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Currently, advanced art education is in the process of developing (doctorate or PhD) research programs throughout Europe. Therefore, it seems to us urgent to explore what the term research actually means in the topical practice of art. After all, research as such is often understood as a method stemming from the alpha, beta or gamma sciences directed towards knowledge production and the development of a certain scientific domain. How is artistic research connected with those types of scientific research, taking into account that the artistic domain so far has tended to continually exceed the parameters of knowledge management? One could claim that the artistic field comprises the hermeneutic...
Artistic Research Methodology argues for artistic research as a context-aware and historical process that works inside-in, beginning and ending with acts committed within an artistic practice. This book is essential reading for university courses in art, art education, media and social sciences.
The Finnish artist Sophia Ehrnrooth has been exploring the world of junior football in her photographic and video works since 2013. In this book, she and curator Mika Hannula engage in a dialogue about football, art, play and dreams. ?I was gripped by monomania, blinded by boys and bright neon colours, the green of the football pitch and its drama-packed world.? This book is indeed about football but, beyond that, it is more about the time in our lives when we exist in a state of complete openness toward the world, during that fleeting moment when we are ? for all our limitations ? free to dream.
Museum Bodies provides an account of how museums have staged, prescribed and accommodated a repertoire of bodily practices, from their emergence in the eighteenth century to the present day. As long as museums have existed, their visitors have been scrutinised, both formally and informally, and their behaviour calibrated as a register of cognitive receptivity and cultural competence. Yet there has been little sustained theoretical or practical attention given to the visitors' embodied encounter with the museum. In Museum Bodies Helen Rees Leahy discusses the politics and practice of visitor studies, and the differentiation and exclusion of certain bodies on the basis of, for example, age, gender, educational attainment, ethnicity and disability. At a time when museums are more than ever concerned with size, demographic mix and the diversity of their audiences, as well as with the ways in which visitors engage with and respond to institutional space and content, this wide-ranging study of visitors' embodied experience of the museum is long overdue.
Each of the five volumes in the Stone Art Theory Institutes series, and the seminars on which they are based, brings together a range of scholars who are not always directly familiar with one another’s work. The outcome of each of these convergences is an extensive and “unpredictable conversation” on knotty and provocative issues about art. This third volume in the series, What Do Artists Know?, is about the education of artists. The MFA degree is notoriously poorly conceptualized, and now it is giving way to the PhD in art practice. Meanwhile, conversations on freshman courses in studio art continue to be bogged down by conflicting agendas. This book is about the theories that underwr...
This book reveals how poets within the U.S. multi-ethnic avant-garde give up the goal of narrating one comprehensive, rooted view of cultural reality in favour of constructing coherent accounts of relational, local selves and worlds.
Why did Martin Heidegger, the giant of continental philosophy, believe in 1933 that Hitler is the future of Europe? And why does Slavoj Žižek, “the most dangerous philosopher in the West”, support Heidegger’s right wing militancy? Heidegger and Žižek are not only erudite thinkers on human being but also incorrigible revolutionaries who even after the catastrophic failures of their favourite revolutions – the October revolution for Žižek and the National Socialist revolution for Heidegger – want to overcome capitalism; undemocratically, if necessary. The two share a spirited and sophisticated rejection of the liberalist worldview and the social order based on it. The problem i...
"Learning Mind: Experience Into Art is astonishing in its range of authors, depths of perception, and subjects, gliding elegantly among three thematic clusters, from 'Being of Being an Artist' to 'Making Art and Pedagogy' and, finally, to 'Experiencing Art.' The editors have brilliantly and imaginatively realized the promise of their anthology's tantalizing, terse title."--Moira Roth, author of Traveling Companions/Fractured Worlds "Jacob and Baas have gathered together an exceptional group of some of the most articulate writers about art of this generation, as well as some of the most intelligent, thoughtful, esteemed and socially engaged artists. The Learning Mind invites them to speak from their own experiences with art; what emerges are important biographical moments of insight about the way art is a device for transforming consciousness."--Jennifer Gonzalez, University of California, Santa Cruz