Art 397: Junior Advanced Study: Creative>Process>Research

This book is aimed at all art practitioners, professionals and students who see their practices and identities embracing many aspects of the cultures of art, research and education. It may also be of interest to those in other fields who are concerned with identity formation and professional roles and practices. Challenging conventional wisdom about specialization and professional identity, Alan Thornton shows that many individuals have complex, varied, and evolving relationships with visual art OCo relationships that do not fit into any single category. Against the backdrop of an expanding research culture and current employment models in the United States and the United Kingdom OCo where many artists also work as teachers OCo he argues for the necessity of a theory that both reflects and influences practice in the realm of art and art-related work. By elucidating our current situation, Artist, Researcher, Teacher opens the door to much-needed new approaches, and provides fresh insights for those interested in identity formation and professional roles and practices.

Several international conferences have focused on the issues of research, teaching, and design in the discipline of architecture, but the mutual interdependency of these three disciplinary dimensions remains largely under-investigated. Initiated through six questions that were put forward in the call for papers, Theory by Design explores this interdependency. It discusses the three foci that emerged from pondering those questions--a theoretically orientated approach, a focus on studio didactics, and an emphasis on the confrontation between research by design and the complexities of everyday life outside the walls of academia.

Artist Scholar: Reflections on Writing and Research is part history, introduction, and discussion for artists and designers entering, graduating, and employed by the contemporary art academy in the United States. The evolution of art education in the university continues to expand in the 21st century as the variables of craft, skill, technique, theory, history and criticism shift and expand as the perspective of arts-based research is introduced into this professionalized environment. Given this context: what can M.F.A. students do to improve their understanding of writing and research without sacrificing their commitment to their studio art process? Through a series of essays, the text argues for better writing at the M.F.A. level with the purpose of becoming better artists. By contextualizing art practice in the university and providing a foundation for future artist scholarship, it serves as an invitation to artist scholars to push their work further and develop the confidence to situate their art in the university context.

The Lab explains the idea of the "culture lab," Edwards' concept for experimental art and design centers like those he recently founded in Paris and at Harvard. He presents the lab as a new kind of educational art studio based on a contemporary science lab model, and he shows how students learn by translating ideas alongside experienced creators by exhibiting risky experimental processes in gallery settings.

This book addresses one of the most exciting and innovative developments within higher education: the rise in prominence of the creative arts and the accelerating recognition that creative practice is a form of research. The book considers how creative practice can lead to research insights through what is often known as practice-led research. But unlike other books on practice-led research, it balances this with discussion of how research can impact positively on creative practice through research-led practice. The editors posit an iterative and web-like relationship between practice and research. Essays within the book cover a wide range of disciplines including creative writing, dance, music, theatre, film and new media, and the contributors are from the UK, US, Canada and Australia. The subject is approached from numerous angles: the authors discuss methodologies of practice-led research and research-led practice, their own creative work as a form of research, research training for creative practitioners, and the politics and histories of practice-led research and research-led practice within the university. The book will be invaluable for creative practitioners, researchers, students in the creative arts and university leaders. Key Features*The first book to document, conceptualise and analyse practice-led research in the creative arts and to balance it with research-led practice*Written by highly qualified academics and practitioners across the creative arts and sciences *Brings together empirical, cultural and creative approaches*Presents illuminating case histories of creative work and practice-led research

This book outlines the principles and practices of arts-related inquiry and provides both suggestions about conducting research in the field as well as case study examples. The ideas presented here have emerged from the authors' own experiences of undertaking arts-related research and the challenges of implementing these approaches. The book therefore draws on personal research, practice and experience to address the concerns academics increasingly appear to be voicing about developing the scholarship and practice of arts-related research. There is a need for greater attention to, and clarity on, issues of theoretical positioning, methodology and methods when conducting robust and reputable arts-related research, which this book provides.