PhD Symposium in Art
PhD Symposium in Art
Graduate School in the Arts and Humanities
University of Reading
Wednesday 23 June 2010
A Symposium to discuss practice-led research in art across disciplines at the University of Reading, featuring presentations by PhD researchers in Fine Art, History of Art, and Philosophy, and interventions by Art & Language and Herman Rapaport, Reynolds Professor of English, Wake Forest University.
11.15-11.45 Neil Chapman, ‘The Winter Journey: Vitalism’s Rosetta Stone’
11.45-12.15 Roxana Tohanaeanu-Shields, ‘Conceptual Art and the Aesthetic’
12.15-13.00 Art & Language
14.00-14.30 Andy Hunt, ‘One Curator, Three Dealers: Nicholas Serota, Konrad Fischer, Anthony D’Offay and Larry Gagosian’
14.30-15.00 Claire Drever, ‘Art as the Negation of One’s Ego’
15.00-15.45 Herman Rapaport, ‘Let Freedom Ring! Cutting Loose with Albert Ayler and Carolee Schneemann’
16.00-16.30 Kate Corder, ‘Allotment Plot and its Growing History’
16.30-17.00 David Stent, ‘A Skinned Mule – Portraits of a Research Project’
For directions to the University: http://www.reading.ac.uk/about/find/about-findindex.aspx
A Productive Relationship
Integration of Practice and Theory in Post-graduate Research
These five seminars led by Dr Martine Rouleau, lecturer at Birkbeck College, take place in March, April and May 2010, providing a platform for the discussion of issues arising from the integration of theory and practice in post-graduate research . The outcome of the series will be a conference held at Birkbeck College in June 2010 where the participants to the seminars, other research students and scholars will be invited to discuss their approach.
In media, culture and creative practice, the choice of a research framework is often intertwined with the practice that you will engage with in order to conduct your research, be it media and film, arts management, music, creative writing, screenwriting, journalism, performance or cultural studies. More than an object of study, each comes to existence through a process that can contribute to the direction your questions, reflections and arguments might take. How can the integration of practice and theory provide means to encompass these dimensions in research?
Each seminar will take the form of a brief presentation introducing a reading and/or a particular research. The participants are then encouraged to engage in discussion on the basis of the introduction, the recommended readings and their own research.
Art and the Limits of the Political
24 May – 14 June
A series of three lectures examining the proposition that contemporary art can go beyond transforming our understanding of the political and build new forms of political and social relations.
Monday 24 May, 6.30 – 8.00pm
Alexander Düttmann,
Professor of Philosophy and Visual Culture, Goldsmiths,
University of London
Monday 7 June, 6.30 – 8.00pm
Herman Rapaport,
Reynolds Professor of English, Wake Forest University
Monday 14 June, 6.30 – 8.00pm
Jonathan Lahey Dronsfield,
Reader in Theory and Philosophy of Art, University of Reading
All lectures at Wolfson Theatre, New Academic Building, Lincoln’s Inn Fields, LSE
For further information visit www.philosophy-forum.org
Creating Friction
An Interdisciplinary Creative Practice Postgraduate Conference
22nd April 2010 Newcastle University
With the expansion of creative possibilities for study within University settings, it is increasingly imperative that we question the borders between the creative and critical components of postgraduate study. How do the different modes of creative practice intersect with the world of traditional academia? How does a creative practitioner function as a PhD candidate? What methods can be used for assessment? What role does the accompanying critical thesis play in the context of the creative work produced? How does creative practice differ from fieldwork? What frictions are created by interdisciplinary work?
This one-day seminar aims to provide a space for creative practitioner PhD students to come together and discuss the relationship between their practice and research.
Keynote Speaker: Dr Sharon Kivland, Reader in Contemporary Art, Sheffield Hallam University, Visiting Fellow in the Institute of Germanic and Romance Studies, University of London, and a Research Associate of the Centre for Freudian Research and Analysis, London
Presentations must discuss both the creative and the critical aspects of your PhD research and should last no longer than 20 minutes maximum. We are keen to encourage diverse methods of presentation, and exhibition space will be available on the day. For installation based presentations, please e-mail us in the first instance to check we can meet your spatial and technical requirements.
We invite 300 word abstracts (including up to 10 low res images or up to 2 minutes video where relevant) from those who consider themselves to be creative practitioner PhD students; this includes (but is not limited to) students working within the areas of creative writing, digital media, fine art, music, and the performing arts.
Please email abstracts to: i.s.streffen@ncl.ac.uk | Deadline: Friday 25th February 2010, 10am
Is art history? (re-visited)
Mihnea Mircan is an independent curator based in Bucharest, Romania. 2005-06 he was curator of Le Pavillon, Palais de Tokyo, Paris. At the National Museum of Contemporary Art (MNAC), Bucharest, Mircan curated exhibitions such as: Sean Snyder (with Florin Tudor), 2007; SUBLIME OBJECTS, 2007; Video Works. Jaan Toomik, 2006; and the Under Destruction series of site-specific interventions. Other curatorial projects include: Since we last spoke about monuments, Stroom Den Haag, 2008; Low-Budget Monuments, Romanian Pavilion, 52nd Venice Biennial, 2007; No Significant Incidents To Report, Galeria Noua, Bucharest, 2005. He contributes regularly to international publications of contemporary art and has recently written on the work of Deimantas Narkevicius, Mircea Cantor and Alon Levin. His forthcoming projects are exhibitions ‘History of Art, the’, David Roberts Art Foundation, London, ‘An Image instead of a Title’, Spinnerei Leipzig, and ‘Hans van Houwelingen: Until It Stops Resembling Itself’, Stroom Den Haag.
Robert Garnett
You Can’t be Serious: On the Pre-posterous Encounter With Art
2pm Weds 10 March, Fine Art Lecture Theatre
Garnett, theoretician and art critic, is co-editor of the recent Gest: Laboratory of Synthesis #1 (2008)
Initiated by a series of events and discussions during the exhibition ‘Gest’ — at the Stanley Picker Gallery, Kingston University, this book Gest: Laboratory of Synthesis, includes a range of essays and interviews bringing together philosophers, artists, theorists and critics to discuss new approaches to art writing. It operates in the widening gap between the mainstream art magazine and the academic journal in order to create new conjunctions and productive disjunctions between theory and practice out of which new voices and new modes of art writing emerge.
Contributors include: Jennifer Allen, Eric Alliez, Devrim Bayar, Dan Fox, Rainer Ganahl, Johnny Golding, Peter Osborne, Anne Pontégnie, Nina Power, Ralph Rugoff, John Russell and Dirk Snauwaert ISBN 978 1 870699 96 9
Art School
Art School (Propositions for the 21st Century)
Edited by Steven Henry Madoff
Table of Contents and Sample Chapters
The last explosive change in art education came nearly a century ago, when the German Bauhaus was formed. Today, dramatic changes in the art world—its increasing professionalization, the pervasive power of the art market, and fundamental shifts in art-making itself in our post-Duchampian era—combined with a revolution in information technology, raise fundamental questions about the education of today’s artists. Art School (Propositions for the 21st Century) brings together more than thirty leading international artists and art educators to reconsider the practices of art education in academic, practical, ethical, and philosophical terms.
The essays in the book range over continents, histories, traditions, experiments, and fantasies of education. Accompanying the essays are conversations with such prominent artist/educators as John Baldessari, Michael Craig-Martin, Hans Haacke, and Marina Abramović, as well as questionnaire responses from a dozen important artists—among them Mike Kelley, Ann Hamilton, Guillermo Kuitca, and Shirin Neshat—about their own experiences as students. A fascinating analysis of the architecture of major historical art schools throughout the world looks at the relationship of the principles of their designs to the principles of the pedagogy practiced within their halls. And throughout the volume, attention is paid to new initiatives and proposals about what an art school can and should be in the twenty-first century—and what it shouldn’t be. No other book on the subject covers more of the questions concerning art education today or offers more insight into the pressures, challenges, risks, and opportunities for artists and art educators in the years ahead.
Contributors: Marina Abramović, Dennis Adams, John Baldessari, Ute Meta Bauer, Daniel Birnbaum, Saskia Bos, Tania Bruguera, Luis Camnitzer, Michael Craig-Martin, Thierry de Duve, Clémentine Deliss, Charles Esche, Liam Gillick, Boris Groys, Hans Haacke, Ann Lauterbach, Ken Lum, Steven Henry Madoff, Brendan D. Moran, Ernesto Pujol, Raqs Media Collective, Charles Renfro, Jeffrey T. Schnapp, Michael Shanks, Robert Storr, Anton Vidokle
Rethinking the art school
Rethinking the Contemporary Art School (The Artist, the PhD and the Academy) examines the reasons for the art school and its continued existence, its role in society and what should be taught and learned in the context of what is now a globalised art world. The book considers different art school models—innovative graduate programs, independent stand-alone schools and art schools which are departments or schools of major research universities and the problems they face operating in what James Elkins describes as “marginalized in university life.” Rethinking the Contemporary Art School sheds light on the debates surrounding the appropriate terminal degree for university-level teaching in the arts and concludes with essays on new media, examining whether the contemporary art school offers the right context for this discipline. The anthology includes contributions from Su Baker, Bruce Barber, Mikkel Bogh, Juli Carson and Bruce Yonemoto, Edward Colless, Jay Coogan, Luc Courchesne, Sara Diamond, Lauren Ewing, Gary Pearson, Bill Seaman, and Jeremy Welsh.
The Dark Monarch
The Dark Monarch: Magic and Modernity in British Art
This group exhibition takes its title from the infamous 1962 book by St Ives artist Sven Berlin. It will explore the influence of folklore, mysticism, mythology and the occult on the development of art in Britain. Focusing on works from the beginning of the twentieth century to the present day it will consider, in particular, the relationship they have to the landscape and legends of the British Isles.
Featuring major loans and works from the Tate Collection, it will examine the development of early Modernism, Surrealism and Neo-Romanticism in the UK, as well as the reappearance of esoteric and arcane references in a significant strand of contemporary art practice.
The exhibition will include a key work by Damien Hirst the first time he has been shown at Tate St Ives as well as works by important modernists and surrealists including Graham Sutherland, Paul Nash, Barbara Hepworth, Henry Moore and Ithell Colquhoun; Neo-Romantics such as Cecil Collins, John Piper, Leslie Hurry and John Craxton; as well as emerging and established contemporary artists including Cerith Wyn Evans, Mark Titchner, Eva Rothschild, Simon Periton, Clare Woods, Steven Claydon, John Stezeker and Derek Jarman.
Exploring the tension between progressive modernity and romantic knowledge, the show will focus on the way the British landscape is encoded with various histories – geological, mythical and magical. It will examine magic as a counterpoint to modernity’s transparency and rational progress, but will also draw out the links modernity has with notions such as fetishism, mana, totem, and the taboo. Often viewed as counter to Modernism, the careful juxtaposition and selection of works on display will suggest that these products of illusion and delusion in fact belong to modernity.
Curated by Martin Clark, Artistic Director, Tate St Ives; Michael Bracewell, writer and critic and Alun Rowlands, artist, writer and Head of Fine Art, University of Reading, the show will be arranged thematically rather than chronologically, representing artists and influences across generations.
There will be range of events associated with this show suitable for adults and families featuring film screenings, talks and ‘The Dark Weekend’ over Halloween at the end of October.
The exhibition will also be accompanied by a fully illustrated catalogue containing contributions from over fifteen writers including Brian Dillon, Philip Hoare, Jon Savage, Jennifer Higgie, Marina Warner, Michael Bracewell, Alun Rowlands and Martin Clark.
East2009
EASTinternational 2009
selectors Raster Gallery and Art & Language
Exhibition preview Saturday 11 July 5-8pm
EASTpanel
2.30 to 4.30pm admission free.
NUCA Duke Street Lecture Theatre
Speakers Lukasz Gorczyca & Michal Kaczynski Raster, Michael Baldwin & Mel Ramsden Art & Language, John Roberts Reader in Fine Art Wolverhampton University, John Russell and Barbara Walker EAST09 artists. Chair Lynda Morris EAST Curator.
Monday 13 July – Saturday 22 August
Open Monday to Saturday 10-5pm
2009 marks 20 years since the fall of the Berlin Wall and it seemed time for EAST to look further east. Raster gallery was asked to select EAST 09 as it was felt that the Warsaw Gallery had become a focus for knowledge of Polish artists in the west through their collaborations and appearance at art fairs
Art & Language, the collective of theory-based artists, founded the conceptual magazine Art Language in 1969. Art & Language showed at Foksal Gallery in Warsaw in 1975 and have continued to work with galleries and museums worldwide.
The selection was therefore across generations and across political cultures in Europe and the resulting dialogues and debates between the four selectors (Lukasz Gorczyca, Michal Kaczynski, Michael Baldwin and Mel Ramsden) touched the differences and common ground between artists in the new Europe.
The themes represented by the artists include social documentary touching on histories of Socialism and Capitalism in art, anarchism, race, industrial decline and climate change, connecting ways in which conceptualism had touched documentary traditions of the 1930’s. Works also develop ideas around minimalism, personal mythologies and the body, an examination of the individual and stories between the visual and the theoretical. Artists also express thoughts about language and the narration of presences in histories as varied as modernism, terrorism and progressive education.
Materiality of Theory
Symposium exploring the use and abuse of theory and philosophy in contemporary art practice. Discussions will encompass theory as art, what ‘materiality’ is if theory can count as just another material, the non-pictorial ‘writeability’ at the heart of the pictorial. Speakers include: John Mullarkey, philosopher at the University of Dundee and author of Post-Continental Philosophy; Marcus Steinweg philosopher/theorist at Hochschule für Bildende Künste in Braunschweig, editor of Inästhetik: Theses on Contemporary Art and author, with Thomas Hirschhorn, of Bataille Maschine; Stephen Zepke, theorist, Akademie der Bildenden Künste in Vienna and author of Art as Abstract Machine: Ontology and Aesthetics in Deleuze and Guattari. Organised and chaired by Jonathan Dronsfield, reader in theory and philosophy of art, University of Reading. Sponsored by Birmingham City University Art and Writing Network.
Institute of Contemporary Art, London, May 2009
Making Worlds
“The title of the exhibition, Making Worlds – says Venice Biennale Director Daniel Birnbaum – expresses my wish to emphasize the process of creation. A work of art represents a vision of the world and if taken seriously it can be seen as a way of making a world. The strength of the vision is not dependent on the kind or complexity of the tools brought into play. Hence all forms of artistic expression are present: installation art, video and film, sculpture, performance, painting and drawing, and a live parade. Taking ´worldmaking´ as a starting point, also allows the exhibition to highlight the fundamental importance of certain key artists for the creativity of successive generations, just as much as exploring new spaces for art to unfold outside the institutional context and beyond the expectations of the art market. Making Worlds is an exhibition driven by the aspiration to explore worlds around us as well as worlds ahead. It is about possible new beginnings—this is what I would like to share with the visitors of the Biennale.”
PA/PER VIEW
PA/PER VIEW art book fair will bring together 25 of Europe’s leading artist book publishers during Belgium’s most intense contemporary art weekend. Leave your laptop behind and come and browse amongst the finest titles of these consistent players of the printed word and image. With:
A Prior (BE) Afterall (UK) Argobooks (DE) Bartleby & Co (BE) BAS/Bent Books (TR) Book Works (UK) Daviet-Thery (FR) De Singel (BE) Episode Publishers (NL) Gagarin (BE) Janus (BE) Mer-Paper Kunsthalle (BE) MFC-Michèle Didier (BE) Mousse Magazine (IT) Muhka (BE) Onestar (FR) Onomatopée (NL) Ridinghouse (UK) Roma Publications (NL) Salon Verlag (DE) Spector Books (DE) Three Stars Books (FR) Torpedo Press (NO) Valiz (NL) Verlag der Buchhandlung Walther König (DE) Yvon Lambert (FR/US)
Nought to Sixty
This catalogue represents the documentation, essays and discussions of Nought to Sixty, beginning with an introduction by Melissa Gronlund. With a full-colour section of all artists’ projects, the Nought to Sixty catalogue comprises of texts about each artist’s practice, extracts of the season’s salon discussions, and essays that address the networks that form and contribute to an emerging visual art scene.
Includes work by the following artists: Nina Beier and Marie Lund, Juliette Blightman, Brown Mountain College, Andrea Büttner, Aileen Campbell, Duncan Campbell, Nina Canell and Robin Watkins, Jeffrey Charles Henry Peacock, Kim Coleman and Jenny Hogarth with Boyle Family, Stephen Connolly, Mike Cooter, Matthew Darbyshire, Sean Edwards, ELECTRA, Redmond Entwistle, Ruth Ewan, Freee, Maria Fusco, Babak Ghazi, Guestroom, Seamus Harahan, Hardcore Is More Than Music, Emma Hart and Benedict Drew, Alexander Heim , Iain Hetherington, Will Holder, Andrew Hunt, The Hut Project, Fiona Jardine, Jesse Jones, Junior Aspirin Records, Anja Kirschner and David Panos, Thomas Kratz, Torsten Lauschmann, Lorna Macintyre, Alastair MacKinven, Ursula Mayer, Matthew Noel-Tod, Open Music Archive, David Osbaldeston, Garrett Phelan, Gail Pickering, Sarah Pierce, Clunie Reid, Hannah Rickards, James Richards, Ben Rivers, Giles Round, Alun Rowlands, Stephen Sutcliffe, Support Structure,Tris Vonna-Michell, Mark Aerial Waller, Andy Wake.
Institute of Contemporary Arts, 5 May – 2 November 2008
Edited by Mark Sladen, Richard Birkett and Isla Leaver-Yap
Essays by JJ Charlesworth, Melissa Gronlund, Pablo Lafuente, Lisa Le Feuvre, Paul O’Neill and Mick Wilson, Sarah Pierce andEmily Pethick.
ISBN 978-1-900300-59-9
Multitude of Blogs
Scars of Différance: exposing blogosphere to the revolutionary gesture, e-book publishers unite. These blog’s aim is to give united feedback for e-book publishing sites so that tracing and finding may become easier. PDFs are collected from the web (e-mule, avax, libreremo, socialist bros, cross-x, gigapedia..) Here they are thematised, categorised and tagged. The Multitude of Blog’s project is to ‘create an e-library for a Heideggerian philosophy and Bourdieuan sociology Φ market-created inequalities must be overthrown in order to close knowledge gap.’
Here, you will find texts and pdfs shared across a number of subjects from Beckett, Deleuze, Agamben and Butler.
See also:
http://pdflibrary.wordpress.com/
http://museumofaccidents.blogspot.com/
Alain Badiou on the BBC
Interviewed ahead of his contribtion to ‘Communism‘ conference March 2009, held at Birbeck, London.
James Elkins
Artists with PhDs
James Elkins
The studio-art PhD, or practice-based doctorate, is a hot topic in art instruction in the US. Other countries have had these degrees for several decades; in the UK there are up to 2,000 students currently enrolled in such programs, and there will soon be 10 universities in Australia that offer the degree. At the moment there are about 10 programs in the US and Canada, and another dozen more under development. It appears that the PhD in studio art will become the next MFA–that is, the expected terminal degree for artists who want to get jobs teaching. In twenty or thirty years’ time, it is likely that every major art school and department will offer the PhD. The degree is controversial wherever it exists, and there is a fair amount of resistance to it: there have been some stormy sessions on the subject at conferences. Most of the formative issues, from grading to accreditation, remain unresolved.
This book is the first of its kind in the US. It is meant as a resource to help artists, teachers, administrators, and students assess and compare the new programs. Part I is a selection of essays by the best-informed people on both sides of the Atlantic, including most of the principal players and institutions. Part II is a selection of excerpts of the PhD dissertations written by people who have graduated from such programs, so people can see the kind of art and scholarship the programs produce.
Here are the contents of Part I:
1: Judith Mottram, ‘Researching Research in Art and Design’
2: Timothy Emlyn Jones, ‘Research Degrees in Art and Design’
3: Henk Slager, ‘Art and Method’
4: Mick Wilson, ‘Four Theses Attempting to Revise the Terms of a Debate’
5: Victor Burgin, ‘Thoughts on ‘Research’ Degrees in Visual Arts Departments’
6: Timothy Emlyn Jones, ‘The Studio Art Doctorate in America’
7: George Smith, ‘The Non-Studio PhD for Visual Artists’
8: Hilde Van Gelder and Jan Baetens, ‘The Future of the Doctorate in the Arts’
9: James Elkins, ‘On Beyond Research and New Knowledge’
10: Charles Harrison, ‘When Management Speaks…’
11: James Elkins, ”The Three Configurations of Studio-Art PhDs’
New Academia Publishing is a peer-reviewed, print-on-demand initiative; the books may not show up in bookstores, but they are always quickly available through Amazon and other outlets.
Creative Practice/Creative Research
Creative Practive/Creative Research
Materiality, Process, Performativity
Contact: James Alexander j.alexander@yorksj.ac.uk
Creative Practice/Creative Research emerges at a critical moment in the burgeoning discourse surrounding ‘practice-led research.’ The impetus for this gathering is a desire to critique and disseminate insights born of practice by and for artists to impact upon the fields of art criticism, art education, cultural theory, curating and the history of art.
This rationale responds to sculptor Robert Morris’ lament in Artforum, 1970 that the creative process remained ‘the submerged side’ of the interpretive ‘iceberg’. The 1970s-80s advent of post-modern theory and the social history of art located the material production of art at an intersection of history and the social. Practice became liberated from (psycho) biographical expressivity and mastery of the gesture. Within British art historical scholarship however the object of critical discourse has remained profoundly visual. In 2008 this focus on visual outcomes acquired renewed vigour via a new model of art historical enquiry informed by neuroscience. Situated in the gallery like so many dead objects ‘art’s’ materiality remains the trace of means to ends. Caught between formalism and semiotics, theory in this paradigm is that which can only ever be applied to art.
Creative Practice/Creative Research seeks to turn the tables; to evoke a critical framework with which to imagine art practice as means by which ‘we come to know the world via handling’ (Heidegger, 1966) Bolt, 2007). The work of art as ‘co-poiësis’ (Ettinger, 1997) and ‘poiëtic revealing’ (Bolt, 2007) transforms creative production beyond the locus of a discrete subject bound exclusively by the discrete visual outcome. The production of art is here cognized as the generation of the unknown. This paradigm shift foregrounds ‘dialogical’ means through which art’s work may elicit transformations via material operations and performativity both in production and reception, reconfiguring the theoretical and historical frameworks through which it can signify.
Highlighting such a fleshy transubjective logic of art practice enables interventions in the fields of curatorial practice and pedagogy. Creative Practice/Creative Research seeks to disseminate examples of curatorial collaboration in the creative process counter to traditional practices of displaying objects/outcomes in the gallery or museum. Finally, this gathering will interrogate the assimilation of fine art education within the culture of accountability that currently structures the unruly objects of art’s ‘research’ within higher education.
Registration is now open. Please visit http://www.yorksj.ac.uk/creativepractice
Speakers:
Steve Baker, UCLAN, UK
Estelle Barrett, Deakin University, AUS
Rosemary Betterton, Lancaster University, UK
Barb Bolt, University of Melbourne, AUS
Judit Bodor, Independent Curator
Vanessa Corby, York St John University, UK
Bracha Ettinger, European Graduate School, SWISS
Paula Farrance, UK
Pam Longobardi, Georgia State University, USA
Roddy Hunter, York St John University, UK
Linda Weintraub, Independent Scholar, USA
Elizabeth Watkins, Bristol University, UK
Research Resource 4
Irit Rogoff: Academy as potentiality
Many of the above insights have come to us through arts practices, instantiating what we are calling ‘practice driven theory’. This was a term we originally evolved to move on from a 1970s/1980s model of arts practice which was highly influenced by and illustrative of , the theoretical insights that blew away the cob webs of expressivity, interiority and rebellious transgression of previous generations. Instead we have more recently been looking for a practice to spur us on, not because it is self-consciously informed but because it is gives itself a different set of permissions… read more here.
Urgent Thought: Hegemony, Exhaustion, Bologna
Fragments of a radical pedagogy: The third session of Urgent Thought features contributions by Oliver Marchart, Jan Verwoert and Dieter Lesage. It was recorded at the third day of SUMMIT non-aligned initiatives in education culture.
Portrait of the Artist as Researcher 2.0 Exhibition
Artistic work can often be understood as research, even if its methodology is different from that of science. The exhibition A PORTRAIT OF THE ARTIST AS A RESEARCHER 2.0 is a plea for the recognition of the specificity of artistic research, and for the art academy
The exhibition A PORTRAIT OF THE ARTIST AS A RESEARCHER 2.0 shows a selection of works that are the result of artistic research. These works show the artist at work as a researcher, investigating the history of an art institution (Sven Augustijnen), or of cultural practices (Sonia Boyce), collecting and selecting thoughts (Herman Asselberghs), or cultural products (Jacques André), experimenting with sound (Art Jones), or image (Ina Wudtke), representing the artist as a social scientist (Jill Magid), or the philosopher as an artist (Dieter Lesage). In this way, these works comment, circle around or criticise the discourse on ‘research’ that is characteristic of the Bologna Process and interrogate the limits of its applicability for the arts. A PORTRAIT OF THE ARTIST AS A RESEARCHER 2.0 is an upgrade of an exhibition curated by Ina Wudtke and Dieter Lesage in the summer of 2007 in the MuseumsQuartier Vienna. It is an initiative of the Institute for Drama and Audiovisual Arts (IDeA) and the department Rits of the Erasmushogeschool Brussel.
Dieter Lesage & Kathrin Busch (eds.), A PORTRAIT OF THE ARTIST AS A RESEARCHER. THE ACADEMY AND THE BOLOGNA PROCESS, (AS #179), Antwerp, MuHKA, 2007, 154 pp., ISSN 07735855. With contributions by Sabeth Buchmann, Diedrich Diederichsen, Eva Meyer, Eran Schaerf, Stephan Schmidt-Wulffen, Marion von Osten.
The Academy is Back: On Education, the Bologna Process, and the Doctorate in the Arts
Dieter Lesage responds to Irit Rogoff and Tom Holert’s recent contributions to eflux-journal on the role of the art academy, addressing the Bologna Process and its influence on art eduction throughout Europe. (see full essay here)
Art and Ethics / Relational Practice
Leila Solta the South East Regional Editor of artartart a quarterly online magazine for contemporary art call for contributions.
We are in the process of expanding the magazines coverage of events in the South East and are looking for new writers interesting in contributing reviews or opinion piece proposals for publication. The title and theme of our Summer 2009 edition is ‘The New Cultural Imperialism’ and Autumn 2009 ‘Art and Ethics / Relational Practice’. If you would be interested in writing for us I will gladly pass on proposals to the editor in chief. edit@artartartgallery.com
We intend to be a fully funded organization at the beginning of 2010 meanwhile as a not for profit organization we do not have a budget to pay contributors but it would however be a good opportunity for any teacher/student who is interested in having published work about the art industry.
I hope you will pass this message on and ask any who are interested in the opportunity to contact me. Our ongoing goal to produce a national and localized source of intellectual and creative articles about British arts that would benefit from your attention. Please take some time to browse our publication and if you are interested subscribe for free at www.artartartgallery.com
Communism
On the Idea of Communism
Conference 13th,14th & 15th March 2009
“The communist hypothesis remains the good one, I do not see any other. If we have to abandon this hypothesis, then it is no longer worth doing anything at all in the field of collective action. Without the horizon of communism, without this Idea, there is nothing in the historical and political becoming of any interest to a philosopher. Let everyone bother about his own affairs, and let us stop talking about it. In this case, the rat-man is right, as is, by the way, the case with some ex-communists who are either avid of their rents or who lost courage. However, to hold on to the Idea, to the existence of this hypothesis, does not mean that we should retain its first form of presentation which was centered on property and State. In fact, what is imposed on us as a task, even as a philosophical obligation, is to help a new mode of existence of the hypothesis to deploy itself.” (Alain Badiou)
Registration is essential: book here.
Birkbeck Institute
Logan Hall
Institute of Education, University of London
20 Bedford Way
London WC1H 0AL
Rachel Garfield
Dr. Rachel Garfield
Journal of Media Practice “Articulating a Position Through Research; The Practice Led PhD, A case Study”, Autumn 2007, Vol 8.2, pp.221-234.
Abstract
This paper takes the form of a case study and aims to raise key issues in the process of a practice-led PhD. The subject of study in the PhD was to research the problematics of an art practice exploring Jewish identity in Britain. The methodology included the making of video installations and contextual theoretical writing that encompassed cultural studies, film theory, critical theory and art history. The paper gives detailed examples of my methodologies through the research, focusing particularly on the development of key artworks and the interplay of theory and practice.
Keywords
video practice, Jewish identity, practice-led PhD, performativity, identity politics, film theory
Research Resource 3
Art in the Knowledge-based Polis
Tom Holert
‘I am particularly interested in how issues concerning the actual situations and meanings of art, artistic practice, and art production relate to questions touching on the particular kind of knowledge that can be produced within the artistic realm (or the artistic field, as Pierre Bourdieu prefers it) by the practitioners or actors who operate in its various places and spaces. The multifarious combinations of artists, teachers, students, critics, curators, editors, educators, funders, policymakers, technicians, historians, dealers, auctioneers, caterers, gallery assistants, and so on, embody specific skills and competences, highly unique ways and styles of knowing and operating in the flexibilized, networked sphere of production and consumption. This variety and diversity has to be taken into account in order for these epistemes to be recognized as such and to obtain at least a slim notion of what is at stake when one speaks of knowledge in relation to art—an idea that is, in the best of cases, more nuanced and differentiated than the usual accounts of this relation.’
Read the full Tom Holert essay published online in e-flux journal here.
Art & Research Volume 2. No. 1. Summer 2008 ISSN 1752-6388
Jacques Rancière and The (Re)Distribution of the Sensible: Five Lessons in Artistic Research
A comprehensive listing of theses with abstracts accepted for higher degrees by universities in Great Britain and Ireland since 1716. A useful resource for looking at research projects/ interests in your field.
Material Text
Material Text is a University of Reading research theme. It brings research excellence together from several areas: publishing and the book trade, distribution, ownership and readership; the history of the book, printing, and typography; design for reading; and the study of the social and communication functions of texts, whether written, printed, illustrated, performed, or mediated.
Art & …
Art & …
Symposium, ICA, London
Art & politics & fiction & sex & death & aesthetics & reading & psychobiography & dialectics & philosophy & horror & sleeping & reading & music & intensity & jouissance &…
8 speakers negotiate diverse positions mapping the radical terrain of the ampersand.
JOHN CUSSANS Multi-media artist & writer, whose research explores para-psychological scenarios & multi-authoring processes. Eggheads in the Wallpaper: Writing, Psychobiography and the Problem of Historical Form takes its cue from a convergence of associational themes running between Cat’s Cradle (Kurt Vonnegut, Jr) and The Yellow Wallpaper (Charlotte Perkins Gilman). It will address the textual inter-dependence of historical & subjective awareness, the relationship between science & art & their implications for inter-disciplinary art forms.
&
PETER OSBORNE Professor of Modern European Philosophy at Middlesex University, & an editor of Radical Philosophy. Art & Non-Art: Dialectics of Non-Identity. Ampersand & distinction; typesetting as the home of pop conceptualism in reverse.
&
MARIA FUSCO IS PATRICIA MacCORMACK Maria Fusco is a Belfast-born writer. She is Director of Art Writing at Goldsmiths College, and the editor of The Happy Hypocrite, a new journal for and about experimental writing. Patricia MacCormack is Senior Lecturer, Department of English, Communication, Film and Media at Anglia Ruskin University. She has published on Continental Philosophy & the ethics of aesthetics. Talk: The ecosophy of art – a monstrous hybrid event. Art itself is an ‘&’ traversal. Deleuze and Guattari and Serres claim art is produced through a mapping of chaos which is an ethical production (cf Spinoza) – an ecosophic territory. For D&G philosophy describes the creation of concepts which are the result of problems, that is, the incommensurability of two ideas. Concepts and philosophy always require an ‘&’, not an ‘or’ and the ‘&’ is not causal or chronocentric but immanent, neither element precedes or follows.
&
FELIX ENSSLIN is a curator and writer based in Berlin. He recently organised the Between Two Deaths Exhibition At ZKM, Karlsruhe and is a regular contributor to Dictionary of War He will talk on ‘And.Encore.Repetition.Jouissance and Art today’ with reference to the exhibition ‘Between Two Deaths’.
&
FABIENNE AUDEOUD Artist and musician
If not the sound track to images and the marker of social identities what is music doing in art?
If the audience has become the form in music: How do you perform it in art?
If the audience -as size- buys itself: How is this gesture/exchange happening?
She will address questions around music in art and work live on the composition of a third version of “the hit”.
&
JJ CHARLESWORTH is a critic and Reviews Editor, ArtReview. Nothing is Never Autonomous. If dialectics isn’t a play of opposites, but a way into the multiple realities that make up a thing or a phenomenon, how might art be understood as a meeting place for many possible contradictions, instead of just a few? What if autonomous art was art both at its least and most free?
&
NICHOLAS CHARE is Leverhulme Research Fellow at the Department of History of Art and Architecture, University of Reading. The focus of his research is on the acoustic dimensions of Francis Bacon’s art practice. He is a former editor of the international journal of critical theory, parallax. His work has appeared in a number of journals including Angelaki, Cultural Critique, parallax and West Coast Line. His paper Show and Tell: Francis Bacon’s Paint Incarnate will closely analyse Francis Bacon’s technique through the prism of Julia Kristeva’s writings on art and literature. The paper demonstrates that Bacon’s conscious and unconscious employment of chance in his artistic practice, particularly in his treatment of colour, causes his work to privilege what Kristeva calls the semiotic, the drive-invested dimension of language. The paper attends to the semiotic as a kind of disruptive noise. It will argue that the irruption of this noise within Bacon’s works causes them to unfold across a space somewhere between the acoustic and the visual fields. The paper considers how the artist’s interest in synaesthesia plays out in his paintings which frequently fashion connections between the senses.
&
Description of Talk & : The condition of betweenness at play is spread wide to be licked between: (sidewards. Paul Buck is a writer & ) a state that he’s never been anything but)
17 November 2007 2pm – 7pm ICA, The Mall, London SW1Y 5AH.
Symposium convened by Dr. John Russell & Alun Rowlands, Department of Fine Art, University of Reading.
Watch the days proceedings here.
The 19th Step Project
The 19th Step Project
Led by composer Dorothy Ker, choreographer Carol Brown, sculptor Kate Allen and mathematician Marcus du Sautoy, The 19th Step is a performance-based research project exploring different ways the ‘languages’ of music, dance, sculpture and mathematics can talk to each other. In the context of theatre we discover synergies that cut across discipline boundaries to reveal new ways of understanding space and the shared nature of questions around space.
A series of workshops in 2006-7 initiated a bold dialogue bringing a mathematician into the performance studio. The tools which mathematics uses for conceiving space can be explored through musical, choreographic and sculptural content, text and formal structures. Texts of the 20th Century Argentinean writer Jorge Luis Borges have been our meeting point and the basis for developing our dialogue through performance.
/seconds
/seconds. is an online publishing project initiated by Derek Horton, Peter Lewis, and Graham Hibbert and supported by an international editorial and advisory board of academics, artists and curators. The project acknowledges support from Leeds Metropolitan University. A new issue of /seconds. will be published every three months and will include text, visual material (including moving image) and sound-based work.
Material to be considered for submission should be sent to submissions@slashseconds.org
Research Resource 2
The Artist’s Knowledge 2 a publication of the Postgraduate Research Department at the Finnish Academy of Fine Arts. Empyre is a discussion mailing list, often using an exhibition or project as a starting point for a topic.
Rhizome is dedicated to the creation, presentation, preservation, and critique of emerging artistic practices that engage technology. Through open platforms for exchange and collaboration, our website serves to encourage and expand the communities around these practices.
The importance of Artistic Research and its Contribution to New Knowledge in a Creative Europe
Strategy Paper May 2008 ELIA
This paper sets out an approach for the immediate future for how ELIA will contribute, initiate, and stimulate dialogue that enhances opportunities for artistic research across Europe.
Practice-led doctoral / post-doctoral exhibition and symposium
Chelsea College of Art and Design, London
28-30 October, 2008
Research Narratives is an international symposium aimed at doctoral, and post-doctoral researchers in the field of Art & Design. It focuses on debates around practice-based research by considering how practice is discussed, described or addressed in a research context. The symposium will present practical work rather than papers, using these as possible examples of research to generate debate. The symposium involves a large exhibition with over forty participants.
Working Papers in Art & Design an international refereed journal for research in art & design.
1 comment