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July 31, 2008: when is an artist’s practice research?

I’m working on a research essay on “when is an artist’s practice research?” When I started I didn’t realize it was such a vexing question for so many people! I’ve found myself trying to understanding how to “advance knowledge, understanding and insight” and the difference between making art and making art as research. I’m enjoying what I’ve been reading and the writing, I’ve got too much material and need to focus.

I’ve found some amazing resources like the online journal Working Papers in Art and Design editied out of the University of Hertfordshire, in England. Michael Biggs who teaches there, is right on the money in my books. Since 2000, he has systematically addressed all the major issues around this thorny question:the foundations of practice based research; the concept of knowledge in art and design; the role of the artefact in art and design research, and the role of context in art and design research through their research into practice conferences and his introductions to the journal. I wish I could attend their next Research into Practice Conference at the RSA in London on October 31, 2008.

This still ends up being the big question for me over these two years. I worry that we have adopted language  and methodologies from the social sciences and the humanities too quickly, while striving for equality with other disciplines within the university. It is not an easy fit. What does the creation of new knowledge in the visual arts mean? Is that I have made something new and original enough?

July 22, 2007: Berlin Banhoff

Is light different outside of the city? At night you can see stars! The sky is clearer and there’s not as much light noise. Scott Massey made a series of photographs documenting light contamination- spillage from urban parking lots, signage- city lights.

Berlin Banhoff

Building on this idea of projections- it makes sense to try modeling coloured lights with 3d graphics programs- XSI. I’d like to start by creating  and lighting a virtual model of an actual space. The IDS entrance makes the most sense to start.

July 10, 1975: Hans Haacke at the Halifax airport

I came out to pick up Hans Haacke at the Halifax International airport as I’m looking after the visiting artists as a summer job. He’s flying in from New York where I know he lives and teaches at Cooper Union. I know his work  of course, but I have no idea what he looks like. As I drove out to the airport I was trying to imagine him- no idea. I know he’s was German and about forty years old.

I said “Hans Haacke?” to the first few men who walked out, until he said yes.