Since the 1960s and globally, notions of performativity in drawing, and art more widely, have informed different approaches and ideas. Approaches from conceptual, live art and performance, sculpture, painting, choreography, process art – not to mention musical scores and experimental sound – have opened up drawing further as a complex practice. This opening up of the breadth of drawing has been informed by philosophical and theoretical debates around language having a ‘performative’ capacity. From speech acts to gender constructions, from Austen to Butler to Derrida, the performative has been theorized as the capacity to not merely ‘do something’ but, more critically, create an event. As an event, the performative creates something new, different approaches or disciplines, an incalculable future. In the case of drawing, the performative sense of an event would suggest a change in how drawing takes place. This would mean forming and rethinking elements of not only line but point, trace as well as space (paper, wall, ground, environment), time, inscription, body, and environment. What does the performative mean in drawing now? Is drawing indeed performative? How might drawing form change through performativity?

This issue of DRTP invites contributions that respond to the context of drawing and performativity in the widest sense: drawing and performance, choreography, painting, sculpture, scores, sound, writing and other approaches engaging with act and event. Philosophical and theoretical crossovers are also encouraged, ranging from semiotics, feminism, gender and queer theory, deconstruction, ethics and politics.

All articles submitted should be original work and must not be under consideration by other publications.

Submissions can take the form of:

• Articles (5000 words, 1–6 images)
• Research Projects or Project Reports (3000 words, 1–4 images)
• Critical Essays (3000 words, 1–4 images)
• Profiles (1500 words, 1–2 images)
• Exposés (1500 – 2000 words, 1–2 images)
• Featured Drawings (1–2 images and 1000 words)

Papers can be uploaded via the Drawing: Research, Theory, Practice Intellect webpage, and a copy of the submission should be emailed to the principal editor. All contributions should be original and not exceed 20 MB.

Please submit the following:

• an anonymised PDF Document with embedded images (72 dpi), captioned, as Name_Surname.doc.
• a Word Document without images as Name_Surname.doc

Drawing: Research, Theory, Practice places particular emphasis on original papers on drawing theories, practices, methods, processes and research that adopt inventive interpretations of drawing. Authors who have been previously published in DRTP may submit to the journal again after a minimum of 2 or 3 issues, as we prioritize new authors and invite new voices to expand the scope of the journal.

Please contact: Dr Adriana Ionascu, Principal Editor: a.z.ionascu@gmail.com

Principal EditorAdriana Ionascu
Ulster University, Northern Ireland, UK
a.z.ionascu@gmail.com

Drawing: Research, Theory, Practice
ISSN 2057-0384 | Online ISSN 2057-0392
2 issues per volume | First published in 2016