Barrett, Estelle. “Experiential Learning in Practice as Research: Context, Method, Knowledge.” Journal of Visual Art Practice 6.2 (2007): 115-124.
de Cosson, Alex F. “(Re)searching Sculpted A/r/tography: (Re)learning Subverted Knowing through Aporetic Praxis.” Dissertation. University of British Columbia, 2003: available at https://circle.ubc.ca/handle/2429/14902
Irwin, Rita L. “Becoming A/r/tography.” Studies in Art Education: A Journal of Issues and Research 54.3 (2013): 198-215.
Irwin, Rita L., et al. “The Rhizomatic Relations of A/r/tography.” Studies in Art Education: A Journal of Issues and Research 48.1 (2006): 70-88.
Irwin, Rita L. Introduction. A/r/tography: Rendering Self Through Arts-based Living Inquiry. Edited by Irwin and de Cosson. Vancouver: Pacific International Press, 2004. 27-38.
Marshall, Julia and Kimberley D’Adamo. “Art Practice as Research in the Classroom.” Art Education 64.5 (2011): 12-18.
Newbury, Darren. “Knowledge and Research in Art and Design.” Design Studies 17.1 (1996): 215-219.
O’Donoghue, Donal. “Are We Asking the Wrong Questions in Arts-Based Research?” Studies in Art Education: A Journal of Issues and Research 50.4 (2009): 352-368.
Phelan, Peggy and Irit Rogoff. “‘Without’: A Conversation.” Art Journal 60.3 (2001): 34-41.
Pryer, Alison. “Living with/in Marginal Spaces: Intellectual Nomadism and Artist/Researcher/Teacher Praxis.” A/r/tography: Rendering Self Through Arts-based Living Inquiry. Ed. Rita L. Irwin and Alex de Cosson. Vancouver: Pacific International Press, 2004. 198-213.
Springgay, Stephanie, Rita L. Irwin, and Sylvia Wilson Kind. “A/r/tography as Living Inquiry Through Art and Text.” Qualitative Inquiry 11.6 (2005): 897-912.
Sullivan, Graeme. Art Practice as Research: Inquiry in the Visual Arts. Thousand Oaks,CA: Sage Publications, 2005.
Sullivan, Graeme. “Research Acts in Art Practice.” Studies in Art Education: A Journal of Issues and Research 48.1 (2006): 19-35.
Zanin-Yost, Alessia and Erin Tapley. “Learning in the Art Classroom: Making the Connection Between Research and Art.” Art Documentation 27.2 (2008): 40-45.
Strings Attached: The Living Tradition of Czech Puppets is currently up at the Columbus Museum of Art until August 4th. It’s a terrific exhibition for those interested in dolls, textiles, woodcarving, mythology, and more. According to the website, there are over 140 puppets in exhibition along with set designs, masks, and video. It’s definitely far more exciting and inventive than the Mark Rothko exhibition that has been getting all the attention! (sorry art history)
Here are some of my favorites from the show (photography permitted without flash):
Today Denison University Library participated in the Books2Eat. Books2Eat is formally called the International Edible Books Festival with over 20 countries participating in a day of literally eating your words. According to the official website, the festival takes place every year to honor the birthday of French foodie Jean-Anthelme Brillat-Savarin (there’s a mouthful) and take advantage of April Foolery.
In mid-February I attended the American Association for the Advancement of Science’s annual meeting. The theme of the five-day meeting was The Beauty and Benefits of Science. This theme supports the movement from STEM education to STEAM, adding Art to Science, Technology, Engineering, and Math. Many of the panels focused on the use of visualizations and creative practices in the lab. Some of the panels I attended were very engaging to visual and performing artists. Here are some brief notes from those speakers.
Artful Science (3 of 5 lectures) The Herbarium as Muse: Plant Specimens as Inspiration
Maura Flannery (Biology, St. John’s University, NY) provided a visual history of herbariums. While she differentiated on the more scientific views of botanists to those of artists and curiosity collectors, Flannery also emphasized that the field would not have been able to move forward without artists’ illustrations of specimens. She also commented on contemporary artists inspired by plants including John Sarra, Amy Youngs, and Michele Oka Doner.
Sand Dollars, Echinodermata, and Radiolaria: Sculptural Forms from Hyperbolic Tessellations George Hart uses mathematical applications to create sculpture and video. Many of his sculptures are made of small, simple shapes that can be connected into large, complex forms. Hart is now exploring 3D printing to make models of his pieces and to create more fragile tessellations.
Evidence from Music, Fiction, and the Visual Arts: Transfer of Learning from the Arts? (3 of 5 lectures)
This was an interesting set of presentations about the transferability of art skills to other (specifically science and math) domains. What surprised me was the intense focus of the research, selecting one tangible skill (ie drawing) and seeing if it directly applies to one specific field (ie geometry). While I am certain that technical training in the arts can enhance learning and understanding in other disciplines, I was hoping to see a panel of psychologists consider the cognitive aspect of art appreciation. These three lectures touched on this aspect.
What Does it Mean to be Musical? On the Genetics of Music Ability Daniel J. Levitin (psychology, McGill University) uses music as a model for understanding “gene by environment” interactions. Music is multi-modal because the components of discipline can be seen as variations in expertise; and, components of expertise may not be directly related to music (physicality, memory, attention). Though his research is still inconclusive, Levitin’s work shows the depth of the arts as comprised of both field-specific skill sets and broad elements of nature/nurture.
Visual Art as Non-Artificial – and thus Transferable? – Domain of Expertise Aaron Kozbelt (psychology, CUNY) studies drawing as a flexible skill set that may transfer to other domains that also require that skill set. He has done extensive research on artists and concludes that the arts is a domain that is robust and easily adaptable. Because artists see the world differently, studying the arts may transfer skills of perception, contrast sensitivity, and object recognition, among others.
Effects of Literature Keith Oatley (psychology, University of Toronto) considered the cognitive benefits of reading fiction and other forms of creative writing. His research has demonstrated that people who read fiction “engage in social simulations and get better at understanding selves” while those who read non-fiction “get better at the subject matter” of what they are reading. Reading fiction not only increases an understanding of self but also increases empathy and teaches skill sets applicable to social interaction.
Benefits Beyond Beauty: Integration of Art and Design into STEM Education and Research
Instead of individual presentations, these panelist elected to briefly introduce themselves and then break the session attendees into groups for conversation. The panelists were Gunalan Nadarajan (Dean of School of Art & Design, University of Michigan), Brian K. Smith (RISD), J.D. Talasek (National Academy of Sciences), and Marina McDougall (Exploratorium, San Francisco). All of these panelists’ work focus on bridging art and science in education at their respective institutions. The outcome of the session demonstrated that, while the two disciplines are beginning an important conversation, there are questions, uncertainties, misconceptions, and above all, fear.
The other lectures I attended made me acutely aware of this disconnect between science and art. Many of the scientists seemed unfamiliar with contemporary art and appeared uncomfortable with works in mediums other than traditional painting or drawing. Most of the scientists did not explore art beyond the visuals necessary for their own work.
One scientist did, however. Tom Kirchhausen of Harvard Medical exclusively studies clathrin coats which are how cells eat (and spit). Working at the molecular level, Kirchhausen realized he needed strong visuals to demonstrate his work and teach cellular structure to his students. Clathrin coats take about a minute to form and then go away. Because there is the element of time in clathrin lifecycles, Kirchhausen has selected video over still images. More importantly, he sets music to these videos. I asked him about his choice in adding sound. He said that he felt the music provided a narrative to that lifecycle that was easy for his students (and others) to miss otherwise. Kirchhausen’s work was one of the few lectures I attended where a scientist used art and technology to not only complement but enhance his research.
At the AAAS science librarians session, Denison’s Natural Sciences Librarian Moriana Garcia and I presented The Library as Bridge Between Science and Art. We introduced the history of the disciplines in relationship to Snow’s The Two Cultures and the latest news about the STEAM initiative. We also discussed contemporary studies on creativity in the research process. From here we demonstrated examples of interdisciplinarity at Dension’s library, mentioning collection development and exhibitions. We finished by framing the trend for makerspaces in libraries as part of the STEAM campaign, teaching creativity and inviting serendipitous discovery in the library. Learn more on our Science and Art guide.
Attending the AAAS meeting as an artist and as a librarian was an excellent opportunity for me to gain an understanding of how other disciplines view the arts. The arts are often marginalized in education and while STEAM intends to change that, exploring new pedagogy without artists’ insight could be damaging. Likewise, as I move forward with my research in creativity, talking with those in the STEM disciplines will provide me with a richer understanding of how the library as service and space can support innovation in STEM.
Working through a list of books to weed, I found we have two copies of a book with no circulation on either item. I pulled a copy of the text for withdrawal.
It’s The Nazi Drawings by printmaker Mauricio Lasansky. The work is haunting and has fascinated viewers since their initial publication in the 1960s. The materials used to express such horror are so simple: pencil, paper, and a bit of muddied color. It’s the kind of work that should still be examined by art students; but we’ve moved on to making art about art, forgetting that world history can sometimes best be told and remembered without words.
She calls it radical ephemeral – “that which becomes itself through disappearance.”
Sheilah said “the ephemeral is contrary to what we are taught to believe, that we are supposed to be working hard at producing tangible results and that effort is rewarded by things we can hold and touch.” I’ve been waiting for my tangible reward.
“But what if there is a new kind of being or becoming that is born through that which is ephemeral — that which dares to ignore the established order of creation and become through disappearance.”
The urgency and excess of radical ephemeral takes courage and risk. I will agree to live in “a heightened perception of the present” and accept that “the act that has happened in the present tense does not make sense in the present, and before it can become assimilated into the present it disappears.”
Artist and Naturalist in Ethiopia by Louise Agassiz Fuertes (late artist and ornithologist of the Field Museum-Chicago) and Wilfred Hudson Osgood (Curator of Zoology, Field Museum)
From the preface:
What follows is the day-by-day record of actual experiences during an extensive zoological expedition in Ethiopia…The book takes the unusual form of the concurrent diaries of two men, Louise Agassiz Fuertes and myself…