Articulating the tacit dimension in artmaking

Jarvis, Michael

doi:10.1386/jvap.6.3.201_1

Cited by 10 publications

(6 citation statements)

References 5 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…Latin tacere meaning to be silent, and in art writing has come to mean something understood or implied without being stated (Jarvis 2007…”

Section: Key Qualities Of the Third Spacementioning

confidence: 99%

See 1 more Smart Citation

Reimagining the ‘third space’: Writing strategies for research in the creative arts

Fraser

2019

ATLAANZ

View full text Add to dashboard Cite

This paper examines the experience of a group of international master of creative art students writing an exegesis paper and the multi-focused writing support offered to them. Using the 'third space' (Bhabha, 1994) as a heuristic (Moustakas, 1990), this paper presents an understanding of the emergent writing process underpinning visual and performing arts practice-led research methods in academia. Drawing on Benzie's (2015) different 'third space' interpretations, this paper examines the in-between experience of students, academics and language advisors immersed in practice-led research. The paper asks how can the 'third space' paradigm help frame our understandings of the multiple parties involved in the writing of a MCA exegesis? In addition to the work by Paltridge (2004) on exegesis writing and further research on doctoral theses in the visual and performing arts (Paltridge et al., 2012), this paper's main aim is to further illuminate this less understood but evolving genre, as well as show how students' emergent writing processes can be encouraged and supported.

show abstract

“…Latin tacere meaning to be silent, and in art writing has come to mean something understood or implied without being stated (Jarvis 2007…”

Section: Key Qualities Of the Third Spacementioning

confidence: 99%

“…Another outcome was the need for a 'third space' strategy that advocated for critical self-reflection and reflexivity (English, 2005;Jarvis, 2007). Here, self-reflection is not a solipsistic monologue about the self, but may embrace different forms, such as a dialogue between the artist and medium or between the work and the viewer.…”

Section: Emergent Themesmentioning

confidence: 99%

Reimagining the ‘third space’: Writing strategies for research in the creative arts

Fraser

2019

ATLAANZ

View full text Add to dashboard Cite

show abstract

“…Practicing artists and performers have long recognized that artistic creation is an experimental and emergent process, involving input from traditions and intentionality as well as physical objects and spaces (Elkins 1999;Becker et al 2006;Jarvis 2007). In contrast, as I will now examine in the following literature review, sociology has tended to see artistic mediation as distinct from the creative process, based on theories and guidelines rather than situated knowledge production.…”

Section: Dawn Of the Curator Of Contemporary Artmentioning

confidence: 99%

Beyond the Head: The Practical Work of Curating Contemporary Art

Acord

2010

Qual Sociol

View full text Add to dashboard Cite

In contemporary art, the curator plays an important role in the production of artistic meaning through exhibition-making. Although sociology has tended to see this work as the exercise of tacit or embodied knowledge, curatorial knowledge and plans may be elaborated and altered by the situated actions of exhibition installation. While curators know a successful installation "when they see it," this depends on the indexical particularities of artworks and environments which cannot be predicted in advance. In demonstrating the practical ways in which culture is mobilized in situations of object (inter) action, this paper emphasizes the "making" in artistic meaning-making.

show abstract

“…Thus the application and generation of knowledge is part of the same process. In the creative arts domain, too, there is an increasing recognition and exploration of the value of experiential knowledge (Barrett, 2007;Barrett and Bolt, 2007;Imani, 2007;Jarvis, 2007;Niedderer and Reilly, 2007;Sutherland and Acord, 2007). This form of knowledge is valued in similar ways within both disciplines but the challenge now is to move towards a stronger research base to produce socially relevant, accountable, useable or transferable knowledge.…”

Section: Research As a Vehicle For Experiential Action Or Problem-based Learningmentioning

confidence: 99%

Turning Base Metal into Gold: Transmuting Art, Practice, Research and Experience into Knowledge

Gray¹,

Schubert²

2010

British Journal of Social Work

View full text Add to dashboard Cite

This paper examines the theoretical underpinnings of an ongoing, innovative, arts-based social intervention research study in light of contemporary theory on knowledge production.It begins by outlining the nature of the study, which seeks to raise community awareness of domestic violence, and the context in which it is being conducted. Thereafter, it examines the relationship between social work and art and argues that the situated knowledge of Mode 2 knowledge production is more useful for social workers -and artists -engaged in participatory community practice than science-driven Mode 1.

show abstract

Articulating the tacit dimension in artmaking

Cited by 10 publications

References 5 publications

Reimagining the ‘third space’: Writing strategies for research in the creative arts

Reimagining the ‘third space’: Writing strategies for research in the creative arts

Beyond the Head: The Practical Work of Curating Contemporary Art

Turning Base Metal into Gold: Transmuting Art, Practice, Research and Experience into Knowledge

Contact Info

Product

Resources

About