The Rise of the Creative Class

Art Practice as Research: Inquiry in the Visual Arts Graeme Sullivan (2005). Thousand Oaks, CA: Sage Publications. 265 pages. ISBN 1-4129-0536-2Reviewed by Charles GaroianThe Pennsylvania State UniversityFor over four decades, art education scholars have been advocating for the visual arts within the context of K-12 education by arguing their cognitive and affective significance as a discipline-specific area of inquiry and across school curricula. Beginning with the establishment of the professional field of art education in the mid-1960s to the development of Discipline-Based Art Education, to Visual Culture studies in art education, and most recently, the growing literature on Art-Based Research, the field has reinvented itself in order to clarify its positioning and to gain agency and credibility within the larger context of educational research and practice in the U.S. and internationally. Depending on the political climate surrounding schooling, these efforts at bringing the visual arts to the center of curricular and pedagogical concerns have, for the most part, fallen on deaf ears.While there is little disagreement about the importance of visual arts education among the populace, when push comes to shove within the political economy of schooling, art is the first area of content to be questioned, then reduced, if not eliminated, from the curriculum. As post-Sputnik education and now No Child Left Behind has shown us, the visual arts are the first to suffer when politics enters the picture of what constitutes basic education in the U.S. If the larger role that the visual arts can play in the education of children is going to be taken seriously, then it is arguments like those found in Graeme Sullivan's recent book, Art Practice as Research: Inquiry in the Visual Ans (2005), that can ensure a broader appreciation and understanding of how the visual arts constitute significant research and contribute in significant ways to children's creative and intellectual development.Given its research-on-art-as-research focus, Sullivan's book makes a significant contribution to the literature in the field of art education. His arguments place art-based research in the center of educational practice as they clearly establish the visual arts as a significant form of creative and intellectual inquiry. While creativity has long been touted as the major contribution of the visual arts to new knowledge, it has not been central to a pragmatic understanding of art's intellectual value in knowledge acquisition, as Sullivan clearly demonstrates.While in the past, research methodologies were borrowed from the hard sciences and social sciences to study and argue for the curricular and pedagogical relevance of art making in classrooms, Sullivan has mined existing methodologies and compared them with the ways in which the visual arts are constituted as research. What is unique about his approach is that he does not rely solely on external research methodologies to validate the importance of visual arts practice for creative and intellectual development.Instead, he provides an in-depth perspective on the inherent value of visual arts practice as research and the robust possibilities that it offers when interconnected with wider research systems and methodologies that are constituted by the other disciplines.In Art Practice as Research: Inquiry in the Visual Arts, Sullivan begins with "Part 1: Contexts for Visual Arts Research," in which he establishes the conceptual, historical, and educational foundations of visual arts research, arguing that if it is to have any impact at all, it must be grounded in visual arts strategies, challenge existing paradigms of institutionalized knowledge, and adapted to other systems of research, theory, and practice. In "Part 2: Theorizing Visual Arts Practice," he develops and establishes the visual knowing of the artist-as-theorist, and the idea that complex systems of inquiry in art practice are robust and boundary-breaking in their methodologies, and proposes that their cognitive and transformative processes enable new insights, criticalities, and understandings to occur. …

Art Practice as Research: Inquiry in the Visual Arts

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Conversation Pieces: Community and Communication in Modern Art

I mention this peaceful spot with all possible laud; for it is in such little retired . . . valleys . . . that population, manners, and customs, remain fixed; while the great torrent of migration and improvement, which is making such incessant change in other parts of this restless country, sweeps by them unobserved. They are little nooks of still water which border a rapid stream . . . Washington Irving, \"The Legend of Sleepy Hollow,\" 1820

The Machine in the Garden: Technology and the Pastoral Ideal in America

Introducing a special journal issue by the same title, this article provides a foundation for seven other articles with a theoretical mission to better understand the forces and frictions through which migration comes about and is experienced. The collection seeks to contribute to migration theory by considering crosscutting themes related to the concepts of aspiration, desire and drivers of migration. This introductory article locates the three concepts within the development of migration scholarship. First, we show how a reappraisal of theory is grounded in influential developments in migration scholarship, such as the transnational turn, feminist approaches and, more recently, a growing theoretical interest in emotions and temporalities. Second, we examine the ways in which ‘aspiration’ and ‘desire’ have figured in migration theory. Sometimes treated as synonyms, the terms both belong to a broader semantic field of potentiality, yet connect with different theoretical approaches. Third, we addre...

https://www.tandfonline.com/doi/pdf/10.1080/1369183X.2017.1384134

Aspiration, desire and drivers of migration

The field of cultural diplomacy, which looms large in present-day cultural policy and discourse, has been insufficiently analysed by the cultural disciplines. This special issue engages with the task of filling the gap. The present essay sets out the terms in which the authors have taken up this engagement, focusing principally on Australia and Asia. Distinguishing between cultural diplomacy that is essentially interest-driven governmental practice and cultural relations, which is ideals-driven and practiced largely by non-state actors, the authors pursue a twofold aim. First, to demystify the field, especially when it is yoked to the notion of ‘soft power’; second, to better understand how actually-existing discourses of cultural diplomacy and/or cultural relations operate in different national contexts. The essay seeks in particular to scrutinize the current confusion surrounding cultural diplomacy and, in the context of the changing role of the nation-state, to explore its possibilities as an instrumen...

https://www.tandfonline.com/doi/pdf/10.1080/10286632.2015.1042474

Cultural diplomacy: beyond the national interest?

This paper contributes to theorizing contemporary art collaborations in the context of the mediatory labour required of artists, and the complexity of the collaborative contexts in which aesthetic production is now enmeshed In order to account for this complexity without reducing its analysis to ‘structured fields’ or ‘systems’, we use elements of assemblage theory in a quite specific way: drawing on DeLanda's work on social and organizational forms; and Law's ‘method assemblage’ to analyse the specificity of working interfaces that craft new boundaries and working relations We develop a case study of C3West, an Australian initiative encompassing arts institutions, businesses, and communities The analysis traces assemblage processes that generate dispersed working arrangements (partnerships, intersectoral, and interdisciplinary working interfaces) across apparently incommensurable domains, yet without forming overarching structures or requiring common rationales for cooperation To demonstrate the work

The creative assemblage : theorizing contemporary forms of arts-based collaboration

This article examines the modes of emergence of “the local” in particular collaborative art projects in suburban Sydney (Australia) as outflows of singular interfaces between artists, institutions,...

Urban curating : the "interspaces" of art collaboration in Western Sydney

/pdf/smart-engagement-with-asia-leveraging-language-research-and-17f0rf61ga.pdf

Smart Engagement With Asia: Leveraging Language, Research and Culture: Final Report

The Social Impact of NSW Arts, Screen and Culture Programs

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