Abstract
This article addresses the role played by gesture in theorizing embodiment in drawing practice. The gesture here is cast simultaneously as the material trace left on the drawing surface as well as an intentional act geared toward enabling participatory spectatorship. Both forms of the gesture are enacted through attention to embodiment in drawing as performed through the organs of artist and audience. The surface of a drawing affords openings for gesture's potential to convey meaning beyond the semiotic and as a site for ongoing physical and aesthetic intervention on the part of the spectator. Drawing's capacity for enabling multiple forms of embodiment positions it uniquely in the landscape of contemporary art as a site of vision, touch, and experience.
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