Translations in practice: The multiple roles of the researcher in arts-based knowledge exchange

Crawshaw, Julie; Rowe, Frances; Hudson, Martyn

doi:10.1386/jaac.7.1-2.101_1

Cited by 4 publications

(5 citation statements)

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“…Here I will argue that socially engaged practice in art education does contend with ‘false appraisals’ in political contexts, as presented in Beauvoir’s (, 84) theory of freedom ‘engaging itself in the world’. My research indicates that practitioners contend with restrictive conditions through alternative forms of knowledge creation and exchange (Cranshaw et al ) that enable nurturing spaces of ambiguity to flourish.…”

Section: Theoretical Frameworkmentioning

confidence: 95%

“…Artists may feel that their work becomes a sum of its parts by having a direct political association, and is perhaps then held accountable to systems of interpretation as limiting as the ‘new, more “neoliberal rationality” of art’ (Peers , 416). Art teachers, as artist‐teachers, are also seeking alternative forms of knowledge exchange (Cranshaw et al ; Irwin & O’Donohue ) to escape the culture of auditing – in ways that I will later present for reflection. I would like to resituate this ethical evasion of transparency in the political context of our ‘bond with the world’ (Beauvoir , 8), which we may also see as a bond of experience that includes the professional experience and capacity of art teachers as living practice.…”

Section: Theoretical Frameworkmentioning

confidence: 99%

“…Such spaces of exchange encourage social involvement by providing creative and emotional support. Those practitioners who engage in empowering networks (Foucault ) are producing forms of knowledge exchange (Irwin & O’Donohue ; Cranshaw et al ) that enable a validation of arts practice and through sociable relation. Practitioners may look for ‘gaps’ in local provision for the arts and seek to address these areas collaboratively, as Jane does.

There’s a real gap of that creativity of art scene and that vibrancy like there is in Maintown.…”

Section: Responses In Practicementioning

confidence: 99%

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Ethos of Ambiguity: Artist Teachers and the Transparency Exclusion Paradox

Matthews¹

2019

Int J Art Design Ed

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Addressing changes in conditions for practitioners that can be related to education policy in England and Wales since 2010, this article presents issues faced by teachers of art and design and their responses in practice. The current insistence on transparency in education emerges through policy that audits performativity, in a limiting skills bank. Practitioners in art and design are particularly affected by what I term ‘the transparency‐exclusion paradox’, as they battle to maintain the subject area and are ‘othered’ by the English Baccalaureate and Progress 8. I will discuss an emergent ‘ethos of ambiguity’ among artist‐teachers and contemporary artists, with a theoretical basis informed by Beauvoir and Foucault. Empirical data from research participants will be evidenced, to explore strategies of response in inclusive social practice. This article adds to literature that considers the effects of policy in implementation and it contributes to research on creative expressions of ambiguity in the arts.

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Section: Theoretical Frameworkmentioning

confidence: 95%

Section: Theoretical Frameworkmentioning

confidence: 99%

There’s a real gap of that creativity of art scene and that vibrancy like there is in Maintown.…”

Section: Responses In Practicementioning

confidence: 99%

See 1 more Smart Citation

Ethos of Ambiguity: Artist Teachers and the Transparency Exclusion Paradox

Matthews¹

2019

Int J Art Design Ed

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“…The question of the “messy” is apposite in the context of messy spaces of experimentation. Previous messy-ethnographic research has focussed on embeddedness in untidy spaces (Law, 2004, 2007, 2009; Lewis and Russell, 2011), whilst we were also interested in messy relationships of co-production (Cotterill et al , 2016; Hudson et al , 2015) and in the lived experience of the researcher as they encounter various translations and iterations of themselves in the research process (Crawshaw et al , 2015).…”

Section: Methodsmentioning

confidence: 99%

TESTT Space: groundwork and experiment in a complex arts organisation

Hudson

Donkin

2019

AAM

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Purpose The purpose of this paper is to document and describe an omni-disciplinary ethnography of a complex arts and cultural regeneration organisation in Durham (TESTT Space). The organization and its art spaces are hybrid combination tools explicitly designed to test and experiment with ideas, social forms, human interactions and arts practice. Its ground or practice is a repurposed meanwhile space in a city centre embedded in a unique cultural landscape of local communities, a University and a World Heritage Site. The research attempted to understand its groundwork, its interactions and its civic mission and aspirations in a time of radical change and rupture. Design/methodology/approach The authors assumed an ethnographic approach, working with and within this organisation for a year, thinking of the research as embedded, intimate research and committed to social change. It was a work of co-production – working with studio-holders, curators, artists and facilitators using a range of triangulated qualitative research methods. These include structured interviews, auto-ethnography, ethnography of spaces, arts-led research, art as research and research as art. Findings TESTT Space has allowed both the retention of artists in the city and the propulsion of artists into the world. It has offered different ways of engaging in the complex lives of artists and curators, allowing them to test aesthetics and try out new social models. It has thought up its own network as a thinking practice, has developed its own politics, civics and imagined a set of new futures. Originality/value The paper documents interactions and aspirations, describing the lived phenomenological experience of being in this experimental space.

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“…As knowledge exchange, the research ambition is not simply the development of knowledge, but for making action; and as 'applied' research, perhaps more challenging than its 'pure' cousin (Campbell, 2015). As an 'arts-based knowledge exchange researcher' (Crawshaw, Rowe, & Hudson, 2015) I drew on my prior professional experience as well as subsequent interdisciplinary academic pathway. Alongside my prior professional experience as an arts and community development practitioner (e.g.…”

Section: Fieldwork Developmentmentioning

confidence: 99%

Island making: planning artistic collaboration

Crawshaw

2017

Landscape Research

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A knowledge exchange programme exploring the role of art in relation to the planning context of the Holy Island of Lindisfarne, this paper explores the role of artistic knowledge in making landscape. During 2013, 25 artistic workshops were developed in collaboration with residents and planning officials, resulting in an exhibition of works produced. From a pragmatist perspective this paper draws on ethnographic accounts of the realisation of the exhibition to reveal artistic knowledge exchange as 'relational knowing'. The contribution of the paper is to recommend we account for artistic work as an ingredient of landscape planning. Although specifically drawing on fieldwork in Holy Island the experiential nature of this article makes a novel contribution across the field of rural planning.

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Translations in practice: The multiple roles of the researcher in arts-based knowledge exchange

Cited by 4 publications

References 0 publications

Ethos of Ambiguity: Artist Teachers and the Transparency Exclusion Paradox

Ethos of Ambiguity: Artist Teachers and the Transparency Exclusion Paradox

TESTT Space: groundwork and experiment in a complex arts organisation

Island making: planning artistic collaboration

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