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Art Education Practice and Research collection
For more information and prices please contact Holly Rose, [email protected].
Collection Contents
55 results
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Community Arts Education
This edited collection offers global perspectives on the transverse, boundary-blurring possibilities of community arts education.
Invoking ‘transversality’ as an overarching theoretical framework and a methodological structure, 55 contributors – community professionals, scholars, artists, educators and activists from sixteen countries – offer studies and practical cases exploring the complexities of community arts education at all levels.
Such complexities include challenges created by globalizing phenomena such as the COVID-19 pandemic; ongoing efforts to achieve justice for Indigenous peoples; continuing movement of immigrants and refugees; growing recognition of issues related to equity, diversity and inclusion in the workplace; and the increasing impact of grassroot movements and organizations.
Chapters are grouped into four thematic clusters – Connections, Practices, Spaces and Relations – that map these and other intersecting assemblages of transversality. Thinking transversally about community art education not only shifts our understanding of knowledge from a passive construct to an active component of social life but redefines art education as a distinctive practice emerging from the complex relationships that form community.
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Studio Seeing
More LessOpens with several first-person anecdotes about the author’s life as a practicing artist and a discussion of the intellectual lineage of his vision-based pedagogy. Many more anecdotes from the author’s teaching appear in most chapters.
The author discusses perception as it benefits the artist in the studio. Perceptual laws govern both our experience of seeing and the artist’s process of creating. The book presents a proven process developed by the author over many decades of teaching and studio practice that the artist can apply to their own painting/drawing and/or teaching. The painting and drawing principles in the book are essential and yet not generally taught or understood. They will benefit anyone learning how to draw/paint or advance their practice. The book will also help practitioners to make rapid progress and to avoid clichéd, overused solutions. It also offers insights and discussions of interest to art lovers and “Sunday painters.” It is for everyone who enjoys viewing and thinking about art.
Integrated into the text are more than one hundred images—works of art by well-known historical and contemporary artists and students, photographs, and diagrams—to reinforce the concepts presented. A recap section ends each chapter, followed by an exercise, or group of related exercises, to encourage and guide the practitioner in immediate application of the concepts.
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Contemporary British and Italian Sound Docudrama
More LessThe book focuses on radio and sound docufiction and docudrama through comparative analysis of the British and the Italian output from post war years to the 2010s, from both a historical and formal point of view. It sheds light on a rather neglected area of study providing a systematic survey of the development of the form and of its current status and perspectives, and at the same time constructing viable analytical tools that can be used to investigate individual productions.
Considering the different docudramatic output in formats and quantity in the two countries, the book explores case studies from BBC Radio, which continue to air a high number of programmes with a great variety of formats and subgenres, and Italian case studies from both independent bodies and the Radio RAI, whose docudramatic production has declined since the late 1980s.
Specifically, the study seeks to explain how radio language in its purely acoustic dimension allows access to unpredictable layers of truth often complementary, when not overtly alternative, to the documental truth of declaredly journalistic or scientific programmes.
A well-researched resource for university students, scholars, researchers and educators in media, sociology of media and history. In-depth analysis of an original topic.
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Dystopian and Utopian Impulses in Art Making
Contemporary art has a complex relationship to crisis. On the one hand, art can draw us toward apocalypse: it charts unfolding chaos, reflects and amplifies the effects of crisis, shows us the dystopian in both our daily life and in our imagined futures. On the other hand, art’s complexity helps fathom the uncertainty of the world, question and challenge the order of things, and allows us to imagine new ways of living and being – to make new worlds.
This collection of written and visual essays includes artistic responses to various crises – including the climate emergency, global and local inequalities and the COVID-19 pandemic – and suggests new forms of collectivity and collaboration within artistic practice. It surveys a wide variety of practices, oriented from the perspective of Australia, New Zealand and Asia. Art making has always responded to the world; the essays in this collection explore how artists are adapting to a world in crisis.
The contributions to this book are arranged in four sections: artistic responses; critical reflections, new curatorial approaches and the art school reimagined. Alongside the written chapters, three photographic essays provide specific examples of new visual forms in artistic practice under crisis conditions.
The primary market for the book will be scholars and upper-level students of art and curating at both undergraduate and postgraduate level. Specifically, the book will appeal to the burgeoning field of study around socially engaged art.
Beyond the academic and student market, it will appeal to practicing artists and curators, especially those engaged in social practice and community-based art.
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Performing Institutions
Performing Institutions: Contested Sites and Structures of Care builds upon scholarly work rooted in the social and cultural histories of education, self-organization, activist practices, performance, design, and artistic research, (at)tending to the ways that institutions are necessarily political and performed.
By evoking the idea of Performing Institutions, it foregrounds all kinds of ‘actors’ that engage with (re)imagining creative practices - social, artistic, and pedagogical - that critically interact with institutional frameworks and the broader local and global society of which these institutions are part.
With case studies and critical reflections from Denmark, Ireland, Finland, the UK, Canada, the USA, Chile, Asia and Australasia contributors show how they envision or pursue performing artistic, cultural, social and educational practices as caring engagements with contested sites, addressing the following questions. How do current institutions perform – academically, spatially, custodially and structurally? How might we stay engaged with the ways that institutions are inherently contested sites, and what role do care, and counter-hegemonic practices play in rearticulating other ways of performing institutions, and how they perform on us?
These are the questions central to this book as it stages a productive tension between two main themes: structures of care (instituting otherwise) and sites of contestations (desiring change).
Some of the texts in this collection stage a productive tension between ideas about caring contestations and contestation as a caring engagement in practice, with a view towards institutional transformation. Other contributors investigate the idea of caring contestations as a critical concept that draws attention to questions of power and to the exclusions produced and reproduced in and through specific institutional practices. As such, this collection of writing puts forward caring contestations as a critical mode for (re)enacting institutional engagements. This also brings forward questions of agency and how, for those of us who perform within institutional structures, we care to engage and/or contest those institutional engagements.
It is primarily aimed at scholars, educators, research-practitioners and postgraduate students in the fields of performance studies, theory, creation and design, those working at art institutions and art schools Also relevant to researchers working across various fields of organizational as well as educational approaches to performance culture.
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Applied Arts and Health
This collection documents diverse approaches in creative arts engagement, building metaphoric bridges across the field with an emphasis on creativity and well-being in education and community development.
Focussing on applied arts and health practice, research, scholarship, expressive arts therapy, community and education, the book advances integrative and multimodal art-based processes. This book aims to give prominence to art-based research and provides useful support to those working and researching across applied arts and health, education and community contexts. The book brings together a collection of world-leading authors in the field spanning a range of cultures, documenting projects and significantly adding to cohesive research in the field.
In continuing to advance applied arts and health, whilst furthering a commitment to art-based research, this new book places emphasis upon the artistic research methodology, underlining that art (performing art and visual art) is the evidence. It offers the field an integral vision for the arts both theoretically and practically. Further, the book breaks down the silos of practice that have been unhelpful in their development.
The audience for this book will include art-based researchers, expressive arts practitioners and scholars, arts educators, and those interested in bridging the gap between arts and health practice. Masters and doctoral level students in art-based research, participatory research, and qualitative research with an arts-focus are another audience for the book. All applied arts and health practitioners and academics, arts educators, art therapists and university PaR programmes. Whilst of particular use to postgraduate students, this text will also be useful to final year undergraduate students in assisting them with creative practice-based dissertations and projects. Also useful to researchers, practitioners and a range of research degree programmes in applied arts and health, education and community engagement.
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Removing the Educational Silos
This collection was written by educators who are engaging in multi- and interdisciplinary education and are led by curiosities encompassing the collaborative nature of cognitive and kinesthetic engagement and awareness.
The chapters are designed as sources for inspiration, replication, and adaptation. They are a place to start or continue. Each chapter, in varying modalities, addresses interdisciplinary course development and implementation in institutions of higher education. The common themes that emerge in the collection include navigating administrative systems and solving the challenges encountered when crossing departments or colleges, whether it be regarding listing of courses or the intricacies of course load on each professor.
Many chapters also provide detailed information on the nuts and bolts of the specific course or courses taught, including syllabi, lesson examples, and both formal and informal assessments implemented. Multiple case studies are included in this collection, with many chapters providing specific examples of students’ work.
Contributors candidly offer discussions of failures and successes of their interdisciplinary collaborations, be it in course design, lesson planning or complications brought in by unforeseen pandemics. Most chapters end with a section entitled ‘Lessons learned’, where experiences from the field provide opportunities for growth and continued exploration.
Readers can follow the book from cover to cover or dip in, finding the chapters that serve a particular project or teaching endeavour. The varying writing styles and topics are in direct relationship with the exact nature of the inspiration for this text. The over-arching themes of collaboration (diverse backgrounds, ideas, and skill sets, multidisciplinarity, and interdisciplinarity) are the consistent touchstones that create a thematic self-guided journey of exploration through the book.
The chapters offer readers guidance and encouragement to implement some of the approaches described, and inspiration to forge their own paths in the world of multi- and interdisciplinary teaching and research. The depth and breadth of collaborative possibilities are exciting, and the editors’ goal is to spark further experimentation.
An excellent and practical resource for any educator hoping to teach his or her subject matter through an interdisciplinary approach and for all courses revolving around topics of pedagogy. The key audience will be graduate students, and teachers in all stages of education from primary to higher education.
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Theatre for Lifelong Learning
Authors: Rae Mansfield and Linda LauTheatre for Lifelong Learning is a step-by-step guide for anyone interested in teaching theatre courses and creating theatre with older adults.
This book provides instructors with syllabi, discussion questions, classroom management strategies, resource lists, and activities to teach courses from beginning to end. Special topics include Playwriting, Play Development, Storytelling, Theatre Appreciation, Theatre Criticism, Theatre History, and Theatre Theory.
This book helps readers become confident, informed instructors of older adult learners. Theatre for Lifelong Learning is a tool for anyone who wants to build theatrical communities and support the emotional well-being of older adults through education, practice, and experimentation while also having fun.
Theatre for Lifelong Learning is a complete guide to navigate the theatre classroom from beginning to end. Anyone can become a theatre expert and educator with practice. If you already have a background in performing arts, this book provides strategies that are useful for you as well. If you have experience as an educator, this book will enrich your current skill set with interdisciplinary approaches. Tips and examples throughout assist you in creating and maintaining an accessible environment and making courses your own.
So how can teaching and learning about theatre help us live in the moment? When we are not engaged, it’s easy to forget that we are capable, curious, creative people who can expand our knowledge and experiences every day. Theatre encourages finding meaning in small things, chance encounters, and the tapestry of life. All the material provided in this book will motivate instructors and students to get involved.
It will be most useful for arts practitioners, participatory practitioners, institutional educators and community outreach officers, independent theatre instructors. Of potential interest to scholars and researchers in age studies, or in teaching and learning. May also be useful for community arts organizations, regional theatres, and non-profit organizations working with older adults.
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Bergson and Durational Performance
By James LaytonHumans have always marked time, whether by using the earth's natural rhythms or with the clock. Unlike pre- industrial people, living in an age of social acceleration is dominated by clock-time and network time, presenting many more options than can possibly be achieved in a human lifespan.
This book explores the possibility of an alternative experience of time, one that is closer to the pure duration described by philosopher Henri Bergson. The discussions in this book contribute to contemporary performance analysis, philosophy and Bergson studies as well as exploring aspects of immersive and participatory performance, walking practices, ritual and online performance.
Using durational performances as case studies, the author demonstrates new insights into Bergson’s philosophy alongside key theorists in psychology and anthropology. Through a series of performance analyses, Bergson's philosophy of duration is coupled with ideas from Maslow, Csikszentmihalyi and Victor Turner to speculate on the possibilities available in challenging an experience of the world in which time is short, but the possibility of experience is abundant.
The main audience is an academic and student market. Undergraduate and postgraduate students of theatre studies, performance and the performing arts, doctoral researchers, researchers interested in time and performance, the relationship between performance and philosophy, those with an interest in philosophy, sociology, anthropology, and psychology will all find much of interest.
Potential wider readership in those who are interested in the phenomenon of social acceleration, in performance philosophy as well in Bergson’s philosophy.
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Living Histories
Living Histories is a collection of new scholarship that explores histories of art education through a series of international contexts. The first truly international text highlighting histories of art education, with contributions from over 30 scholars based in 18 countries.
Art education holds an important role in promoting historical awareness of the multiple relations that connect pedagogic inquiry with culture, heritage, place and identity, locally and globally. To keep pace with the movements of art and society, Garnet and Sinner consider that art education requires more inclusive and holistic versions of history from transnational perspectives that break down barriers and cross borders in the pursuit of more informed and diverse understandings of the field. The broad focus of this edited collection is to provide both new perspectives of art education from around the world, and to introduce transnationalism into the field as a way to conceptualize the entanglements of historical research in our globalized age. Transnational histories of art education focus on the linkages and flows that shift focus away from the nation-state to other transnational actors such as individuals, communities, institutions and/or organizations.
Contributions from scholars and educators based and working in Australia, Austria, Brazil, Canada, Colombia, Croatia, Czech Republic, Finland, India, Iran, Japan, Malta, South Africa, Spain, Trinidad and Tobago, UK, USA and Zimbabwe.
Includes chapters that adapt an approach of ‘artwork histories’ to explore the legacies of art education as an anticipatory mode of historical thinking and practice across the visual arts and sites of art education. The book offers an opportunity for authentic engagement and intellectual risk, which includes the rejection of ‘correct’ interpretations of historical problems. As active agents, art education historians are not passive collectors of the past, but engaged in new ways of doing history predicated on cultivating stories that move beyond representation to attend to aesthetic dimensions that bridge historiography, material culture, oral history, art history and teacher education. Living Histories provides an interpretation of historical thinking and consciousness through the interrelations of time and space to provoke critical and creative practices in education.
This is the latest book in the Artwork Scholarship series, which aims to invite debate on, and provide an essential resource for transnational scholars engaged in, creative research involving visual, literary and performative arts.
With contributors from 18 countries, this book will have a substantial international readership among art educators and those interested in the history of art education, primarily in universities and colleges. It will also be particularly useful for graduate students.
It will also appeal to scholars in arts education more broadly - music education, dance education, theatre education scholars, cultural and art historians, art theorists, international educators, and curators.
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An Introduction to the Phenomenology of Performance Art
By T. J. BaconThis original and unique new book takes an integrated approach to interrogating the experience and location of the self/s within the context of performance art practice. In its framing and execution of practical exercises and focused snapshots of internationally recognized performance practice, Bacon situates their argument within the boundaries of specialism in the critical curation of performance art praxis as well as contemporary phenomenological scholarship.
Introducing the study and application of performance art through phenomenology for radical artists, educators and practitioner-researchers; this exciting new book invites readers to take part, explore contemporary performance art and activate their own practices.
Applying a queer phenomenology to unpack the importance of a multiplicity of Self/s, the book guides readers to be academically rigorous when capturing embodied experiences, featuring exercises to activate their practices and clear introductory definitions to key phenomenological terms. Includes interviews and insights from some of the best examples of transgressive performance art practice of this century help to help unpack the application of phenomenology as Bacon calls for a queer reimagining of Heidegger’s ‘The Origin of the Work of Art.’
This is an important contribution to the field, and will be welcomed by performance artists and academics interested in performance. It may also appeal to those teaching concepts of phenomenology.
It will be relevant to students of performance as well as to artists, audiences and museum goers. The approachable layout and clear authorial voice will add to the appeal for students, early career researchers and mean that it has strong potential for inclusion in undergraduate and postgraduate syllabi within the field.
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T-Squared
An interdisciplinary collection with its origins in the 2018 National Conference on the Beginning Design Student, hosted by the College of Design, Architecture, Art and Planning at the University of Cincinnati, the overarching focus of which was on 'TIME'. The book includes contributions from some scholars who were not involved in the conference but whose voices are important to the conversation.
T-Squared: Theories and Tactics in Architecture and Design has three primary aims. First, it reveals and illuminates the extensive and explicit relationship between the research that shapes art, architecture and design practices, and the studio prompts and assignments that are developed by faculty for students engaging the creative disciplines. Second, it demonstrates that pedagogical inquiry and invention can be a (radical) research endeavour that can also become an evolutionary agent for faculty, students, institutions and communities. Third, it makes available to a larger audience a set of innovative ideas and exercises that have until now been known to limited numbers of students and faculty, hidden behind the walls of studio courses and institutions.
This book will appeal to anyone interested in design thinking and design process as well as to architects, architectural educators and architecture students who may particularly identify in it stirrings of a new world order and a call to arms.
Each chapter of T-Squared is separated into two parts: THEORY (T1) and TACTICS (T2). In T1, the authors offer mini-manifestos about topics that relate to their professional interests and efforts. In T2, the authors delineate exercises that reflect the ideascapes and methodologies presented in T1. The exercises in T2 are adapted for the reader from assignments given to students enrolled in design studios at a variety of universities. In their current incarnation, they offer anyone with tenacity, imagination and an adventurous attitude towards architecture and design access to distinct sets of provocative questions, procedures and modes. The T2 offerings require the reader’s engagement and imagination and the rolling up of sleeves – while there may be steps to follow, many of the exercises read like Fluxus scores and require investment rather than obedience. A suspension of disbelief is required – but all seriously creative folk (like you, reader) understand that already.
Primary readership will be among design educators and students looking for a window through which to view the ways design is being introduced, taught and positioned across disciplines and institutions, and to architects, architectural educators and architecture students.
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Storytellers of Art Histories
This anthology, Storytellers of Art Histories, gives voice to those who are reshaping art histories: not only art historians and curators, but also archivists and artists.
There is a special focus on gender, race (including Whiteness), class, sexuality and transnationality – all of which are often marginalized in dominant art histories. Each of the contributors in this book has provided short, often very personal, contributions describing how they began to become passionate about their practice. A particular feature of the collection is that there are twice as many contributions by women than by men.
The contributors respond in a multitude of surprising ways, appealing equally to people enmeshed in the field through their work and to those simply interested in the field. The stories you will read take various forms – a letter written to a friend, a revisioned grant application, the pastiche of image and text, children’s fables, interviews, co-authored narrative, memoir, manifesto, apology. A number of the essays perform, through a combination of recollected early memory alongside scholarly research, the roots of the theories they explore through publishing, curating and archival work.
Many of the contributors embody overlapping cultural diasporas that suggest the porousness of borders, challenging the field to understand itself as a product of regional art histories. Collecting this range of narratives born from different workplaces and disciplines speaks to our belief in the potential boundlessness of the art histories that shape the stories we consume.
Storytellers of Art Histories brings together the first-person narratives of an international group of art historians, curators, artists and archivists. This much-needed book book fills a significant gap in the literature, showing how these practitioners’ works come together productively in the teaching and writing of art history. The anthology also illuminates the relationship between curatorial studies and art history.
Primary readership will include artists, art historians, archivists, curators and educators. It will be a useful resource for educators and students connected with undergraduate courses in art history, contemporary art history and curatorial and museum studies.
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Creative Infrastructures
By Linda EssigCreative Infrastructures is a new collection of connected essays that examines the relationships between art, innovation, entrepreneurship and money. Essig uses her extensive knowledge of the field of arts entrepreneurship and puts it to broader practical use and greater impact by offering a theory for arts entrepreneurship that places more emphasis on means over ends. Essig uses illustrative case studies to show how her theoretical framework explains a number of innovative efforts in culturally and racially diverse communities.
The Ouroboros, the serpent eating its own tail, is a visual metaphor deployed by Essig in the opening essay to shift commonly held perspectives on, especially, the relationship between art and money. Art is the head; money is the tail, feeding and nourishing the head in a cycle that enables the organism to not only survive but also thrive.
Between the art and the money is the body: innovation and entrepreneurship. Innovation is understood to be a novel idea that is implemented and has impact on a domain. For that is what the artist does: create something new and unique that has impact. Entrepreneurship is conceived of as the discovery or creation of a mediating structure that can convert the artistic innovation into capital (financial and other types) that can be re-invested in the artist and the making of more art. This book endeavours to untie the knotty relationships between artists and entrepreneurship in order to answer the question 'How can artists make work and thrive in our late-capitalist society?'
Other essays in the collection consider a range of topics including how aesthetic and cultural value are transmitted from the artist to the audience; the complexity of the tension between what art fundamentally is and the reproduction of that work and the recent foregrounding of the idea that art can produce positive social change – through current and late-twentieth-century trends in 'social impact art' or 'art for change'.
As in sports, business and other sectors, the star artists, the top 1 per cent, have disproportionately influenced the public expectations for what 'a successful artist' means. It isn’t necessary to retell the stories of the one per cent of arts entrepreneurs; instead Essig looks instead at the quotidian artist, at what they do and why, not what they make. All too often, artists who are attentive to the 'business' of their creative practice are accused of 'selling out'. But for many working artists, that attention to business is what enables an artist to not just survive, but to thrive. When artists follow their mission, Essig contends that they don’t sell out, they spiral up by keeping mission at the forefront.
The closing essay is a work of speculative fiction, based in all that comes before, both in the preceding essays and in Essig’s work as an artist, arts advocate and scholar of cultural policy. Returning to the symbol of the Ouroboros, it connects the head (art) to the tail (not money specifically, but resources), and back again. It is a 'future imaginary', in which she profiles three fictional artists in the year 2050.
The field of arts entrepreneurship is growing – thanks in large part to the work of Linda Essig. The case studies in the book are US-based, but the issues addressed are universal.
This book is ideal for use in training programmes for arts administrators and advocates; policy analysts and business schools that are looking to add in arts programmes. It will be of great interest and significance to people working in the cultural industries in the United Kingdom and Europe, especially Germany, where there has also been some recent research interest on similar topics.
It is also relevant to the many artists who participate in training and professional development programmes in their community, as well as those who are just starting out.
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Insights in Applied Theatre
More LessMuch more than an archive, these are the vivid, still pertinent voices and messages of the pioneers worldwide.
The nineteen articles chosen by the editors of Applied Theatre Research represent key themes and elements from the early days of applied theatre that are still – and indeed now more than ever – relevant. They are all high-quality articles, some of which were highly influential in their own time. All of them still have plenty to say to today’s applied theatre, both in their own terms and sometimes in terms of how their publication influenced the development at the time of this still-expanding field, or refracted it in ways that give us new insights with hindsight.
They have been arranged in sections according to some of the key themes – and problematic issues – that were discovered, thought out and sometimes stumbled across by the pioneer writers in the collection. Each section is preceded by a critical editorial commentary on those themes, besides thorough introductions to all the articles and in some cases re-evaluations. The editors have added substantial additional new material to the collection and in doing so, bring their own applied theatre experience to bear on these themes, as they raise general questions that are wide-ranging, contemporary and urgent: from the vital and contested issues of power, partnerships and the giving of voice through theatre to applied theatre’s proactive response to COVID-19, to the need to identify, take account of and address the needs of all stakeholders in any applied theatre project.
The articles are grouped in six sections, covering areas such as diversity of geography, community contexts, forms of applied theatre and organizational factors that characterize applied theatre; the definition and nature of applied theatre; how the best intentioned projects could be compromised by any of the many opportunities for applied theatre to go wrong; opportunities for change it can offer and the incorporation of new media technologies, and ethnographic performance, two factors that have now become major preoccupations for our field, particularly in the years since the articles were written. The final section recognizes that applied theatre has been around not for 30 years, but for thousands, and in countless cultures.
The editorial chapters have strong connections with the rest of the book, but are written with the editors’ deep insights into the field, and are sharp in their focus and context. The book offers useful insights into the start of applied theatre and its development as an area of practice and research. The chapter collection is relevant and includes influential names in the field who have contributed significantly to the development of applied theatre over time.
The primary market will be academics and advanced practitioners in applied theatre, drama education and theatre studies – including the expanding fields of drama therapy, theatre and health etc. It will also be useful for educators exploring creative pedagogy and drama in education strategies across the curriculum.
It will be valuable introductory background reading for advanced undergraduate and post-graduate students in drama, theatre studies and theatre arts, performance studies and community theatre.
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Visual Futures
The overall subject of the book is visual culture. What sets it apart and gives it such an original emphasis is its multi-disciplinarity and the range of critical voices, ranging through film studies, architecture, creative practice, biology, pedagogy and media theory, which are brought to bear upon the question of visuality and its relationship to futurity.
In our everyday lives, we navigate across a vast sea of visual imagery. Yet, we rarely pause to question how or why we derive meaning from this sea. Nor do we typically contemplate the impact that it has on our motivations, our assumptions about science and about other people, and our actions as individuals and collectives. This book is a collection of interdisciplinary perspectives, from science to film, from graffiti and virtual environments to architecture and education that examines the ways in which we interact and engage with the visual elements of our environments.
Visual Futures provides an interdisciplinary examination of how we visualize and use visuals to make meaning within our environment. A diverse range of contributions and perspectives from biology, film, virtual reality, urban graffiti, architecture, critical pedagogy and education challenge our current attitudes, norms and practices of looking and seeing, opening up questions about the future. The future is a concept with significant political stakes and the work of rethinking and reimagining possible worlds requires a host of practices, which include the work of seeing, of image-making and of representation – all of which is political work taken up by the book contributors.
Primary readership will be among scholars and students of visual culture, media studies, digital cultures, fine art, architecture, education, science communication and sociology. Clearly aimed at an academic readership, it will also appeal to practising artists, architects, software developers and educators.
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Entanglements of Two: A Series of Duets
Drawing out the particularities of working in twos, with a focus on collaborative performance making, this book considers the duet as a particular configuration in which to think, the duo a microcosm of humankind, and presents everyday entanglement of form and practice seen through the lens of the smallest multiple unit.
This book explores the practical, philosophical and aesthetic implications of performers working in pairs. It focuses on a ten-year period in the work of Karen Christopher, alongside wider reflections on the duet as a concept in artistic and social life. The book presents an investigation of the entanglement of form and practice seen through the lens of the smallest multiple unit of collaboration: the pair.
During this ten-year period, Christopher set out to create a series of duets by working with one other artist. The 25 pieces in the collection includes reflections from an international group of collaborators, artists, linguists, physicists, theologians, philosophers and performance scholars. Many of them deal with the question of artistic collaboration and entanglement, contemplating the significance of those terms both on an interpersonal and global level.
This book provides a fascinating insight into the creative working process of a particular artist, whilst providing a blueprint for how collaboration might take place. There are many passages that might provide inspiration for other artists and overall the book makes a moving and heartfelt plea for interpersonal open-ness and mutual investment.
Primary readership will be among international theatre-makers, artists, performance and art scholars, philosophers, teachers, directors, actors, dancers, performance artists and those interested in creative and personal writing about performance, art and art-making. It will be of particular relevance to those with an interest in Karen Christopher, or in the other contributors.
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Becoming a Visually Reflective Practitioner
Authors: Sheri R. Klein and Kathy Marzilli MiragliaProfessional practice is increasingly becoming more complex, demanding, dynamic and diverse. This important and original new book considers how self-study using arts-based methods can enable purposeful reflection toward understanding and envisioning professional practice. Ideally for visual arts practitioners on all levels, this book presents a self-study model grounded in compelling research that highlights arts-based methods for examining four areas of professional practice: professional identities, work cultures, change and transitions and envisioning new pathways.
Chapters address the components of the self-study model, artistic methods and materials, and strategies for interpreting self-study written and visual outcomes with the aim of goal setting. Each chapter includes visuals, references and end-of-chapter prompts to engage readers in critical and visual reflection. Appendices offer resources and guidelines for creating and assessing self-study outcomes.
The fluctuating nature of professional practice necessitates the pursuit of discernment and clarity that can be achieved through an ongoing reflective practice. Self-study is a systematic and flexible methodology for purposeful reflection on professional practice that embraces dialogic, interpretive, rhizomatic and visual inquiry. Self-study can occur at any level of practice and in the context of work-related professional development, formal study or as a self-initiated inquiry. An arts-based self-study model for visual arts practitioners is explored and focuses on four intersectional components shaping professional practice: professional identities, work cultures and communities, transition and change within professional practice and envisioning new pathways for professional practice.
The self-study model is grounded in contemporary theory, practice and compelling research, and embraces robust strategies for understanding the complexities of professional practice that can include dual, multiple, overlapping, hybrid and conflicting professional identities, tensions within work cultures and unexpected changes within professional practice. Each chapter focuses on a component of the self-study model and an area of professional practice, concluding with references and end-of-chapter prompts that are aimed to facilitate critical reflection-on-practice and the creation of written and visual responses.
With visual arts practitioners in mind, various arts-based methods for self-study are discussed that highlight visual journaling as a key method for engaging in self-study. Interpretive research methods are discussed to guide readers in understanding the phases and processes for interpreting written and visual self-study outcomes. Processes are outlined to help readers determine key insights, themes, issues and questions from their self-study outcomes, how to use them in formulating new questions and articulating new professional goals. Several levels for interpretation are presented to offer readers options relative to their professional needs and aims.
Throughout the text, charts and visuals serve to summarize and visualize key chapter points. Images by visual arts practitioners appear throughout the text and represent a wide range of artistic media, methods and approaches appropriate for self-study. The appendices provide additional resources for enhanced understanding of chapter concepts and key terms, guidelines and rubrics for writing reflections, creating visual responses and using a visual journal in the self-study process.
Primary readership will be visual arts practitioners at all levels. Ideal for university level graduate courses or as a guide for individuals and small groups of practitioners who seek to engage in arts-based self-study as professional development.
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Beyond Text
This original new book represents a variety of art forms across different professional contexts. Its focus is on the ways that educational practitioners and leaders from a range of cultures, disciplines, professions and organizations practice arts-based research, and it explores how these can enable innovative means of learning and enhance professional and organizational development.
This vibrant project allowed for long term systematic conversations between a large and unusually diverse group of twenty-nine people from eight organisations in six countries. It was unusually diverse in many senses: for some the word ‘data’ meant little, for others it was central to their daily work; for some artistic practice was core, while for others the arts were a means to an end; while some were social entrepreneurs running their own companies others were researching in universities and a number were doing both; some were working within the STEM disciplines of business, management, engineering, science, technology, sustainability and the built environment, others were in the social sciences of social and health care, education and youth work while others were engaged in rapid or long term social and cultural action as a means of resisting state violence and military occupation; some worked in one of the safest countries on the planet, others in one of the most tear-gassed refugee camps in the world.
Within these professional groups there were also ranges of experience, for example senior researchers, early career researchers, PhD students, seasoned professional artists and newcomers to arts forms. Whilst the main communication of this group was English, six other major languages were spoken, Estonian, Finish, Catalan, Spanish, Arabic and key stakeholders bought Swedish and Japanese into the space. This meant that while the conversations in and about arts-based practice were transnational, interdisciplinary and systematic, they had all the messy, troubled-ness that the intercultural on all of the above levels brings with it.This unique and exciting collection discusses how creative arts practices can have a significant impact on research across a range of international contexts, drawing on their own field of research and educational experience. For instance, drama, music, dance and visual arts can be used to understand how learners internalise concepts, reflect on how decisions are made in the midst of action in leadership education, or investigate the use of the intuitive alongside the rational and analytical in their educational experience. Non-textual arts-based forms of research can also provide modes of investigation into pedagogical and professional practices when applied to fields that normally lie outside of the arts.
Its greatest strengths are its focus on arts-based research as a way of learning in a variety of contexts, and often in collaboration. Its consistent theoretical, artistic and professional engagements make it a very readable and engaging read.
The representation of a variety of art forms across different professional contexts means that this book will have appeal to several readerships in higher education, including the following groups.
Academics and practitioners using arts-based methods in organisation and business settings. Researchers in the arts and researchers generically in the social sciences, humanities and arts. University students of the arts, education and professional studies, especially those interested in the wider international and intercultural diversity of research methodologies.
Those working in international research teams using any form of qualitative research will also find this collection very interesting. It also has potential interest for groups outside higher education with an interest in arts-based research – for example community groups looking to explore collaborative projects.
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Phenomenology for Actors
More LessThis book gives new insight into acting and theatre-making through phenomenology (the study of how the world shows itself to conscious experience). It examines Being-in-the-world in everyday life with exercises for workshops and rehearsal. Each chapter explores themes to guide the creative process through objects, bodies, spaces, being with others, time, history, freedom and authenticity. Key examples in the work are drawn from Chekhov’s The Cherry Orchard, Sophocles’ Antigone and Shakespeare’s Hamlet. Practical tasks in each section explore how the theatrical event can offer unique insight into Being and existence. In this way, the book makes a bold leap to understand acting as an embodied form of philosophy and to explain how phenomenology can be a rich source of inspiration for actors, directors, designers and the creative process of theatre-making.
This original new book will provide new insight into the practice and theory of acting, stimulate new approaches to rehearsal and advance the notion of theatre making a genuine contribution to philosophical discourse.
The fundamental task of the actor is to be on stage with purposeful action in the given circumstances. But this simple act of ‘Being’ is not easy. Phenomenology can provide valuable insight into the challenge. For some time, scholars have looked to phenomenology to describe and analyse the theatrical event. But more than simply drawing attention to embodiment and the subjective experience of the world, a philosophical perspective can also shed light on broader existential issues of being.
No specialist knowledge of philosophy is required for the reader to find this text engaging and it will be relevant for second-year students and above at tertiary level.
For postgraduates and researchers, the book will provide a valuable touchstone for phenomenology and performance as research. The book will appeal to theatre and performance studies, and some applied philosophy courses. The material is also relevant to studies in literary and critical theory, cultural studies and comparative literature.
The work is relevant to The International Federation of Theatre Research (IFTR/FIRT) (Performance and Consciousness), Performance Studies International (psi) and the Performance Philosophy Research Network — an influential and growing research field.
Primary markets for this book will be students (both at university and conservatoires) and academics in theatre studies, as well as practitioners and actors in training. The text will be useful to students in units or modules relating to acting theory and theatre-making processes, and which combine critical theory with practical performance. It will also be useful for practitioners of theatre looking to expand or inflect their own methods of approaching performance.
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Devising Theatre and Performance
Authors: Leslie Hill and Helen ParisDevising Theatre and Performance is a hands-on guide for artists, students and teachers of performance at any stage of their practice. It offers a wide range of creative prompts and pathways enriched with critical thinking tools and questions, a hybrid approach Hill and Paris call ‘Curious Methods’.
This is a welcome addition to the field, created and curated by two experienced artists who have operated at the international interface of academia and professional practice for over three decades.
The collection is packed with fun, creative, thoughtful exercises distilled from over twenty years of running interdisciplinary artist workshops and teaching both devising and performance making. As well providing numerous exercises and suggestions for devising, composing and editing original works, this book offers tools for giving and receiving feedback, critical reflection and framing artistic work within academic research contexts.
Readers can choose to dip in and out, to follow the book as a course or to work section by section, focusing on organizing principles such as working from the body, working with site, working with objects or performance activism. The book includes a detailed production workbook and a practice-based research workbook you can tailor to your own projects. The 'Curious Methods' approach encourages users to take the time and space their practice deserves while offering tools, nourishment and encouragement and inviting them to take risks beyond their comfort zones. The exercises are carefully described so that they can easily be tested out by readers, and are well contextualized in relation to vivid examples from contemporary performance practice and relevant political contexts. This compelling approach goes beyond many other books on theatre devising, which merely provide performance recipes; they do so by repeatedly highlighting the vital cultural relevance and potential personal impact of the experiments that they invite us to undertake.
The primary audience for this important new book will be academics, instructors and students in courses on devised theatre, improvisation, performance art, experimental performance and practice-based research. It will be essential for classroom use, for students of theatre and performance and live art – undergraduate, postgraduate and Ph.D., teachers and all those needing strategies for getting started.
It will also appeal to readers from the broader arts, humanities and social sciences who are seeking resources for integrating creative methods into their research.
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Visual Research Methods in Architecture
This book offers a distinctive approach to the use of visual methodologies for qualitative architectural research. It presents a diverse selection of ways for the architect or architectural researcher to use their gaze as part of their research practice for the purpose of visual literacy. Its contributors explore and use ‘critical visualizations’, which employ observation and sociocultural critique through visual creations – texts, drawings, diagrams, paintings, visual texts, photography, film and their hybrid forms – in order to research architecture, landscape design and interior architecture. The visual methods intersect with those used in ethnography, anthropology, visual culture and media studies. In presenting a range of interdisciplinary approaches, Visual Methodologies in Architectural Research opens up territory for new forms of visual architectural scholarship.
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Curriculum
There is an urgent focus on education around the world, and this book is pushing directly into this territory. It will appeal to a wide range of readers – to anyone who is passionate about art and or education – and will have a strong international appeal as the contributors have international profiles and the book is poised to address global issues concerning contemporary art, education, and independent practice.
In this collection of original essays, the writers engage with the work of the artists who took part in Art School. Each contribution provides a lens through which each writer can focus on specific moments within the evolution of Art School, working outwards to explore how these moments resonate with the wider fields of art-in-education and radical pedagogies. These texts respond to a widespread concern with art and its place in education, while retaining a committed and informed engagement with the phenomena they assess.
Art School takes place as a series of independent projects, exhibitions, workshop and residency programmes, bringing active contemporary artists into educational systems to inspire and expand their teachings.
Responding to a growing desire to rethink art education at all levels, it is for those committed to new forms of social imagination and social engagement in contemporary art. This book is for curators, schoolteachers and other educators, and also for artists and art students who wish to extend their practice beyond the gallery.
Less a manifesto or a declaration of doctrine than an emergent set of experiments, Curriculum considers the school as a zone of artistic and curatorial practice, foregrounding the potential of contemporary art (understood in wide terms) to stimulate students’ creativity in original and open ways.
Although the book focuses on a specific project in Ireland, that project exemplifies trends in art and education that are happening around the world and includes contributions from an international group of scholars all well-known in their field.
Contributors: Clare Butcher, Gerard Byrne, Juan Canela, Helen Carey, Daniela Cascella, Fiona Gannon, Jennie Guy, Andrew Hunt, Hannah Jickling & Helen Reed, Alissa Kleist, Rowan Lear, Peter Maybury, Annemarie Ní Churreáin, Nathan O’Donnell, Sofia Olascoaga and Priscila Fernandes, Matt Packer and Sjoerd Westbroek.
Artists: Sven Anderson, John Beattie, Clare Breen, Sarah Browne, Karl Burke, Rhona Byrne, Ella de Búrca, Vanessa Donoso Lopez, Priscila Fernandes, Hannah Fitz, Jane Fogarty, Kevin Gaffney, Adam Gibney, Fiona Hallinan, Elaine Leader, Maria McKinney, Maeve Mulrennan, Mark O’Kelly, Sarah Pierce, Naomi Sex and Orlaith Treacy.
Primary interest will be among educators, artists, curators, academics and students, and others working or studying in a variety of settings including school, universities, museums, and other arts organisations.
Of interest to these groups in the following ways:
Artists: Learning about how other artists are working in sites of education.
Curators: Reading about the curatorial mechanisms that support artists maintaining the ethics and integrity of their practice when working with younger audiences in schools.
Gallerists: Extending the horizons of audience and public outreach.
Museums: Considering new models of education, outreach, exhibition, and off-site events.
Schools: Learning about new models of artist residencies and workshops.
Students and Parents: Researching the potential of contemporary artists’ impact on education.
Educators: Forming a critical perspective of how contemporary arts practice can be integrated in curricula.
Local and National Arts Agencies: Learning about how independent curatorial and artistic practice can co-exist within sites of education.
This publication was funded by the Arts Council of Ireland and the Arts Office of Wicklow County Council.
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Art inSight
More LessA first encounter with art is like meeting a stranger: it opens you to new ideas, people, places and parts of yourself. In Art inSight: Understanding Art and Why It Matters, Fanchon Silberstein delves into the first known art and explores what it can reveal about how its makers saw the world and how contemporary artists can help us to see our own. The result is equal parts an ode to the joy of artful engagement, a how-to for anyone interested in understanding art and culture and a journey around the world from prehistory to the present day. Readers confront strangeness through observation, description and conversation, and are given the skills to understand cross-cultural divisions and perceive diverse ways of interpreting the world.
Organized by ideas rather than history, chronology or cultures, the book presents dialogues, imagining interactions between paintings created centuries apart and describing discussions among students learning the role of art in conflict resolution. By emphasizing the relationship between viewer and image, Art inSight urges readers to discover meaning in their own ways and offers questions that lead them into profound connections with works of art and the cultures behind them.
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The Idea of the Avant Garde
The concept of the avant garde is highly contested, whether one consigns it to history or claims it for present-day or future uses. The first volume of The Idea of the Avant Garde – And What It Means Today provided a lively forum on the kinds of radical art theory and partisan practices that are possible in today’s world of global art markets and creative industry entrepreneurialism. This second volume presents the work of another 50 artists and writers, exploring the diverse ways that avant-gardism develops reflexive and experimental combinations of aesthetic and political praxis. The manifest strategies, temporalities, and genealogies of avant-garde art and politics are expressed through an international, intergenerational, and interdisciplinary convocation of ideas that covers the fields of film, video, architecture, visual art, art activism, literature, poetry, theatre, performance, intermedia and music.
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The Critical Eye
By Lyle RexerBased on the highly successful course at the School of Visual Arts developed by the author, this book provides a comprehensive approach to the critical understanding of photography through an in-depth discussion of fifteen photographs and their contexts – historical, generic, biographical and aesthetic. This book presents an intensive course in looking at photographs, open to undergraduates and general audiences alike. Rexer argues that by concentrating on fifteen carefully chosen works it is possible to understand the history, development and contemporary situation of photography.
Looking to images by photographers such as Roland Fischer, Nancy Rexroth and Ernest Cole, The Critical Eye is the only book to address the totality of issues involved in photography, from authorial self-consciousness to the role of the audience. Its subjects are not limited to art photography but include vernacular images, commercial genres and anthropology. With every chapter it seeks to link the history of photography to current practice. This highly illustrated and beautiful book provides a much-needed introduction to image production.
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The Making of an Artist
More Less[What drives an artist to create? And are there common traits that successful artists possess? In The Making of an Artist, Kristin G. Congdon draws on her years of studying and teaching art at all levels – from universities to correctional settings – to identify three traits that are regularly found in successful artists: desire, courage and commitment. In this collection Congdon explores each of those traits, as well as giving ethnographic case studies of six visual artists from diverse backgrounds and locations whose practices embody them. Marrying the work of biography, journalism, sociology and psychology, the book opens up the often mysterious process of making art, showing us how those characteristics play into it, as well as how other factors, such as trauma, madness, class and gender, affect the ways that people approach the creative process.
, What drives an artist to create? And are there common traits that successful artists possess? In The Making of an Artist, Kristin G. Congdon draws on her years of studying and teaching art at all levels – from universities to correctional settings – to identify three traits that are regularly found in successful artists: desire, courage and commitment. In this collection Congdon explores each of those traits, as well as giving ethnographic case studies of six visual artists from diverse backgrounds and locations whose practices embody them. Marrying the work of biography, journalism, sociology and psychology, the book opens up the often mysterious process of making art, showing us how those characteristics play into it, as well as how other factors, such as trauma, madness, class and gender, affect the ways that people approach the creative process.
Powerfully insightful and fully accessible, The Making of an Artist will be an invaluable resource for practicing artists, those just setting out on artistic careers, and art teachers alike.
Powerfully insightful and fully accessible, The Making of an Artist will be an invaluable resource for practicing artists, those just setting out on artistic careers, and art teachers alike.]
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Performing Revolutionary
More Less[The result of five years of practice-based creative research focused on Nicole Garneau’s UPRISING project, Performing Revolutionary presents a number of methods for the creation of politically charged interactive public events in the style of a how-to guide. UPRISING, a series of public demonstrations in eight locations in the United States and five in Europe, involved thousands of voluntary participants who came together to create radical change through performance art. Bringing together accounts by participants, writers, theorists, artists and activists, as well as photographs and critical essays, Performing Revolutionary offers a fresh perspective on the challenges of moving from critique to action.
, The result of five years of practice-based creative research focused on Nicole Garneau’s UPRISING project, Performing Revolutionary presents a number of methods for the creation of politically charged interactive public events in the style of a how-to guide. UPRISING, a series of public demonstrations in eight locations in the United States and five in Europe, involved thousands of voluntary participants who came together to create radical change through performance art. Bringing together accounts by participants, writers, theorists, artists and activists, as well as photographs and critical essays, Performing Revolutionary offers a fresh perspective on the challenges of moving from critique to action.]
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Drawing as a Way of Knowing in Art and Science
More LessIn recent history, the arts and sciences have often been considered opposing fields of study, but a growing trend in drawing research is beginning to bridge this divide. Gemma Anderson’s Drawing as a Way of Knowing in Art and Science introduces tested ways in which drawing as a research practice can enhance morphological insight, specifically within the natural sciences, mathematics and art.
Inspired and informed by collaboration with contemporary scientists and Goethe’s studies of morphology, as well as the work of artist Paul Klee, this book presents drawing as a means of developing and disseminating knowledge, and of understanding and engaging with the diversity of natural and theoretical forms, such as animal, vegetable, mineral and four dimensional shapes. Anderson shows that drawing can offer a means of scientific discovery and can be integral to the creation of new knowledge in science as well as in the arts.
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Artistic Research in the Future Academy
By Danny ButtThe rapid growth of doctoral-level art education challenges traditional ways of thinking about academic knowledge and, yet, as Danny Butt argues in this book, the creative arts may also represent a positive blueprint for the future of the university. Synthesizing institutional history with aesthetic theory, Artistic Research in the Future Academy reconceptualizes the contemporary crisis in university education toward a valuable renewal of creative research.
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The Artist as Culture Producer
When Living and Sustaining a Creative Life was published in 2013, it became an immediate sensation. Edited by Sharon Louden, the book brought together forty essays by working artists, each sharing their own story of how to sustain a creative practice that contributes to the ongoing dialogue in contemporary art. The book struck a nerve – how do artists really make it in the world today? Louden took the book on a sixty-two-stop book tour, selling thousands of copies, and building a movement along the way. Now, Louden returns with a sequel: forty more essays from artists who have successfully expanded their practice beyond the studio and become change agents in their communities. There is a misconception that artists are invisible and hidden, but the essays here demonstrate the truth – artists make a measurable and innovative economic impact in the non-profit sector, in education and in corporate environments.
The Artist as Culture Producer illustrates how today's contemporary artists add to creative economies through out-of-the-box thinking while also generously contributing to the well-being of others. By turns humorous, heartbreaking and instructive, the testimonies of these forty diverse working artists will inspire and encourage every reader – from the art student to the established artist. With a foreword by Hyperallergic co-founder and editor-in-chief Hrag Vartanian, The Artist as Culture Producer is set to make an indelible mark on the art world – redefining how we see and support contemporary artists. Louden's worldwide book tour begins in March 2017. More information and tour dates can be found online at www.livesustain.org.
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Drawing in the Design Process
More LessIn the early days of the digital revolution in graphic design, many designers and teachers of design were convinced that the era of drawing on paper was over – that there would soon no longer be a place for craft-based drawing at any stage of the design process. It soon became apparent, however, that technological progress had not obviated the inherent value of drawing, and that, in fact, it opened up new avenues for convergent and hybrid drawing practices. This book traces the evolution of design-based drawing through analysis of a series of research projects from the 1980s to recent years that have sought to characterize the changing practices of design within various industries. Built on more than three hundred interviews with designers, academics and design students, and an exhaustive analysis of thousands of drawings, it aims to generate discussion around historical and contemporary models of the design process.
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Precarious Spaces
Using an arts-based inquiry, Precarious Spaces addresses current concerns around the instrumentality and agency of art in the context of the precarity of daily life. The book offers a survey of socially and community-engaged art practices in South America, focusing in particular on Brazil’s 'informal' situation, and contributes much to the ongoing debate of the possibility for change through social, environmental and ecological solutions. The individual chapters, compiled by Katarzyna Kosmala and Miguel Imas, present a wide spectrum of contemporary social agency models with a particular emphasis on detailed case studies and local histories. Featuring critical reflections on the spaces of urban voids, derelict buildings, self-built communities such as favela and roadside occupations, Precarious Spaces will make readers question their assumptions about precarity, and life in precarious realms.
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On Repetition
On Repetition aims to unpack the different uses and functions of repetition within contemporary performance, dance practices, craft and writing. The collection, edited by Eirini Kartsaki, explores repetition in relation to intimacy, laughter, technology, familiarity and fear – proposing a new vocabulary for understanding what is at stake in works that repeat. Drawing on psychoanalysis, philosophy, linguistics, sociology and performance studies – and employing case studies from a range of practices – the essays presented here combine to form a unique interdisciplinary exploration of the functions of repetition in contemporary culture.
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Creative Communities
[This is the first major collection to reimagine and analyse the role of the creative arts in building resilient and inclusive regional communities. Bringing together Australia’s leading theorists in the creative industries, as well as case studies from practitioners working in the creative and performing arts and new material from targeted research projects, the book reconceptualizes the very meaning of regionalism and the position – and potential – of creative spaces in non-metropolitan centres.
, This is the first major collection to reimagine and analyze the role of the creative arts in building resilient and inclusive regional communities. Bringing together Australia’s leading theorists in the creative industries, as well as case studies from practitioners working in the creative and performing arts and new material from targeted research projects, the book reconceptualizes the very meaning of regionalism and the position—and potential—of creative spaces in nonmetropolitan centers.]
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Arts Integration in Education
[Arts Integration in Education is an insightful, even inspiring investigation into the enormous possibilities for change that are offered by the application of arts integration in education. Presenting research from a range of settings, from preschool to university, and featuring contributions from scholars and theorists, educational psychologists, teachers and teaching artists, the book offers a comprehensive exploration and varying perspectives on theory, impact and practices for arts-based training and arts-integrated instruction across the curriculum.
, Arts Integration in Education is an insightful, even inspiring investigation into the enormous possibilities for change that are offered by the application of arts integration in education. Presenting research from a range of settings, from preschool to university, and featuring contributions from scholars and theorists, educational psychologists, teachers and teaching artists, the book offers a comprehensive exploration and varying perspectives on theory, impact and practices for arts-based training and arts-integrated instruction across the curriculum.]
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The Artist as Curator
More LessIn recent years, the museum and gallery have increasingly become self-reflexive spaces, in which the relationship between art, its display, its creators and its audience is subverted and democratised. One effect of this has been a growing place for artists as curators, and in The Artist as Curator Celina Jeffery brings together a group of scholars and artists to explore the many ways that artists have introduced new curatorial ways of thinking and talking about artistic culture. Taking a deliberately multidisciplinary and cross-cultural focus, The Artist as Curator will fill a gap in museum and curatorial studies, offering a thorough and diverse treatment of various approaches to the historical and changing role of the artist as curator that should appeal to scholars, curators and artists alike.
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Dysfunction and Decentralization in New Media Art and Education
More Less[When using digital technologies, many types of dysfunction can occur, ranging from hardware malfunctions to software errors to human ineptitude. Many new media artworks employ various strategies of dysfunctionality in order to explore issues of power within societies and culture. Robert W. Sweeney examines how digital artists have embraced the concept of the error or glitch as a form for freedom – imperfection or dysfunction can be an integral element of the project. In this book, he offers practical models and ideas for how artists and educators can incorporate digital technologies and integrate discussions of decentralized models of artistic production and education.
, When using digital technologies, many types of dysfunction can occur, ranging from hardware malfunctions to software errors to human ineptitude. Many new media artworks employ various strategies of dysfunctionality in order to explore issues of power within societies and culture. When using digital technologies, many types of dysfunction can occur, from hardware malfunctions to software errors and human ineptitude. Robert W. Sweeney examines how digital artists have embraced the concept of the error or glitch as a form for freedom—imperfection or dysfunction can be an integral element of the project. In this book, he offers practical models and ideas for how artists and educators can incorporate digital technologies and integrate discussions of decentralized models of artistic production and education.
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Representations of Working in Arts Education
Authors: Narelle Lemon, Susanne Garvis and Christopher Klopper[Arts education provides students with opportunities to build knowledge and skills in self-expression, imagination, creative and collaborative problem solving and creation of shared meanings. Engagement in arts education has also been said to positively affect overall academic achievement and development of empathy towards others. This book provides key insights from stakeholders across the teaching and learning spectrum and offers examples of pedagogical practice to those interested in facilitating arts education.
, Arts education provides students with opportunities to build knowledge and skills in self-expression, imagination, creative and collaborative problem solving, and creation of shared meanings. Engagement in arts education has also been said to positively affect overall academic achievement, and the development of empathy. This book provides key insights from stakeholders across the teaching and learning spectrum and offers examples of pedagogical practice to those interested in facilitating arts education.]
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Living and Sustaining a Creative Life
[In this day and age, when art has become more of a commodity and art school graduates are convinced that they can only make a living from their work by attaining gallery representation, it is more important than ever to show the reality of how a professional, contemporary artist sustains a creative practice over time.
The 40 essays collected here in Living and Sustaining a Creative Life are written in the artists’ own voices and take the form of narratives, statements and interviews. Each story is different and unique, but the common thread is an ongoing commitment to creativity, inside and outside the studio. Both day-to-day and Big Picture details are revealed, showing how it is possible to sustain a creative practice that contributes to the ongoing dialogue in contemporary art. These stories will inform and inspire any student, young artist and art enthusiast, and will help redefine what ‘success’ means to a professional artist.
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Drawing
More Less[In an era which has seen many forms of artistic creation becoming digitized, the practice of drawing, in the traditional sense, has remained constant. However, many publications about the relationship between drawing and thinking rely on discipline-dependent distinctions to discuss the activity’s function. Drawing: The Enactive Evolution of the Practitioner redefines drawing more holistically as an enactive phenomenon, and makes connections between a variety of disciplines in order to find out how drawing helps us understand the world. Instead of the finite event of producing an artefact, drawing is a process and an end in itself, through which the practitioner might gain self-awareness.By synthesizing enactive thinking and the practice of drawing, this volume provides valuable insights into the creative mind, and will appeal to scholars and practitioners alike.
,Despite recent technological changes that have digitized many forms of artistic creation, the practice of drawing, in the traditional sense, has remained constant. However, many publications about this subject rely on discipline-dependent distinctions to discuss the activity’s function. Drawing: The Enactive Evolution of the Practitioner redefines drawing more holistically as an enactive phenomenon, one reliant on motor responses, and makes connections between a variety of disciplines in order to find out what happens when we draw. Instead of the finite event of producing an artifact, drawing is a process and an end in itself. By synthesizing enactive thinking and the practice of drawing, this volume provides valuable insights into the creative mind, and will appeal to scholars and practitioners alike.
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Design Integrations
Design Integrations calls for an innovative rethinking of design education, one that recognizes the changing modes of design and the shifting forms of user experience. The contributors urge new methods of approach that focus on interdisciplinary collaboration between the academic and business worlds. These essays, among the first to focus on the future of design, often in-depth explorations of inter-institutional projects, cross-cultural learning experiences, and a multinational healthcare project. Design Integrations will be of interest to design teachers and practitioners alike.
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Art, Community and Environment
Authors: Glen Coutts and Timo Jokela[Art, Community and Environment investigates wide-ranging issues raised by the interaction between art practice, community participation, and the environment, both natural and urban. This volume brings together a distinguished group of contributors from the United States, Australia, and Europe to examine topics such as urban art, community participation, local empowerment, and the problem of ownership.
Featuring rich illustrations and informative case studies from around the world, this collection addresses the growing interest in this fascinating dimension of art and education, forming a vial addition to Intellect's Readings in Art and Design Education series.
,Art, Community and Environment investigates wide-ranging issues raised by the interaction between art practice, community participation, and the environment, both natural and urban. This volume brings together a distinguished group of contributors from the United States, Australia, and Europe to examine topics such as urban art, community participation, local empowerment, and the problem of ownership.
Featuring rich illustrations and informative case studies from around the world, Art, Community and Environment addresses the growing interest in this fascinating dimension of art and education, forming a vial addition to Intellect's Readings in Art and Design Education series.
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Educating Artists for the Future
More Less[In Educating Artists for the Future, some of the world’s most innovative thinkers in higher education in art and design offer fresh directions for educating artists for a rapidly evolving post-digital future. Their creative redefinition of art at the interdisciplinary interface where scientific enquiry and new technologies shape aesthetic and cultural values offers groundbreaking guidelines for art education in an era of emerging new media. This is the first book concerned with educating artists for the post-digital age, propelling artists into unknown territory. A culturally diverse range of art educators focus on teaching their students to create artworks that explore the complex balance between cultural pride and global awareness. They demonstrate how the dynamic interplay between digital, biological, and cultural systems calls for alternative pedagogical strategies that encourage student-centered, self-regulated, participatory, interactive, and immersive learning. Educating Artists for the Future charts the diaphanous boundaries between art, science, technology, and culture that are reshaping art education., In Educating Artists for the Future, some of the world’s most innovative thinkers about higher education in the arts offer fresh directions for educating artists and designers for a post-digital future. A group of artists, researchers, and teachers from a dozen countries here redefine art at the interdisciplinary interface where scientific inquiry and new technologies shape aesthetic values. This volume offers groundbreaking guidelines for art educators, demonstrating how the interplay between digital and cultural systems calls for alternative pedagogical strategies that encourage student-centered interactive learning. “Mel Alexenberg, a very sophisticated artist and scholar of much experience in the complex playing field of art-science-technology, addresses the rarely asked question: How does the ‘media magic’ communicate content?”—Otto Piene, Professor Emeritus and Director, Center for Advanced Visual Studies, Massachusetts Institute of Technology
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Performing Processes
By Roberta Mock[Live performance continues to be created every time it is performed. This book explores the dynamic relationship between creative process, presentation and spectator response to provide students and scholars in Drama with new insights on performance from poetry to pantomime. These essays make parallels between areas of performance that are rarely, if ever, compared. They present the basis for an overall theory of how 'conception', 'development', 'presentation' and 'reception' are fused together to make up the overall 'performance'. This study investigates the relationship between the process of creating performance and spectator response, and how this exchange is embedded into the product itself. The authors draw on theoretical approaches from a range of sources, and examine the work of contemporary dramatists, choreographers, poets and performers. Its construction of a new, wide-ranging approach to performance research makes this book a valuable resource for the student as well as the broader academic community. It has application both as a textbook and for supplementary research on drama courses nationwide., Live performance continues to be created every time it is performed. This book explores the dynamic relationship between creative process, presentation and spectator response to provide students and scholars in Drama with new insights on performance from poetry to pantomime.
These essays make parallels between areas of performance that are rarely, if ever, compared. They present the basis for an overall theory of how 'conception', 'development', 'presentation' and 'reception' are fused together to make up the overall 'performance'. This study investigates the relationship between the process of creating performance and spectator response, and how this exchange is embedded into the product itself.
The authors draw on theoretical approaches from a range of sources, and examine the work of contemporary dramatists, choreographers, poets and performers including:
• Sarah Kane
• Iain Baxter
• Yolande Snaith
• Slobodan Snajder
• Phylis Nagy
• Steve Benson
• David Fielding
• David Antin
• Bette Midler
• Karen Malpede
• Stephen Daldry
• Mai Lanfang
Its construction of a new, wide-ranging approach to performance research makes this book a valuable resource for the student as well as the broader academic community. It has application both as a textbook and for supplementary research on drama courses nationwide.]
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Art, Design & Communication in Higher Education
What are the challenges of learning and teaching in art, design and communication? The peer-reviewed journal of Art, Design & Communication in Higher Education aims to inform, stimulate and promote the development of research in the field by providing a forum for debate arising from findings as well as theory and methodologies.
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Artifact
Intellect is honoured to be publishing its first ever open access journal, Artifact: Journal of Design Practice. Since its first publication in 2007, Artifact has focused on practice-based design research and aims to explore conditions, issues and tasks pertaining to design development in a broad sense. As an international design research journal, Artifact targets the global design research community with the aim of strengthening knowledge sharing and theory building of relevance to design practice. All articles and research notes are subject to double-blind peer-review.
The journal is cross-disciplinary in scope and welcomes contributions from all fields of design research including product design and visual communication, user experience, interface, and service design as well as design management and organization.
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Drawing: Research, Theory, Practice
Drawing: Research, Theory, Practice promotes and disseminates drawing research with a focus on contemporary practice and its theoretical context. This journal seeks to reestablish the materiality of drawing as a medium at a time when virtual, on-line, electronic media dominates visuality and communication.
This peer-reviewed publication represents drawing as a significant discipline in its own right and in a diversity of forms: as an experimental practice, as research, as representation and/or documentation, as historical and/or theoretical exploration, as process or as performance. It explores the drawing discipline across fine art, science and engineering, media and communication, psychology, architecture, design, science and technology, textiles, fashion, social and cultural practices.
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International Journal of Education Through Art
The International Journal of Education through Art is an English language journal that promotes relationships between art and education. The term 'art education' should be taken to include art, craft and design education. Each issue, published three times a year within a single volume, consists of peer-reviewed articles mainly in the form of research reports and critical essays, but may also include exhibition reviews and image-text features.
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JAWS: Journal of Arts Writing by Students
JAWS: Journal of Arts Writing by Students is a compilation of the best arts research and writing by current MA students and first year graduates. Capturing the contemporary themes and trends in arts research today, JAWS is peer reviewed and edited by students, for students; promoting the autodidactic attitude and inherent curiosity that is required for post graduate, career or personal research development with or without practice.
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Journal of Contemporary Painting
Journal of Contemporary Painting responds to the territory and practice of contemporary painting in its broadest sense, viewing painting as a context for discussion, exploring its sphere of history and influence, rather than as a medium specific debate. The JCP combines a thematic approach with an open call, each issue opening up and problematising pressing concerns in contemporary painting.
As well as contributions to current debates on contemporary art, a particular feature of the Journal of Contemporary Painting is the publication of archival or newly translated texts alongside current responsive articles, based on the premise that contemporary painting cannot be understood without reflecting on its history. Dedication to understanding the nature and forms of painting research has also led to the inclusions of an original visual essay for every edition. Additionally we respond to current exhibitions, books and symposia, nationally and internationally, in our reviews section.
Our aim is to be responsive to current debates in painting and related art practices, drawing from a wide geographical field and across discipline boundaries to provide a discursive space in which a range of subject specialisms can be brought to bear on the culture of painting. We are particularly interested in writing emerging from practice-based research as well as from academics working in different disciplines.
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Journal of Curatorial Studies
The Journal of Curatorial Studies is an international, peer-reviewed publication that explores the cultural functioning of curating and its relation to exhibitions, institutions, audiences, aesthetics and display culture. The journal takes a wide perspective in the inquiry into what constitutes ""the curatorial."" Curating has evolved considerably from the connoisseurship model of arranging objects to now encompass performative, virtual and interventionist strategies. While curating as a spatialized discourse of art objects remains important, the expanded cultural practice of curating not only produces exhibitions for audiences to view, but also plays a catalytic role in redefining aesthetic experience, framing cultural conditions in institutions and communities, and inquiring into constructions of knowledge and ideology.
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Journal of Writing in Creative Practice
The Journal of Writing in Creative Practice is the official organ of the Writing Purposefully in Art and Design (Writing PAD) network. It offers art and design institutions an arena in which to explore and develop the notion of thinking through writing as a parallel to visual discourse in art and design practice. The journal aims to extend the debates to all national and international higher educational art and design institutions.
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Virtual Creativity
Virtual Creativity (VCR) is an academic peer-reviewed journal focusing on creativity in online virtual worlds and other related platforms where the virtual is examined as a central theme in contemporary media art practices and applied contexts. Pieces exploring the subject of digital creativity are sought from the broad perspective of Art, Science and Technology, in what is a widespread field of discourse. One focus of the journal is an examination of creative activity in the metaverse - from art, design and architecture, to research and education, to play and entertainment. Additionally, Virtual Creativity seeks to engage with ways in which the virtual reflects upon the implications of the physical.
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Visual Inquiry
The scope of the journal is broad and is aimed at facilitating a wide spectrum of perspectives. It is essentially a medium for engaging the rich and multifaceted process of learning and teaching art that takes place in the classroom, studio, and beyond. However, the seriousness of journal is not out weighed by making critical topics accessible and readable to a large constituency of readers. It is a forum to be reflective on the process of creating and teaching art, embrace teaching art in a variety of contexts, engage art appreciation experiences, share scholarship in teaching artistry, and celebrate the rich traditions of art making and teaching.
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