Making Time and Space for Art: An Examination of an Artist-in-Residence Within a Postsecondary Art Education Program

This article examines the process and impact of an artist-in-residence program in Art Education at the University of Victoria. After an open call to artists, contemporary Upper Tanana visual artist, Teresa Vander Meer-Chassé, member of the White River First Nation of Beaver Creek, Yukon and Alaska was selected as the inaugural artist-in-residence. Through research-creation and qualitative methods this research examines the artist’s artistic process and the impact of an artist-in-residence on students’ and faculty’s perception of artistic practice and their experience working with an artist-in-residence within a post-secondary space of learning. Through photographic documentation, reflections and interviews by participants, the article examines ways the artist-in-residence enriched student and faculty learning in a Faculty of Education. Keywords: Artist-in-residence; Post-secondary education; Artistic inquiry; Indigenous pedagogy; Beading. Résumé : Cet article s’intéresse au processus et à l’impact d’un programme d’artiste en résidence dans le domaine de l’enseignement des arts à l’Université de Victoria. Suite à une audition ouverte d’artistes, l’artiste visuelle contemporaine du Haut Tanana Teresa Vander Meer-Chassé, membre de la Première Nation de White River de Beaver Creek, du Yukon et de l’Alaska, a été choisie artiste-résidente inaugurale. La présente recherche utilise des méthodes quantitatives et de recherche-création pour étudier la démarche artistique de l’artiste et l’impact d’une artiste-résidente sur la perception de la pratique artistique chez les étudiants et le corps enseignant. On y analyse aussi l’impact de collaborer avec une artiste-résidente en milieu d’apprentissage postsecondaire. Documentation photographique, réflexions et entrevues des participant.e.s sont mises à profit pour déterminer de quelles façons l’artiste- résidente a enrichi l’apprentissage étudiant et du corps enseignant au sein de la Faculté d’éducation. Mots-clés : artiste-résidente, enseignement postsecondaire, recherche artistique, pédagogie autochtone, perlage.

The Inner Louis Vuitton Circle: Arts-Based Research into Russian Luxury

Studying luxury and conspicuous consumption in international settings presents unique challenges. Many aspects of luxury and conspicuous consumption cannot easily be put into words because they involve desires, aesthetics, and emotions, as well as taken-for-granted assumptions about social distinction and inequality. Drawing on Nicolai Eliseev’s artistic inquiry into luxury consumption in Russia, this article proposes arts-based inquiry as a suitable method for examining embodied and aesthetic knowing about luxury and conspicuous consumption, in particular in intercultural settings. The article illustrates these ideas through a series of sketches and a final artwork, by which Eliseev inquired into his experiences and tacit knowledge. The artwork incorporates a cut-up Louis Vuitton bag and references to luxury brands such as Cartier, Vertu, and Dom Perignon. The artistic form expresses the dividing effects and emotions of luxury consumption in Russian social and economic life. The article contributes to an understanding of aesthetic creation as both a method of inquiry and also a practice of resistance and innovation in relation to fashion discourses. Thus, it illustrates the potential of arts-based research methods in intercultural studies of luxury, and the social sciences more broadly.

‘Companioning’ in artistic inquiry: Warren Lett and the role of personal process in research

This article explores the unique features of Warren Lett’s practice of companioning and its significance within the international community of artistic inquiry. Emphasis is given to the role of personal process as research content and its inseparable relationship to reality. The author’s experiences with this aspect of research are compared to Lett’s work. The article also explores the parallel developments of integrated arts therapy in the United States and multimodal arts therapy in Australia, both grounded in an integral, multisensory and whole art experience that contrasts to the silos of specialized arts therapy disciplines.

Bird and Line

"Bird and Line" is an artistic inquiry into the relationship between a deep state of artistic consciousness and the act of drawing a line to arrive at the form of a bird. This inquiry further proposes that by using line as a mode of research, the artist begins to perceive the consciousness of a bird and the relationship it shares with its form. For me, the embodied and porous experiences of watching and knowing birds through the practice of working with "line" as an artistic element allow for an intimacy of experiencing and an unfolding of intersubjectivity. Artistic inquiry also acts as an investigation into self-awareness and self-realization in this space of making eco-art. These acts of being lead me into reflections on how perception and creativity are melded together during creative moments to allow for a porous consciousness to emerge and perform the act of drawing a bird. As an artist working with text, movement, and image, I embed questions on the ethics of creativity into how we evolve our lines of art, as well as encounter other beings. By unraveling the relationship between the inner and the outer through Indian aesthetic philosophy, I evolve methods for eco-art practice using line as an element. I emphasize the importance of artistic research with a framework of Indian aesthetics as a way of deepening our perception and relationships with the natural world. This article is written to make artistic processes visible through a reflective auto-ethnographic approach. I write in a non-linear reflective narrative to comprehend cultural ontologies that drive my practice, unfolding internal thought processes, directions of research, and moments of mystical experience.

An Embodied Artistic Inquiry into Attachment-Oriented Therapeutic Relationships

In this study, I utilized an embodied artistic inquiry self-study to explore my experience of attachment in the therapeutic movement relationships (TMR) created as a dance/movement therapy intern at a psychiatric residential treatment center for children. The research was guided by three questions: How do I experience the TMR with children in a psychiatric residential treatment setting using attachment theory? How is my personal attachment style influencing and guiding the therapeutic relationship? How does my identification of salient moments relate to my own attachment style and aesthetic preference? Data were collected using journal entries that reflected on the researcher’s experience of attachment, saliency, and Tortora’s D.A.N.C.E. qualities of attachment (Clin Soc Work J 38(1):37–50, https://doi.org/10.1007/s10615-009-0254-9, 2010). I analyzed the data using discussion and Authentic Movement with a research consultant in order to synthesize and describe the experience of each salient moment. Repeated movements included grounded and unstable walking, changing of levels, core-distal movements, circling and carving arms, and recuperation. The themes that resulted from repeated movements and discussion with the research consultant include foundational movements, holding discomfort, connection to a specific client, and playfulness. These results reinforced the importance of stability and self-awareness for a therapist especially in relationship to how their movement and nonverbal preferences may have been learned from attachment relationships. Furthermore, results show the impact of saliency and the clinician’s aesthetic preference. In addition, the results reflected the strong relationship among nonverbal qualities of attachment and the TMR. These results suggested that qualities of attachment underlie the effectiveness of the TMR. Although limitations of the study prevented me from drawing correlative conclusions, the therapist may be able to strengthen the therapeutic relationship by targeting primary attachment models, and suggestions for further research are included.

Dialogism in Hoccleve

Thomas Hoccleve (c. 1368–1426), a declared admirer of Chaucer, resembles the elder poet in making his narrative frames as rich as the stories they contain. In the frames to his three major works La Male Regle, The Regiment of Princes, and The Series, Hoccleve makes his own persona a focal point for ethical, political, and artistic inquiry. Through the dialogue which Hoccleve enacts between his persona and other figures, historical and allegorical, he makes dialogue itself the topic of his poetry, both its potential for meaningful communication and for dangerous self-exposure. The depicted encounters between him and others call attention to the properties of dialogue itself by virtue of their polyphonic mixture of genres, social roles, and situations drawn from his experience as a clerk in the King’s Office of the Privy Seal and as one stigmatized by an episode of mental illness. Neither a political mouthpiece nor an autonomous humanistic artist, Hoccleve seeks reciprocal communication; his self-performance urges an ethics of listening, a principle of charity that suspends judgment in order to seek understanding.

Artistic Inquiry in Art Teacher Education: Provoking Intuition through a Montage of Memory in and of Place / 1. Recherche artistique et formation des enseignants en arts : susciter l’intuition par le biais d’un montage de la mémoire des lieux

In this paper, I discuss research that explored the emergence of an intuitive disposition through teacher candidate participants’ artistic inquiry of their former school spaces and the conceptualization of time as montage to articulate novel pedagogical conditions in teacher education. Through filmmaking, participants performed as nomads, responding both physically and aesthetically to their affective responses to memory in place. In doing so, individuated memories of their mundane experiences of schooling emerged, disrupting recollected discourses about why they teach. This suggests the importance of artistic practice in teacher education pedagogical practices and the value of learning through rather than from experience. Keywords: Teacher Education; Artistic Inquiry; Montage; Intuition; Memory; Time; Experience.Résumé : J’aborde dans cet article la recherche menée sur l’émergence d’une attitude intuitive au regard de la quête artistique des futurs enseignants vis-à-vis leurs anciens espaces scolaires et la conceptualisation du temps sous forme de montage pour introduire de nouvelles modalités pédagogiques en matière de formation des enseignants. Par la réalisation de films, les participants deviennent des nomades qui réagissent de manière physique et esthétique, à leur perception affective de leur mémoire en place. Ce faisant, le souvenir individualisé de la perception ordinaire de leurs études émerge, altérant le discours remémoré sur les motifs derrière leur volonté d’enseigner. Cela dénote l’importance de la pratique artistique au niveau des pratiques pédagogiques de la formation des enseignants et la valeur de l’apprentissage à travers l’expérience même plutôt que tirée de l’expérience.Mots-clés : formation des enseignants ; recherche artistique ; montage ; intuition ; mémoire; temps ; expérience.