of immediacy — the fabled closeness of the sketch to thought — becomes frozen, even reified, with the help of film, animation, photographs, art markets, audiences, and performers?

Here, I’d like to briefly consider how three contemporary artists — Frances Stark, Jacolby Satterwhite, and Sue Tompkins — rethink the temporal logic of the sketch, both accelerating and decelerating its imagined speed by extending it into photography, animation, and performance.

Facebook0 Tweet0 LinkedIn0 Email0

You must have a valid Digital or Premium subscription to access this content

Subscribe to Esse now to read the full text!

The Sketch in the Work of Frances Stark, Jacolby Satterwhite, and Sue Tompkins

Suggested Reading

Muscular Empathy and Not Knowing in Dara Friedman’s Mother Drum

Feminisms and Uncertainty: A Body of One’s Own and Beyond Oneself