Art as rural planning inquiry

Crawshaw, Julie

doi:10.4324/9781315102375-30

Cited by 5 publications

(8 citation statements)

References 0 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…As Tim Ingold suggests, art can be understood as a mode of inquiry, reawakening our senses ‘to allow knowledge to grow from the inside in the unfolding of life’ (, p. 8). Inspired by Ingold and building from our previous work (Crawshaw and Gkartzios ; Crawshaw , ) this article draws on experimental fieldwork developed with the artist in residence, Sander Van Raemdonck, who positions his practice within the inquiry process.…”

Section: Beyond Creativity: Research With Artmentioning

confidence: 99%

“…Although there is scant mention of artistic research in planning and development studies, the notion of art as research has taken hold within and beyond artistic disciplines (Sullivan ). The visual, literary and performing arts are increasingly framed as modes of inquiry (Crawshaw ), and this turn to research in the arts has nurtured interest from across social science disciplines including anthropology (e.g., Ingold ) and human geography (e.g., Hawkins ). In this article we draw on such social science experiments with artistic practice, via a formal artist in residence programme in the North East of England.…”

Section: Introductionmentioning

confidence: 99%

See 1 more Smart Citation

Researching Rural Housing: With an Artist in Residence

Gkartzios

Crawshaw

2019

Sociologia Ruralis

Self Cite

View full text Add to dashboard Cite

This article presents a unique amalgam across artistic research and rural sociology. We draw on a collaborative art residence programme between a University and an arts organisation in England, which invited an artist to respond to a highly contentious topic in rural England: housing development. The ambition for the residency was, firstly, to provide new perspectives on rural housing research, and, secondly, to provide a space for engagement between the local community, planners and academics. Through our interdisciplinary collaboration, we explore how Sander Van Raemdonck’s artistic process worked towards these ambitions. The artistic practice involved a walk with the local community, a peripatos, in a post‐industrial site proposed for housing development. Drawing on the artistic practice, the interdisciplinary team developed then a second walk, a ‘walkshop’, to mediate between housing/planning experts and reflect on the experience of the artistic practice. Following those artists and social scientists that already utilise walking as a method, we argue that the artistic peripatos can support a multi‐sensory way of communicating, a way to get ‘under the skin of a place’. More critically, we argue that artist in residence programmes provide rich opportunity to develop interdisciplinary research with artists.

show abstract

Section: Beyond Creativity: Research With Artmentioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%

Researching Rural Housing: With an Artist in Residence

Gkartzios

Crawshaw

2019

Sociologia Ruralis

Self Cite

View full text Add to dashboard Cite

show abstract

“…Although marginally attempted in rural studies (Crawshaw and Gkartzios ; Crawshaw ) our work seeks to demonstrate the way in which creative practice not only informs critical analysis but is also a critical tool in itself. Our practice is transdisciplinary in nature and involves extensive creative fieldwork through walking, drawing, writing, photography, historical and archival research.…”

Section: Threadings Bendings Tanglings: Creativity and Placementioning

confidence: 99%

“…(1995), in which Soper argues for maintaining the awareness of the difference between human and nonhuman effects and constantly assessing and reassessing the positions of nature and culture, rather than indulging in simplistic defence or denial of this familiar Western dualism (Soper 1995, p. 11). Later critical works by the authors cited above develop these ideas further into notions of human and nonhuman environment as 'enmeshed in a dense network of relationships', (Bennett 2010, p. 13) including Haraway's 'natureculture', Morton's 'the mesh' and Tim Ingold's 'meshwork'. Although marginally attempted in rural studies (Crawshaw and Gkartzios 2016;Crawshaw 2019) our work seeks to demonstrate the way in which creative practice not only informs critical analysis but is also a critical tool in itself. Our practice is transdisciplinary in nature and involves extensive creative fieldwork through walking, drawing, writing, photography, historical and archival research.…”

Section: Threadings Bendings Tanglings: Creativity and Placementioning

confidence: 99%

Poetry, Painting and Change on the Edge of England

Tarlo

Tucker

2019

Sociologia Ruralis

View full text Add to dashboard Cite

In this article we discuss our creative research on and with a contested coastal community on one of the UK's last existing plotlands, the humberston Fitties. Plotlands can be briefly defined as places where individuals have historically self‐built holiday houses. This 56‐acre strip of land with 319 chalets is on the Humber estuary and lies close to Cleethorpes, a seaside resort, and Grimsby, a seaport now facing post‐industrial decline. Our cross‐disciplinary collaborative practice between poetry and visual art explores open, environmentally aware engagements and methodologies with landscape and rural place. We investigate the relation of social, environmental and energy politics, looking out to land and sea and back to the community. Our results include original art and poetry presented innovatively together in exhibitions and books, in addition to local people's responses to our methodologies and the work itself.

show abstract

“…The article by Gkartzios and Crawshaw is also situated within artistic research as a methodological framework, and draws on an experimental collaboration with an artist‐in‐residence and an art professional at Berwick Visual Arts, a cultural organisation in the North East of England. These contributions follow calls for new explorations beyond the social science epistemologies that acknowledge art practice as a way of doing research (Crawshaw, ). For these reasons, we believe that our Special Section on ‘doing art in the country’ will inspire new theoretically founded and applied academic work.…”

mentioning

confidence: 99%