scholarly journals PRACTICE AS RESEARCH: CREATIVE AND RESEARCH. PRACTICE IN THE FORMAT OF POSTGRADUATE EDUCATION

2021 ◽  
Vol 17 (4) ◽  
pp. 91-109
Author(s):  
Liudmila A. Alyabieva ◽  
Irina M. Sakhno ◽  
Tatiana E. Fadeeva
Keyword(s):  
Contemporary Art ◽  
Graduate School ◽  
Cultural Anthropology ◽  
Postgraduate Education ◽  
Academic Community ◽  
Artistic Practice ◽  
Close Attention ◽  
Art And Design ◽  
Creative Practice ◽  
Practical Research

The authors of the article focus on the discussion format of practical research. In recent years, practice as research has become a direction of research activity in foreign universities and an object of close attention from the Russian academic community. Representatives of various disciplines in art and the humanities convincingly argue the need for such a format of creative practice in performance, theatre, dance and contemporary art. Practice as research includes different forms and ways of representing applied and project art products. Today, a practising researcher causes controversy and discussion since the model of creative practice as a method of studying art is an innovative educational format. Also, the parameters of evaluating practical research, the relationship between theoretical, purely research, and creative material cause significant difficulties. The methodology based on practice and the parameters of the assessment of practice as research give rise to a lively discussion. The situation in arts and humanities teaching is complicated because practice-related research has been labelled as field research and practice-based experimentation in medicine, design and engineering for a long time. Artistic practice in contemporary art and design has recently become the object of close attention at the Graduate School of Art and Design at the Higher School of Economics since, today, the practical focus of visual research is the main direction in educational bachelor and master’s programs. A new understanding of art as a practice and, at the same time, research can shed light on many topics, including cultural anthropology, psychology, sociology, etc. That is why we defend the idea of the interdisciplinarity of such studies in our article. Artistic practice as a field of academic research and new experience in postgraduate education is at the centre of our study. We strive to generalise the experience of European educational programs, expand the range of methodological approaches and present the author’s concept. Practice and research have long been inseparable in many humanities; project workshops and representation of creative artifacts are at the heart of contemporary art and design education. Modern Russian education is just beginning to explore new territory. In this sense, our collaborative research of an innovative format is designed to analyse foreign experiences and formulate the need to promote new educational technologies within the framework of graduate school. The habitus of practice as research is such that research based on practice raises the question of the forms of critical activity and content parameters of a creative artifact and documenting research materials. The posed research problem in combination with practice demonstrates the originality of research. It expands the boundaries of the research field by introducing a hybrid methodology for evaluating a creative project and critical discourse. The task of the authors of the article is to identify a debatable problem field, analyse analytical data related to the innovative scientific field and present essential strata of the new educational format, Practice as Research.

Screen Presence

2016 ◽  
Author(s):  
Stephen Monteiro
Keyword(s):  
Contemporary Art ◽  
Social Contexts ◽  
Popular Media ◽  
Andy Warhol ◽  
Film Culture ◽  
Artistic Practice ◽  
Popular Film ◽  
Robert Rauschenberg ◽  
Mona Hatoum ◽  
Source Materials

Cinema plays a major role in contemporary art, yet the deeper influence of its diverse historical forms on artistic practice has received little attention. Working from a media and cultural studies perspective, Screen Presence explores the intersections of film, popular media, and art since the 1950s through the examples of four pivotal figures – Andy Warhol, Robert Rauschenberg, Mona Hatoum and Douglas Gordon. While their film-related works may appear primarily as challenges to conventional cinema, these artists draw on overlooked forms of popular film culture that have been commonplace, and even dominant, in specific social contexts. Through analysis of a range of examples and source materials, Stephen Monteiro demonstrates the dependence of contemporary artists on cinema’s shifting applications and interpretations, offering a fresh understanding of the enduring impact of everyday media on how we make and view art.

Screening Statues

2017 ◽  
Author(s):  
Steven Jacobs ◽  
Susan Felleman ◽  
Vito Adriaensens ◽  
Lisa Colpaert
Keyword(s):  
Contemporary Art ◽  
Three Dimensional ◽  
Interdisciplinary Approach ◽  
Film History ◽  
Two Dimensional ◽  
Artistic Practice ◽  
Experimental Art ◽  
Broad Scope ◽  
Art Practices ◽  
Extensive Reference

Sculpture is an artistic practice that involves material, three-dimensional, and generally static objects, whereas cinema produces immaterial, two-dimensional, kinetic images. These differences are the basis for a range of magical, mystical and phenomenological interactions between the two media. Sculptures are literally brought to life on the silver screen, while living people are turned into, or trapped inside, statuary. Sculpture motivates cinematic movement and film makes manifest the durational properties of sculptural space. This book will examine key sculptural motifs and cinematic sculpture in film history through seven chapters and an extensive reference gallery, dealing with the transformation skills of "cinemagician" Georges Méliès, the experimental art documentaries of Carl Theodor Dreyer and Henri Alekan, the statuary metaphors of modernist cinema, the mythological living statues of the peplum genre, and contemporary art practices in which film—as material and apparatus—is used as sculptural medium. The book’s broad scope and interdisciplinary approach is sure to interest scholars, amateurs and students alike.

Presenting the Unpresentable: Jean-François Lyotard’s Kantian Art-Sublime

2021 ◽  
pp. 1-17
Author(s):  
Rachel Zuckert
Keyword(s):  
Contemporary Art ◽  
Artistic Practice ◽  
Avant Garde ◽  
The Sublime ◽  
The Absolute

Abstract This article reconstructs Jean-François Lyotard’s theory of the sublime in contemporary art, focusing on his claim that such art ‘presents’ the unpresentable, and tracing its origins in Kant’s account of the sublime. I propose that Lyotard identifies a difficulty concerning Kant’s account: to understand why the disparate elements in the experience of the sublime (idea of reason, sensible representation) should be synthesized to form that experience. Lyotard recasts this difficulty as a pragmatic problem for artistic practice – how to ‘testify’ to the absolute in a non-absolute, sensibly perceivable object (the artwork) – that can be understood to drive avant-garde artistic experimentation.

al-Attar, Suad (1942--)

2018 ◽  
Author(s):  
Tiffany Renee Floyd
Keyword(s):  
Contemporary Art ◽  
Formal Education ◽  
Graduate Training ◽  
Fine Arts ◽  
California State University ◽  
State University ◽  
Art And Design ◽  
Geographic Regions ◽  
The University

Born in Baghdad, Iraq, Suad al-Attar moved to London in 1976. She holds a prominent position within the narrative of Iraqi modern and contemporary art as one of the nation’s leading female artists. In 1965, al-Attar became the first woman to hold a solo exhibition in Baghdad. This exhibition was the beginning of a prolific career that spans several decades and geographic regions. Al-Attar began her formal education at the Academy of Fine Arts in Baghdad and at California State University. She then pursued graduate training in London at the Wimbledon School of Art, where she studied printmaking, and the Central School of Art and Design. After the completion of her studies, al-Attar taught at the University of Baghdad before moving to London. Working within a graphic aesthetic, al-Attar’s work is flat, linear, and oftentimes monochromatic. Her canvases are filled with mythical creatures set in phantasmagoric spaces. The artist’s work is characterized as a manifestation of memory, at both a personal and collective level. Her characters emerge from Iraq’s literary past, but al-Attar also creates a personalized set of symbols based on memories of her homeland. Many of her works also offer introspective laments on the destruction of Baghdad during the turbulent years of the 1990s and 2000s.

Page as alternative space redux: artists’ magazines in the 21 st century

2013 ◽  
Vol 38 (3) ◽  
pp. 10-17
Author(s):  
David Senior
Keyword(s):  
Digital Media ◽  
Contemporary Art ◽  
Art History ◽  
Modern Art ◽  
Museum Of Modern Art ◽  
Art And Design ◽  
The Past ◽  
Production And Distribution ◽  
New Challenges ◽  
Selection Of

In the past few years, several new publications and exhibitions have presented surveys of the genre of artists’ magazines. This recent research has explored the publication histories of individual titles and articulated the significance of this genre within contemporary art history. Millennium magazines was a 2012 exhibition at the Museum of Modern Art that traced the artists’ magazine into the 21st century. The organizers, Rachael Morrison and David Senior of MoMA Library, assembled a selection of 115 international tides published since 2000 for visitors to browse during the run of the exhibition and created a website as a continuing resource for information about the selected tides. The exhibition served as an introduction to the medium for new audiences and a summary of the active community of international artists, designers and publishers that still utilize the format in innovative ways. As these projects experiment with both print and digital media in their production and distribution of content, art libraries are faced with new challenges in digital preservation in order to continue to document experimental publishing practices in contemporary art and design.

Contemporary art and the revisioning of identity

2009 ◽  
Vol 1 (1) ◽  
pp. 50-57
Author(s):  
Tessa Adams
Keyword(s):  
Contemporary Art ◽  
Creative Practice ◽  
Art Object ◽  
Visual Artist

The aim of this article is to address the influence of contemporary art in terms of both its problematic and its seduction. Discussion will focus on works that challenge psychotherapists’ views of creative practice. The art object as agency will be set in contrast to its positioning in psychodynamic terms, raising the question as to why and what is the purpose of the visual artist whose relationship with image, and the imaginal is exemplar.

Supplementing Basic Graduate Level Courses With Conference-Based Research Communication Experiences

2013 ◽  
Author(s):  
Tamara Reid Bush ◽  
Sam Leitkam ◽  
Craig Gunn
Keyword(s):  
Graduate Students ◽  
Graduate School ◽  
Real Life ◽  
Academic Community ◽  
Early Career ◽  
Basic Material ◽  
Graduate Level ◽  
Research Communication ◽  
Life Problems

Two difficulties are commonly identified for early graduate-level students that hinder their growth in the academic community. First, students in graduate school engineering courses find the basic material difficult to relate to real-life problems. Second, early career graduate students have little practice at presenting research in a professional format (e.g. ASME conference).

Disintegrating Progress: Bolshevism, National Modernism, and the Emergence of Contemporary Art Practices in Armenia

ARTMargins ◽  
2012 ◽  
Vol 1 (1) ◽  
pp. 62-87 ◽  
Author(s):  
Vardan Azatyan
Keyword(s):  
Contemporary Art ◽  
Socialist Realism ◽  
Artistic Practice ◽  
Complex Process ◽  
Art Practices ◽  
History Of ◽  
Political Project

This article provides a genealogy of the emergence of contemporary art practices in Armenia, arguing that the very history of emersion of these practices can be seen as a complex process of disintegration of the Bolshevik political project, particularly its agenda to base art on a subtle dialectical reconciliation between the nation and the class. After this dialectic was brutally instrumentalized by Stalinist Socialist Realism, it was attacked by the National Modernists during Khrushchev's Thaw. Later, in 1970s, from within the National Modernism itself, the first tendencies of contemporary art practices emerged. They began to challenge the conventional notions of artistic practice along the lines of a conception of art as a performative practice of liberatory subjectivization. This marked the point of the ultimate disintegration of both triumphant and tragic Bolshevik project that became a haunting specter of post-Soviet contexts.

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