Pub Date : 2020-04-02DOI: 10.1080/14702029.2020.1748957
D. Popescu
ABSTRACT The film installation by visual artist and filmmaker Ruth Beckermann, The Missing Image (2015) uses historic archival footage to re-configure the meaning of a contested memorial in central Vienna, Memorial against War and Fascism (1988–1991) by Austrian artist Alfred Hrdlicka. Based on first-hand research, field observations and interviews with contemporary visitors, this article interprets The Missing Image as representative of a counter-archive memorial intervention which facilitates ethical acts of witnessing and which, in their turn, help re-frame and correct public understandings of compromised war monuments. The article offers an account of how viewers create meaning out of their experiences of witnessing difficult visual material. In doing so, I emphasize the importance of empirical reception studies to understand more deeply the impact of public art and of memorial art interventions on contemporary audiences.
{"title":"‘I see their hatred’. Ethics of witnessing and The Missing Image – an intervention in Austria’s Holocaust memory space","authors":"D. Popescu","doi":"10.1080/14702029.2020.1748957","DOIUrl":"https://doi.org/10.1080/14702029.2020.1748957","url":null,"abstract":"ABSTRACT The film installation by visual artist and filmmaker Ruth Beckermann, The Missing Image (2015) uses historic archival footage to re-configure the meaning of a contested memorial in central Vienna, Memorial against War and Fascism (1988–1991) by Austrian artist Alfred Hrdlicka. Based on first-hand research, field observations and interviews with contemporary visitors, this article interprets The Missing Image as representative of a counter-archive memorial intervention which facilitates ethical acts of witnessing and which, in their turn, help re-frame and correct public understandings of compromised war monuments. The article offers an account of how viewers create meaning out of their experiences of witnessing difficult visual material. In doing so, I emphasize the importance of empirical reception studies to understand more deeply the impact of public art and of memorial art interventions on contemporary audiences.","PeriodicalId":35077,"journal":{"name":"Journal of Visual Art Practice","volume":"32 1","pages":"137 - 159"},"PeriodicalIF":0.0,"publicationDate":"2020-04-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84581676","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-04-02DOI: 10.1080/14702029.2019.1701915
Yanai Toister
ABSTRACT What insightful connections can be drawn between the history of photography and today’s media habitat? Should they rely exclusively on discourse-modalities like ‘analogue’ and ‘digital’? And must these modalities, with their corresponding technologies, always be mutually exclusive? The zero-sum distinctions through which photography has traditionally been narrativized prevent us from properly theorizing other forms of media and art that have emerged since the advent of photography or from it. Instead, a properly defined ‘post-post-photographic’ enquiry should seek other networks for its operational cultures and contexts of production. This paper develops alternative definitions of photography as a prototypical form of media art. Such definitions no longer ascribe higher value to the creation of individual images but instead critically explore and transform the broader theoretical and technological contexts in which images are currently being created, whether these are electronic, digital, interactive or networked.
{"title":"Latent digital","authors":"Yanai Toister","doi":"10.1080/14702029.2019.1701915","DOIUrl":"https://doi.org/10.1080/14702029.2019.1701915","url":null,"abstract":"ABSTRACT What insightful connections can be drawn between the history of photography and today’s media habitat? Should they rely exclusively on discourse-modalities like ‘analogue’ and ‘digital’? And must these modalities, with their corresponding technologies, always be mutually exclusive? The zero-sum distinctions through which photography has traditionally been narrativized prevent us from properly theorizing other forms of media and art that have emerged since the advent of photography or from it. Instead, a properly defined ‘post-post-photographic’ enquiry should seek other networks for its operational cultures and contexts of production. This paper develops alternative definitions of photography as a prototypical form of media art. Such definitions no longer ascribe higher value to the creation of individual images but instead critically explore and transform the broader theoretical and technological contexts in which images are currently being created, whether these are electronic, digital, interactive or networked.","PeriodicalId":35077,"journal":{"name":"Journal of Visual Art Practice","volume":"1 1","pages":"125 - 136"},"PeriodicalIF":0.0,"publicationDate":"2020-04-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84604290","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-04-01DOI: 10.1080/14702029.2020.1742001
Hyeyoung Maeng
ABSTRACT This paper aims to explore the clinical use of Gilles Deleuze’s philosophical concepts such as repetition, virtuality, multiplicity, and difference of intensity, which together comprise his process ontology. I argue that Deleuze’s process ontology forms the basis of his transcendental aesthetics of sensation, specifically by focusing on his earlier work prior to his collaboration with Félix Guattari. This investigation uses the concepts of Agencement machinic as a method to study Deleuze’s aesthetics which is based on his establishment of nondiscursive art and nonverbal semiotics. This paper also argues that the displacement of Plato’s Idea by Deleuze’s intensive multiplicity endows a work of art with the highest ontological status in Deleuze’s transcendental empiricism. Throughout this paper, Deleuze’s process ontology is understood, used, and reinvented through the Documentation Art project, which creates experimental video art pieces from the digital documentation of the processes of Korean Bunche paintings, while not reducing a work of art to an expression of certain concepts. As a result, this paper shows how Documentation Art rejects the notion of representation stemming from Kant’s transcendental aesthetic, by making the invisible painting process visible, and explores unseen experimental capacities in Korean painting practices through the artistic singularization processes.
{"title":"Use of Deleuze’s process ontology","authors":"Hyeyoung Maeng","doi":"10.1080/14702029.2020.1742001","DOIUrl":"https://doi.org/10.1080/14702029.2020.1742001","url":null,"abstract":"ABSTRACT This paper aims to explore the clinical use of Gilles Deleuze’s philosophical concepts such as repetition, virtuality, multiplicity, and difference of intensity, which together comprise his process ontology. I argue that Deleuze’s process ontology forms the basis of his transcendental aesthetics of sensation, specifically by focusing on his earlier work prior to his collaboration with Félix Guattari. This investigation uses the concepts of Agencement machinic as a method to study Deleuze’s aesthetics which is based on his establishment of nondiscursive art and nonverbal semiotics. This paper also argues that the displacement of Plato’s Idea by Deleuze’s intensive multiplicity endows a work of art with the highest ontological status in Deleuze’s transcendental empiricism. Throughout this paper, Deleuze’s process ontology is understood, used, and reinvented through the Documentation Art project, which creates experimental video art pieces from the digital documentation of the processes of Korean Bunche paintings, while not reducing a work of art to an expression of certain concepts. As a result, this paper shows how Documentation Art rejects the notion of representation stemming from Kant’s transcendental aesthetic, by making the invisible painting process visible, and explores unseen experimental capacities in Korean painting practices through the artistic singularization processes.","PeriodicalId":35077,"journal":{"name":"Journal of Visual Art Practice","volume":"20 1","pages":"160 - 178"},"PeriodicalIF":0.0,"publicationDate":"2020-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89844758","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-03-24DOI: 10.1080/14702029.2020.1742002
Zeng Hong
ABSTRACT The Umbrella Movement in 2014 drew attention to Hong Kong from across the world and triggered local artists to respond to the current social and political issues through their art. This article discusses three socially engaged projects created in response to the Umbrella Movement by two women artists: Birthday Cakes (2014) and Love China Love Hong Kong Thick Toast (2015) by Phoebe Man, and Singing Under the Moon for Today and Tomorrow (2015) by Jaffa Lam. This article investigates how the aesthetic regime of these projects is realized from a feminist perspective. It argues that women artists can intervene in the male-dominated representations of borders and spatial politics in Hong Kong art to create an alternative by adopting feminist art tactics. Moreover, women artists can take a step further to reconsider the mechanism of identity politics and pay close attention to relational forms in socially engaged art to achieve the dissensus of aisthesis. After all, it is the construction of a community of dissensus that resonates with the spirit of the Umbrella Movement.
{"title":"Spatial politics in socially engaged art – projects about the Umbrella Movement created by two Hong Kong women artists","authors":"Zeng Hong","doi":"10.1080/14702029.2020.1742002","DOIUrl":"https://doi.org/10.1080/14702029.2020.1742002","url":null,"abstract":"ABSTRACT The Umbrella Movement in 2014 drew attention to Hong Kong from across the world and triggered local artists to respond to the current social and political issues through their art. This article discusses three socially engaged projects created in response to the Umbrella Movement by two women artists: Birthday Cakes (2014) and Love China Love Hong Kong Thick Toast (2015) by Phoebe Man, and Singing Under the Moon for Today and Tomorrow (2015) by Jaffa Lam. This article investigates how the aesthetic regime of these projects is realized from a feminist perspective. It argues that women artists can intervene in the male-dominated representations of borders and spatial politics in Hong Kong art to create an alternative by adopting feminist art tactics. Moreover, women artists can take a step further to reconsider the mechanism of identity politics and pay close attention to relational forms in socially engaged art to achieve the dissensus of aisthesis. After all, it is the construction of a community of dissensus that resonates with the spirit of the Umbrella Movement.","PeriodicalId":35077,"journal":{"name":"Journal of Visual Art Practice","volume":"12 1","pages":"103 - 124"},"PeriodicalIF":0.0,"publicationDate":"2020-03-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82851360","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-01-02DOI: 10.1080/14702029.2020.1723278
V. Gunn
ABSTRACT This paper outlines the concept of attentive outrage as a potential underlying principle for a manifesto of the liminal for fine art higher education in the UK. Crystallized from past activist experience and scholarship in the face of the here and now socio-political context of the UK and beyond, it defines attentive outrage as an optimistically evocative, critical attitude with momentum that can be inspired via studio-based fine art teaching. It proposes that attentive outrage in fine art higher education depends upon six intricately linked commitments to be shared equally by academics and students which capture: the nuances of intersectionality, managing dominant embodied social matter, critiquing cultural presences in the curriculum, recognizing the productive-conflictive tensions between cultural essentialism and cultural apporiation within the discourse of academic standards and artistic merit, fostering radical wilfulness and pragmatic wisdoms, and articulating the impact of this in terms of the outcomes of students’ programmes in a manner that can address the needs of higher education governance mechanisms.
{"title":"Attentive outrage and fine art higher education: a manifesto of the liminal","authors":"V. Gunn","doi":"10.1080/14702029.2020.1723278","DOIUrl":"https://doi.org/10.1080/14702029.2020.1723278","url":null,"abstract":"ABSTRACT This paper outlines the concept of attentive outrage as a potential underlying principle for a manifesto of the liminal for fine art higher education in the UK. Crystallized from past activist experience and scholarship in the face of the here and now socio-political context of the UK and beyond, it defines attentive outrage as an optimistically evocative, critical attitude with momentum that can be inspired via studio-based fine art teaching. It proposes that attentive outrage in fine art higher education depends upon six intricately linked commitments to be shared equally by academics and students which capture: the nuances of intersectionality, managing dominant embodied social matter, critiquing cultural presences in the curriculum, recognizing the productive-conflictive tensions between cultural essentialism and cultural apporiation within the discourse of academic standards and artistic merit, fostering radical wilfulness and pragmatic wisdoms, and articulating the impact of this in terms of the outcomes of students’ programmes in a manner that can address the needs of higher education governance mechanisms.","PeriodicalId":35077,"journal":{"name":"Journal of Visual Art Practice","volume":"51 1","pages":"22 - 8"},"PeriodicalIF":0.0,"publicationDate":"2020-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89742059","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-01-02DOI: 10.1080/14702029.2020.1724664
C. Rowe
ABSTRACT Building upon a presentation given at the 2019 Paradox European Fine Art forum biennial conference in Riga, this paper investigates the efficacy of the ‘degree show’, a fixture that is common to nearly all university and academy courses of fine art. The paper presents a critical analysis of curriculum design and content in the run-up to the degree show, taking the BA (Hons) Fine Art course at Norwich University of the Arts (where the author works) as a case study. The paper questions if the traditional degree show is still fit for purpose and if not, how might it be made so. The paper draws our attention to some of the militating presence that skews the freedom of the degree show, primarily the issues arising out of accommodating performance, process and transience into an event governed by assessment, conventional expectations of the viewing public and institutional marketing. In response to applying the theories of experiential and situational learning, conclusions from this paper propose models of exposition (a critique of the degree show) that support the fine art student as a learner adequately equipped to undertake creative practice, employment or further study within a fast-changing geopolitical landscape.
{"title":"The degree show may not be your best show","authors":"C. Rowe","doi":"10.1080/14702029.2020.1724664","DOIUrl":"https://doi.org/10.1080/14702029.2020.1724664","url":null,"abstract":"ABSTRACT Building upon a presentation given at the 2019 Paradox European Fine Art forum biennial conference in Riga, this paper investigates the efficacy of the ‘degree show’, a fixture that is common to nearly all university and academy courses of fine art. The paper presents a critical analysis of curriculum design and content in the run-up to the degree show, taking the BA (Hons) Fine Art course at Norwich University of the Arts (where the author works) as a case study. The paper questions if the traditional degree show is still fit for purpose and if not, how might it be made so. The paper draws our attention to some of the militating presence that skews the freedom of the degree show, primarily the issues arising out of accommodating performance, process and transience into an event governed by assessment, conventional expectations of the viewing public and institutional marketing. In response to applying the theories of experiential and situational learning, conclusions from this paper propose models of exposition (a critique of the degree show) that support the fine art student as a learner adequately equipped to undertake creative practice, employment or further study within a fast-changing geopolitical landscape.","PeriodicalId":35077,"journal":{"name":"Journal of Visual Art Practice","volume":"8 2 1","pages":"53 - 68"},"PeriodicalIF":0.0,"publicationDate":"2020-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78052846","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-01-02DOI: 10.1080/14702029.2020.1728049
Marsha Bradfield
ABSTRACT This paper considers Critical Practice, the London-based cluster of artists, designers, curators, academics and other researchers who share a commitment to the critical practice of art, its organisation and its education as public goods. I discuss Critical Practice as an open learning culture, contextualising it with reference to institutional critique and the discursive practice of peer-to-peer exchange as general social technique. This leads me to consider ways this exchange can confound elitism and conservatism when conscientiously organised through sensitive formats. I consider two that feature in the repertoire of Critical Practice: un-conferences and future archiving. These formats and the Cluster's relation to its host (Chelsea College of Arts, University of the Arts London) are respectively probed using parainstituting (i.e. self-organisation as social reproduction) and patainstituting (i.e. the self-organisation of aspiration). After discussing each in turn, I propose a nascent framework of pata/para:instituting. I have written this account of Critical Practice as a long-standing member. My interest in better understanding the Cluster's ways of doing and being is not an end in itself, but rather to more effectively grasp the qualities of self-organised practice and/as education in art and design more generally.
{"title":"Ordinary extraordinary: the para/pata:institutionalism of Critical Practice","authors":"Marsha Bradfield","doi":"10.1080/14702029.2020.1728049","DOIUrl":"https://doi.org/10.1080/14702029.2020.1728049","url":null,"abstract":"ABSTRACT This paper considers Critical Practice, the London-based cluster of artists, designers, curators, academics and other researchers who share a commitment to the critical practice of art, its organisation and its education as public goods. I discuss Critical Practice as an open learning culture, contextualising it with reference to institutional critique and the discursive practice of peer-to-peer exchange as general social technique. This leads me to consider ways this exchange can confound elitism and conservatism when conscientiously organised through sensitive formats. I consider two that feature in the repertoire of Critical Practice: un-conferences and future archiving. These formats and the Cluster's relation to its host (Chelsea College of Arts, University of the Arts London) are respectively probed using parainstituting (i.e. self-organisation as social reproduction) and patainstituting (i.e. the self-organisation of aspiration). After discussing each in turn, I propose a nascent framework of pata/para:instituting. I have written this account of Critical Practice as a long-standing member. My interest in better understanding the Cluster's ways of doing and being is not an end in itself, but rather to more effectively grasp the qualities of self-organised practice and/as education in art and design more generally.","PeriodicalId":35077,"journal":{"name":"Journal of Visual Art Practice","volume":"49 1","pages":"38 - 52"},"PeriodicalIF":0.0,"publicationDate":"2020-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79776300","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-01-02DOI: 10.1080/14702029.2020.1726087
Amy Walsh, B. Knežević
ABSTRACT This writing aims to define and examine ‘femagogy’ and the transformative potential for an inclusive intersectional feminist teaching practice in Fine Art education in the context of the contemporary Irish art school. This writing will trace the influence of linguistic power structures and the influence of broader institutional patriarchy in an educational setting and outline the inspirations and genealogies of femagogy. This writing provides situated embodied examples of femagogy in practice. It proposes the femagogical model of teaching as one that situates itself outside prevailing patriarchal models and proposes strategies to reimagine knowledge production and navigate the prevailing structural patriarchy in the academic systems of the contemporary art school.
{"title":"Femagogical strategies in the art school: navigating the institution","authors":"Amy Walsh, B. Knežević","doi":"10.1080/14702029.2020.1726087","DOIUrl":"https://doi.org/10.1080/14702029.2020.1726087","url":null,"abstract":"ABSTRACT This writing aims to define and examine ‘femagogy’ and the transformative potential for an inclusive intersectional feminist teaching practice in Fine Art education in the context of the contemporary Irish art school. This writing will trace the influence of linguistic power structures and the influence of broader institutional patriarchy in an educational setting and outline the inspirations and genealogies of femagogy. This writing provides situated embodied examples of femagogy in practice. It proposes the femagogical model of teaching as one that situates itself outside prevailing patriarchal models and proposes strategies to reimagine knowledge production and navigate the prevailing structural patriarchy in the academic systems of the contemporary art school.","PeriodicalId":35077,"journal":{"name":"Journal of Visual Art Practice","volume":"42 1","pages":"101 - 86"},"PeriodicalIF":0.0,"publicationDate":"2020-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88179260","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-01-02DOI: 10.1080/14702029.2020.1732613
K. Hjelde
ABSTRACT The student exhibition is a format and a genre which is both under-theorized and under-historicized. It is not properly contextualized or explored within the field(s) of contemporary art, curation or fine art pedagogy. This paper maps, analyses and discusses the student exhibition in terms of the format, the potential, and the institutional agencies, with reference to the relevant pedagogic literature as seen in relation to the wider field of contemporary art practice, exhibition practice, and curatorial praxis. For this article, the central example of the student exhibition is the degree show. This event is not just the ‘showcase’ for individual students or cohorts, it is the public face of the institution. This is notable because it positions the student exhibition in general and the degree show in particular as a nexus between the vision and reputation of the institution and the individual student’s artistic production and future career.
{"title":"Showing-knowing: the exhibition, the student, and the higher education art institution","authors":"K. Hjelde","doi":"10.1080/14702029.2020.1732613","DOIUrl":"https://doi.org/10.1080/14702029.2020.1732613","url":null,"abstract":"ABSTRACT The student exhibition is a format and a genre which is both under-theorized and under-historicized. It is not properly contextualized or explored within the field(s) of contemporary art, curation or fine art pedagogy. This paper maps, analyses and discusses the student exhibition in terms of the format, the potential, and the institutional agencies, with reference to the relevant pedagogic literature as seen in relation to the wider field of contemporary art practice, exhibition practice, and curatorial praxis. For this article, the central example of the student exhibition is the degree show. This event is not just the ‘showcase’ for individual students or cohorts, it is the public face of the institution. This is notable because it positions the student exhibition in general and the degree show in particular as a nexus between the vision and reputation of the institution and the individual student’s artistic production and future career.","PeriodicalId":35077,"journal":{"name":"Journal of Visual Art Practice","volume":"176 1","pages":"69 - 85"},"PeriodicalIF":0.0,"publicationDate":"2020-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73298950","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-01-02DOI: 10.1080/14702029.2020.1724663
Anik Fournier
ABSTRACT BEAR (Base for Experiment, Art and, Research) is a Bachelor of Fine Arts programme established in 2013 and housed in ArtEZ University of the Arts, Arnhem. In the Netherlands, the programme distinguishes itself, amongst other features, for its commitment to the Socratic method that underlines BEAR’s pedagogical vision. In this paper, I propose how certain characteristics of the Socratic method highlight blind spots and challenge normalised values in aspects of art pedagogy, the contemporary field of art, and by extension, broader societal attitudes. In particular, this paper argues that active listening, a key feature of the particular strand of Socratic method that we practise at BEAR, undermines the continued emphasis on individual creativity, and offers in its place a relational structure of collective participation in artistic practice and knowledge production. Moreover, I propose that active listening can be the site in which diversity contributes to what is being shared and produced in a learning context, creating a space for different positions, traditions and embodied knowledge to emerge and enrich the curricula of art pedagogy in specific contexts.
{"title":"BEAR: active listening, art pedagogy and the safeguarding of difference as a way of working with diversity","authors":"Anik Fournier","doi":"10.1080/14702029.2020.1724663","DOIUrl":"https://doi.org/10.1080/14702029.2020.1724663","url":null,"abstract":"ABSTRACT BEAR (Base for Experiment, Art and, Research) is a Bachelor of Fine Arts programme established in 2013 and housed in ArtEZ University of the Arts, Arnhem. In the Netherlands, the programme distinguishes itself, amongst other features, for its commitment to the Socratic method that underlines BEAR’s pedagogical vision. In this paper, I propose how certain characteristics of the Socratic method highlight blind spots and challenge normalised values in aspects of art pedagogy, the contemporary field of art, and by extension, broader societal attitudes. In particular, this paper argues that active listening, a key feature of the particular strand of Socratic method that we practise at BEAR, undermines the continued emphasis on individual creativity, and offers in its place a relational structure of collective participation in artistic practice and knowledge production. Moreover, I propose that active listening can be the site in which diversity contributes to what is being shared and produced in a learning context, creating a space for different positions, traditions and embodied knowledge to emerge and enrich the curricula of art pedagogy in specific contexts.","PeriodicalId":35077,"journal":{"name":"Journal of Visual Art Practice","volume":"301 1","pages":"23 - 37"},"PeriodicalIF":0.0,"publicationDate":"2020-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73596297","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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