The Situating Practices exhibition brought together a variety of works which raised questions around the production of knowledge and research through the creative process. Through presenting a range of approaches to practice-based research, the exhibition considered how artistic processes offer new ways of understanding their respective subjects, in addition to exploring the possibilities of artmaking in general.
These possibilities included the opportunities that researchers had to combine new and existing skills, highlighting methods and approaches to learning. There was also a clear indication that engaging directly with materials allowed the making process to guide the research outcomes as part of a cyclical and reflexive practice. Furthermore, a willingness to borrow from other disciplines enabled the research to explore different ways of knowing.
As artworks and research data, these objects hold a double ontological status, representing both the process and outcomes of the research, whilst existing within academia and as part of the wider artistic discourse. Locating the exhibition outside of the traditional gallery space, also enabled the work to connect with a wider audience, bringing both art and research back into the public realm.
Barrett, E. (2007). Introduction. In Barrett, E and Bolt, B. (Eds.), Practice as Research: Approaches to Creative Arts Enquiry(pp. 1-13). London, UK & New York, USA: I. B. Tauris.
Bolt, B. (2006). A Non-Standard Deviation: Handlability, Praxical Knowledge and Practice Led Research. In Speculation and Innovation: Applying Practice-led Research in the Creative Industries. Brisbane, Australia: Queensland University of Technology.
Bourriaud, N. (2002), Relational Aesthetics, Dijon, France: Les Presse Du Reel.
Candy, L. (2006). CCS Report: 2006-V1.0. Practice-Based Research: A Guide.University of Technology, Sydney
Dant, T. (1996). Fetishism and the social value of objects. Sociological Review, 44(3), 495-516.
Duncan, M. (2004). Autoethnography: Critical appreciation of an emerging art. International Journal of Qualitative Methods, 3(4), 28-39.
Haraway, D. (1988). Situated Knowledges: The Science Question in Feminism and the Privilege of Partial Perspective. Feminist Studies, 14(3), 575-599.
Knowles, J. G. & Cole, A. L. (2007). Arts-Informed Methods. In Knowles, J.G. & Cole, A. L. (Eds.) Handbook of the Arts in Qualitative Research: Perspectives, Methodologies, Examples, and Issues (pp 55-70). California, USA: SAGE Publications, Inc.
Roberts, L. (2016). Deep Mapping and Spatial Anthropology. Humanities, 5(1), 5.
Smith, H & Roger T. Dean, R. T. (2009). Introduction: Practice-led Research, Research-led Practice - Towards the Iterative Cyclical Web. In Smith, H & Roger T. Dean, R. T. (Eds.), Practice-led Research, Research-led Practice in the Creative Arts (pp. 1-38). Edinburgh, UK: Edinburgh University Press.
Sullivan, G. (2006). Research Acts in Art Practice. Studies in Art Education, 48(1), 19-35.