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Artistic Research – Methods, Types and Examples

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Artistic Research

Definition:

Artistic Research is a mode of inquiry that combines artistic practice and research methodologies to generate new insights and knowledge. It involves using artistic practice as a means of investigation and experimentation, while applying rigorous research methods to examine and reflect upon the process and outcomes of the artistic practice.

Types of Artistic Research

Types of Artistic Research are as follows:

Practice-based Research

This type of research involves the creation of new artistic works as part of the research process. The focus is on the exploration of artistic techniques, processes, and materials, and how they contribute to the creation of new knowledge.

Research-led practice

This type of research involves the use of academic research methods to inform and guide the creative process. The aim is to investigate and test new ideas and approaches to artistic practice.

Practice-led Research

This type of research involves using artistic practice as a means of exploring research questions. The aim is to develop new insights and understandings through the creative process.

Transdisciplinary Research

This type of research involves collaboration between artists and researchers from different disciplines. The aim is to combine knowledge and expertise from different fields to create new insights and perspectives.

Research Through Performance

This type of research involves the use of live performance as a means of investigating research questions. The aim is to explore the relationship between the performer and the audience, and how this relationship can be used to create new knowledge.

Participatory Research

This type of research involves collaboration with communities and stakeholders to explore research questions. The aim is to involve participants in the research process and to create new knowledge through shared experiences and perspectives.

Data Collection Methods

Artistic research data collection methods vary depending on the type of research being conducted and the artistic discipline being studied. Here are some common methods of data collection used in artistic research:

• Artistic production: One of the most common methods of data collection in artistic research is the creation of new artistic works. This involves using the artistic practice itself as a method of data collection. Artists may create new works of art, performances, or installations to explore research questions and generate data.
• Interviews : Artists may conduct interviews with other artists, scholars, or experts in their field to collect data. These interviews may be recorded and transcribed for further analysis.
• Surveys and questionnaires : Surveys and questionnaires can be used to collect data from a larger sample of people. These can be used to collect information about audience reactions to artistic works, or to collect demographic information about artists.
• Observation: Artists may also use observation as a method of data collection. This can involve observing the audience’s reactions to a performance or installation, or observing the process of artistic creation.
• Archival research : Artists may conduct archival research to collect data from historical sources. This can involve studying the work of other artists, analyzing historical documents or artifacts, or studying the history of a particular artistic practice or discipline.
• Experimental methods : In some cases, artists may use experimental methods to collect data. This can involve manipulating variables in an artistic work or performance to test hypotheses and generate data.

Data Analysis Methods

some common methods of data analysis used in artistic research:

• Interpretative analysis : This involves a close reading and interpretation of the artistic work, performance or installation in order to understand its meanings, themes, and symbolic content. This method of analysis is often used in qualitative research.
• Content analysis: This involves a systematic analysis of the content of artistic works or performances, with the aim of identifying patterns, themes, and trends in the data. This method of analysis is often used in quantitative research.
• Discourse analysis : This involves an analysis of the language and social contexts in which artistic works are created and received. It is often used to explore the power dynamics, social structures, and cultural norms that shape artistic practice.
• Visual analysis: This involves an analysis of the visual elements of artistic works, such as composition, color, and form, in order to understand their meanings and significance.
• Statistical analysis: This involves the use of statistical techniques to analyze quantitative data collected through surveys, questionnaires, or experimental methods. This can involve calculating correlations, regression analyses, or other statistical measures to identify patterns in the data.
• Comparative analysis: This involves comparing the data collected from different artistic works, performances or installations, or comparing the data collected from artistic research to data collected from other sources.

Artistic Research Methodology

Artistic research methodology refers to the approach or framework used to conduct artistic research. The methodology used in artistic research is often interdisciplinary and may include a combination of methods from the arts, humanities, and social sciences. Here are some common elements of artistic research methodology:

• Research question : Artistic research begins with a research question or problem to be explored. This question guides the research process and helps to focus the investigation.
• Contextualization: Artistic research often involves an examination of the social, historical, and cultural contexts in which the artistic work is produced and received. This contextualization helps to situate the work within a larger framework and to identify its significance.
• Reflexivity: Artistic research often involves a high degree of reflexivity, with the researcher reflecting on their own positionality and the ways in which their own biases and assumptions may impact the research process.
• Iterative process : Artistic research is often an iterative process, with the researcher revising and refining their research question and methods as they collect and analyze data.
• Creative practice: Artistic research often involves the use of creative practice as a means of generating data and exploring research questions. This can involve the creation of new works of art, performances, or installations.
• Collaboration: Artistic research often involves collaboration with other artists, scholars, or experts in the field. This collaboration can help to generate new insights and perspectives, and to bring diverse knowledge and expertise to the research process.

Examples of Artistic Research

There are numerous examples of artistic research across a variety of artistic disciplines. Here are a few examples:

• Music : A composer may conduct artistic research by exploring new musical forms and techniques, and testing them through the creation of new works of music. For example, composer Steve Reich conducted artistic research by studying traditional African drumming techniques and incorporating them into his minimalist compositions.
• Visual art: An artist may conduct artistic research by exploring the history and techniques of a particular medium, such as painting or sculpture, and using that knowledge to create new works of art. For example, painter Gerhard Richter conducted artistic research by exploring the history of photography and using photographic techniques to create his abstract paintings.
• Dance : A choreographer may conduct artistic research by exploring new movement styles and techniques, and testing them through the creation of new dance works. For example, choreographer William Forsythe conducted artistic research by studying the physics of movement and incorporating that knowledge into his choreography.
• Theater : A theater artist may conduct artistic research by exploring the history and techniques of a particular theatrical style, such as physical theater or experimental theater, and using that knowledge to create new works of theater. For example, director Anne Bogart conducted artistic research by studying the teachings of the philosopher Jacques Derrida and incorporating those ideas into her approach to theater.
• Film : A filmmaker may conduct artistic research by exploring the history and techniques of a particular genre or film style, and using that knowledge to create new works of film. For example, filmmaker Agnès Varda conducted artistic research by exploring the feminist movement and incorporating feminist ideas into her films.

When to use Artistic Research

some situations where artistic research may be useful:

• Developing new artistic works: Artistic research can be used to inform and inspire the development of new works of art, music, dance, theater, or film.
• Exploring new artistic techniques or approaches : Artistic research can be used to explore new techniques or approaches to artistic practice, and to test and refine these approaches through creative experimentation.
• Investigating the historical and cultural contexts of artistic practice: Artistic research can be used to investigate the social, cultural, and historical contexts of artistic practice, and to identify the ways in which these contexts shape and influence artistic works.
• Evaluating the impact and significance of artistic works : Artistic research can be used to evaluate the impact and significance of artistic works, and to identify the ways in which they contribute to broader cultural, social, and political issues.
• Advancing knowledge and understanding in artistic fields: Artistic research can be used to advance knowledge and understanding in artistic fields, and to generate new insights and perspectives on artistic practice.

Purpose of Artistic Research

The purpose of artistic research is to generate new knowledge and understanding through a rigorous and creative investigation of artistic practice. Artistic research aims to push the boundaries of artistic practice and to create new insights and perspectives on artistic works and processes.

Artistic research serves several purposes, including:

• Advancing knowledge and understanding in artistic fields: Artistic research can contribute to the development of new knowledge and understanding in artistic fields, and can help to advance the study of artistic practice.
• Creating new artistic works and forms: Artistic research can inspire the creation of new artistic works and forms, and can help artists to develop new techniques and approaches to their practice.
• Evaluating the impact and significance of artistic works: Artistic research can help to evaluate the impact and significance of artistic works, and to identify their contributions to broader cultural, social, and political issues.
• Enhancing interdisciplinary collaboration: Artistic research often involves interdisciplinary collaboration, and can help to foster new connections and collaborations between artists, scholars, and experts in diverse fields.
• Challenging assumptions and pushing boundaries: Artistic research can challenge assumptions and push the boundaries of artistic practice, and can help to create new possibilities for artistic expression and exploration.

Characteristics of Artistic Research

Some key characteristics that can be used to describe artistic research:

• Creative and interdisciplinary: Artistic research is creative and interdisciplinary, drawing on a wide range of artistic and scholarly disciplines to explore new ideas and approaches to artistic practice.
• Experimental and process-oriented : Artistic research is often experimental and process-oriented, involving creative experimentation and exploration of new techniques, forms, and ideas.
• Reflection and critical analysis : Artistic research involves reflection and critical analysis of artistic practice, with a focus on exploring the underlying processes, assumptions, and concepts that shape artistic works.
• Emphasis on practice-led inquiry : Artistic research is often practice-led, meaning that it involves a close integration of creative practice and research inquiry.
• Collaborative and participatory: Artistic research often involves collaboration and participation, with artists, scholars, and experts from diverse fields working together to explore new ideas and approaches to artistic practice.
• Contextual and socially engaged : Artistic research is contextual and socially engaged, exploring the ways in which artistic practice is shaped by broader social, cultural, and historical contexts, and engaging with issues of social and political relevance.

Advantages of Artistic Research

Artistic research offers several advantages, including:

• Innovation : Artistic research encourages creative experimentation and exploration of new techniques and approaches to artistic practice, leading to innovative and original works of art.
• Interdisciplinary collaboration: Artistic research often involves collaboration between artists, scholars, and experts from diverse fields, fostering interdisciplinary exchange and the development of new perspectives and ideas.
• Practice-led inquiry : Artistic research is often practice-led, meaning that it involves a close integration of creative practice and research inquiry, leading to a deeper understanding of the creative process and the ways in which it shapes artistic works.
• Critical reflection: Artistic research involves critical reflection on artistic practice, encouraging artists to question assumptions and challenge existing norms, leading to new insights and perspectives on artistic works.
• Engagement with broader issues : Artistic research is contextual and socially engaged, exploring the ways in which artistic practice is shaped by broader social, cultural, and historical contexts, and engaging with issues of social and political relevance.
• Contribution to knowledge : Artistic research contributes to the development of new knowledge and understanding in artistic fields, and can help to advance the study of artistic practice.

Limitations of Artistic Research

Artistic research also has some limitations, including:

• Subjectivity : Artistic research is subjective, meaning that it is based on the individual perspectives, experiences, and creative decisions of the artist, which can limit the generalizability and replicability of the research.
• Lack of formal methodology : Artistic research often lacks a formal methodology, making it difficult to compare or evaluate different research projects and limiting the reproducibility of results.
• Difficulty in measuring outcomes: Artistic research can be difficult to measure and evaluate, as the outcomes are often qualitative and subjective in nature, making it challenging to assess the impact or significance of the research.
• Limited funding: Artistic research may face challenges in securing funding, as it is still a relatively new and emerging field, and may not fit within traditional funding structures.
• Ethical considerations: Artistic research may raise ethical considerations related to issues such as representation, consent, and the use of human subjects, particularly when working with sensitive or controversial topics.

About the author

Muhammad Hassan

Researcher, Academic Writer, Web developer

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What is artistic research?

Art offers a premise and an aim for research: a motive, a terrain, a context and a whole range of methods.

Published 10.3.2020 | Updated 30.11.2020

Art and research are basic concepts in our culture. They feed on one another and are intertwined in many ways.

Research that defines art as its object in one way or another is generally called art research. Art can, however, also offer a premise and an aim for research: a motive, a terrain, a context and a whole range of methods. This kind of research is often referred to as “artistic research”. It is not a counter concept of “scientific research”, but instead, its primary aim is to describe the framework of research in a way that does not simply reduce art to the subject matter of a study.

Artistic research is typically carried out by experts in various fields of art, i.e. artists – or artist-researchers, to be exact, because not all art is research. Artistic activities can be considered research only when they are done within a critical community.

Similar to a scientific community, an art community defines, shapes and renews the criteria for its own research frameworks and practices in interaction with the surrounding society. In this sense, artistic research is comparable to scientific research and constitutes its own form of research among various other forms.

We have endorsed The Vienna Declaration on Artistic Research .

Our most central networks within artistic research:

• European Artistic Research Network EARN
• The Society for Artistic Research SAR

• JAR on FACEBOOK

The Journal for Artistic Research (JAR) is an international, online, Open Access and peer-reviewed journal that disseminates artistic research from all disciplines. JAR’s website consists of the Journal and its Network.

Current issue

Table of contents.

Network activity

The ‘True Truths’ in the Research of Artists Janet Toro and Voluspa Jarpa

Artistic research: between transformative material and cognitive dynamics

Rethinking Artistic Research: A Review of Michael Schwab’s ‘Contemporary Research’

WHAT DO YOU DO WHEN YOU DO WHAT YOU DO? the act of researching

JAR @ 14th SAR conference in Trondheim, Norway

How should I write about my work? Notes on publishing artistic research

Get in touch, questions about submissions, peer review, general enquiries, copyright concerns and for the editor-in-chief.

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• > Journals
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• > Volume 47 Issue 2
• > Searching for artistic research? A study between disciplines,...

Article contents

Need for study objects, searching for artistic research, classifying art in a publication context, referencing ar as research outcome, free and open access, searching for artistic research a study between disciplines, interests, policies and systems.

Published online by Cambridge University Press:  26 May 2022

This paper gathers interim results of a study on the accessibility of artistic research. Since no corresponding subject portal could be found, a specific data collection was started. Due to the study's background in Switzerland, the resulting DataBase for Applied, Fine and Performing Arts (AFPA-DB) focusses mostly on the German-speaking and European countries, while aiming to be expanded in the future. After summarizing the formal findings of the study, the authors explore the challenges that occurred during the research process. Their struggle in finding and/or accessing artistic research seems to be characteristic of the field and is therefore likely to affect similar projects in other academic art libraries.

The DataBase for Applied, Fine and Performing Arts (AFPA-DB) results from a growing need at art universities to provide access to artistic research (AR) as both:

a) a source and reference for research and education; and

b) in terms of publication: presenting and situating one's own research results in a larger academic environment.

While an overview of options for publishing art and design has been published as the first outcome of our research (Lurk Reference Lurk 2021 ), this text focusses on the side effects of data collection.

In 30 September 2021, 1035 entries from 38 international universities (including 28 of the 44 German-speaking art academies) Footnote 1 , 3 AR associations Footnote 2 , and other individual entries were indexed in the AFPA-DB. Included were 183 monographs, 112 book contributions, 243 journal articles (including 154 contributions from the Journal for Artistic Research ), 2 conference papers, 34 artworks, 7 blog posts, 32 documentaries, 2 films, 34 presentations, 22 reports, 94 student theses and dissertations (including 47 dissertations from German-language art schools), 17 video documentaries and 253 websites (including 108 entries from the international exchange programme Atelier Mondial ). Footnote 3

In August 2021, the AFPA-DB results from the 28 art academies in Switzerland, Austria, and Germany were analysed. Even though the results are too heterogeneous for comparisons, the collected entries were counted and listed according to document types. Furthermore, a control group was then created, in which only the results of a keyword search within the respective repositories/publication servers was counted. Beyond semantic differences, since the difference between AR outputs and AR reflection was ignored, the institutional websites were left out of the control group (but were, however, included in the AFPA-group).

The following considerations result from an analytical reflection on metadata information that was captured during the research and collection phase, focussing on: a) the location where the entry was found; b) accessibility, including copyright information; and c) keywords (or lack of keywords) used for description. After a brief outline of the motivation, the text discusses the effects of systemic weaknesses which became apparent during the research. In doing so, we look for reasons why the results of AR are so difficult to find.

Fig. 1. Overview of the total number of entries, according to document type, sorted by country (German-speaking countries). Since educational resources and (research) data packages occurred only in the control group, the bars are empty here.

Fig. 2. Overview of the total number of entries (regardless of document type) sorted by academy/country. While the orange bars show the AFPA-DB entries, the sum of the hits of the respective control group is coloured blue.

In the specific context of art academies, artistic or creative works have always been both objects of study Footnote 4 and results Footnote 5 . Although art – at least art since the 1960s – has established its own genres of becoming public, discursive, or engaging in open dialogue with dedicated audiences, traditional scientific modes of communication, which increase especially with the research requirements of AR, still seem challenging. Thus, the artistic researcher continually discusses the “transposition” Footnote 6 between artistic modes of approaching the public within the (art-)work and publication standards in the scientific community.

For the last 20 to 30 years, AR has become a topic of scientific funding, accreditation and evaluation procedures, including discussion on publication Footnote 7 , evaluation Footnote 8 , and methodologies Footnote 9 . Concerning the performance measurement of artistic “outputs”, the Swedish model seems groundbreaking. Footnote 10 For staffing procedures, Lilja has proposed a question grid, and further considerations regarding assessment or quality management procedures can be found in different contexts. Footnote 11 While on one hand, the ongoing debate and (self-)questioning of artistic researchers leads to fruitful results, which continuously expand the discipline, Footnote 12 on the other hand the integration of AR approaches as a critical or methodological framework for teaching Footnote 13 demonstrates how established the field has become – even in traditional subject areas such as painting. Footnote 14

Nevertheless, the fractures still existing between art and academia lead to various daily challenges for art libraries. Footnote 15 Starting with the questions of access (acquisition and information retrieval), continuing with publication and data management support (including rights issues), up to an increasing institutional interest in the bibliometric measurement of art and science, one can find seemingly endless construction sites. At the same time, all have a common interest in locating AR. This leads to a simple (starting) question: Where is AR – or rather: How can AR results and outcomes be located?

The systematic search for AR on academic platforms such as Web of Science , Scopus , JSTOR and Design & Applied Arts Index ( DAAI ) results in a considerable number of findings. Nevertheless, most entries discuss or write about AR rather than being the results of AR in the sense that Borgdorff explained when stating:

We can justifiably speak of artistic research (‘research in the arts’), when that artistic practice is not only the result of the research, but also its methodological vehicle, when the research unfolds ‘in and through’ the acts of creating and performing. Footnote 16

The cited comment explains, among other things, why for example (digital) humanities repositories, publication services and research portals only partially cover the professional needs of art and design. Footnote 17 Even though they are located in the same cultural environment as creative, practice-based/practice-led approaches, there are fundamental differences in:

a) the way the research is conducted (including the definition of aims, the setting of methods and the prospecting for interim results);

b) the way that outcomes and publications appear in a variety of formats; and

c) the technical needs for describing, characterizing, or classifying. Footnote 18

Narrowing down the previously mentioned search results using classic research routines such as keywords, filtering dedicated media or document types, or other formal (metadata) characteristics is problematic in that conventions do not exist for this, nor are there preferred or standardized subject terms, publication formats or source-types. Of course, there is a Gemeinsame Normdatei (GND) entry for AR, Footnote 19 but finding or rather offering controlled vocabularies and classifications for dedicated subject areas in AR seems extremely difficult. Whereas on the one hand the lack of vocabularies or classification systems is problematic, Footnote 20 on the other hand the heterogeneity of the topics and methodologies, the creativity of the artists in questioning and (re-)inventing everything, and a certain scepticism complicate finding solutions. Footnote 21

In fact, the discomfort of the researching artists often begins earlier – within the publication or indexing process: object types used by repositories or publication servers such as OPUS , DSpace , Fedora and Zenodo, as well as those of the web portals mentioned, seem rather coarse compared to the diversity of artistic ways of expression and becoming public. Of course, Resource Description and Access (RDA) and most academic bibliographic systems in general offer a remarkable variety of media formats, while DataCite Footnote 22 and the Confederation of Open Access Repositories (COAR 2021 ) provide a remarkable list of resource type vocabularies. Nevertheless, the implementation is often pending. Thus, classifying artistic outcome remains demanding. In addition, Veerle Spronck points out:

The artistic researchers have to deal with art worlds (consisting of art critics, curators and festival organisers as well as the general art public), academic communities, and in some cases they contribute to public debates. To make the outcomes of their research relevant and assessable to these diverse audiences and communities, work needs to be done. Footnote 23

Understanding Efva Lilja's Footnote 24 recent statement “[t]he object of artistic research is art” Footnote 25 as a serious hint, another type of cataloguing system that has largely been neglected so far might come to mind: collection management systems. Footnote 26 Whereas Lilja's activating essay points to the risk of losing meaning or relevance when adapting (appropriating) scientific attitudes from other contexts too ambitiously, one might indeed ask how far scholarly communication could benefit from the ways of describing and documenting art. Footnote 27

Collection management systems specialize in taking the significance (individuality) of an artwork into account. While conservation science tends to speak of “significant properties”, when works of art become more complex, semantically breaking down “the” work of art to a set of elements which might be preserved in different ways, and looking at materials and techniques (as ways of creation) can enrich the present discussion. With regard to AR outcomes, methodologies gain special importance. As Rachel Mader explains, when reflecting on Brad Haseman's concept of practice as research approaches to creative arts enquiry: “research is not only conducted to create content, but also to expand the methods and instruments of artistic practices in each single case”. Footnote 28 Thus, AR methodologies might be understood as a natural progression of the material and techniques approach.

Expanding the forms of describing varying ways of creating, exploring, producing, and presenting, and the emphasis of methodologies calls to mind more recent developments in the context of scientific publishing as offered by data journals or data publications. Here, as there, the description of both the procedures of data collection and research methods, and the way in which the data was then structured and evaluated, contribute to the later understanding and subsequent re-use. Dedicated areas are therefore provided by the respective infrastructures. Relational models have replaced field-based indexing forms. Accordingly, a look at schemas such as CIDOC CRM from the cultural heritage perspective or Records in Context ( RIC ) from archival practice might be worthwhile. They stay structurally flexible and extendible, and therefore support creativity and liveness. Furthermore, conceptual models for describing such as the standard for open educational resources (IEEE Reference Lurk 2020 ), would have to be examined. LOM's ( Learning Object Metadata ) capacity to address different target groups even at the metadata level seems extremely interesting.

Nevertheless, our aim is not to promote yet another standard that is not applied because it is too complex or specific or fails to gain acceptance due to other reasons. Quite the opposite: we have the feeling that the initial question of the availability or rather the findability of AR results relates to further structural problems.

Starting, for example, with a well-established, scientific practice such as the referencing of sources of literature, data, tables, graphs, etc. used in articles and papers, it seems clear that citation conventions are so well established that algorithms automatically recognize most quoted sources. Automatic reference detection is, among other things, the basis for quotation indices. Footnote 29

As opposed to literature, artworks and AR outputs often elude citation. Even if works of art are named within a text, the automated detection of their mentions normally fails due to missing or incomplete structuring conventions. While lists of illustrations sometimes present a specific kind of index within the text, they nevertheless seem so little standardised that automated counts with an accuracy equivalent to Hirsch - Index or Received Citations are not yet available. This affects virtually all the artistic formats, including musical or performative scores, theatre plays and photographs that are not dealt with by well-known publishers - even if a catalogue raisonné exists with established numbering. Footnote 30

On the one hand this ties in with considerations in the museum context, in which referencing, the preservation of context and/or the quality assurance of online (re-)sources are discussed. Footnote 31 On the other hand, collaboratively created meta-searches such as European-art.net (EAN) are gaining importance. Footnote 32 Initiated by Basis Wien and resulting from the EU funded vektor (2000-2003) project, EAN references not only artists, Footnote 33 exhibitions and publications of the 13 partner institutions, but also enables searching for artworks, if the source databases release this information. To what extent the trend towards the visualization of collection holdings, as found in the context of Linked Open Data, Knowledge Graphs, various other data models and as countless pilot projects, is relevant for the present context of referencing remains to be examined.

Easy ways out of the dilemma are not to be expected in the short term, for the following reasons:

a) AR outcomes are spread across different genres (from dedicated works of art to curatorial work, from publication to performance, etc.) and artists tend to engage in different formats;

b) publication venues and institutional framings seem constantly changing, from academic context via gallery and museums spaces to public or alternative sphere(s), including digital and hybrid environments; and

c) communication channels often cover only temporary needs and disappear or migrate sooner or later to other media.

Furthermore, artistic outcomes, and especially those of AR, are bound to the presence of the audience. With Andrea Phillips one can state:

The claim of artistic research is that it is radically open and thus accessible to all comers, giving rise to questions of explanation, exposition, methodological investigation and publishing itself (in the sense of ‘making public’), especially in a field dominated by privatization (both in terms of art's connection to infrastructures of its market and in terms of the pedagogical habitus of individuation of expression). Footnote 34

The statement highlights another conflict zone that becomes obvious when publishing: the basic understanding of openness in relation to access. While the Budapest (2002) and Berlin Declaration (2003) define – from a libraries perspective – what Open Access (OA) is and how it should be marked, for many artists and researchers in this field, content that can be “consumed” without login, payment or admission is considered open and accessible. Therefore, just under 12% of the current AFPA-DB entries can effectively be described as OA, even though almost 28% are accessible without restrictions (bronze OA). Some faculties still believe that a sentence such as “[ title ] is accessible online to all (Open Access)” and the provision of a digital resource (PDF, image, video) make the publication OA. Expectations clash with reality when informing them that OA requires a clear statement for reuse, indicated for example by adding a creative commons statement and holding a signed contract note in hand (or in the archive). Accordingly, Clarrie Bishop has pointed out that successful OA projects are “about placing relationships at the heart of your work and thinking about rights collectively”. Footnote 35

Leaving aside “things” that are also traded on the art market, Footnote 36 and focussing instead on AR results and their context, OA currently gains increasing importance. In a cultural framework of inequality, in which many artists are still seeking a voice, permanent identifiers and the commons play a special role. They bring reliability, traceability, and permanence to a digital environment that otherwise seems highly dynamic and unstable. As Henk Borgdorff stated, when weighing the advantages and disadvantages of AR in relation to increasingly easier accessible scientific infrastructures:

You gain stability and the potential for distribution at the cost of the singularity and materiality of the operator. In artistic research this involves the chain of reference between artwork at the one extreme and artistic research publication at the other. Footnote 37

To put it differently: OA does not require reluctant relabelling, accepting reduced quality caused for example by low image resolution or black and white printing. Rather, the fracturing of incompatible legal systems creates space for new creativity, as encountered in different publishing contexts. Footnote 38 In a constructive, solution-oriented environment, it is then also possible to think carefully about what re-use can mean in the context of design and art.

AR seems to be a topic that is discussed at virtually all art academies. Nevertheless, when browsing the related scientific infrastructures, significant, partly structural, differences occur: while some art academies have developed digital memory infrastructures, others are still waiting for publication servers, repositories, or (supra-)institutional access. Differences determine the field in other contexts as well, for example financial and human resources, time span since resources were systematically documented, acquisition/indexing and publication policies, the question of how or where closed content is accessible (as metadata and data), accepted file-formats, evaluation mechanisms, and/or workflows and instruments for quality approval. Certainly, the size of the institution (measured by the number of staff and students), subject orientation (type of specializations), and structural scopes of action vary. Footnote 39

Since only parts of the AR outcomes find their way into the available repositories, the websites of the research institutes and their projects, associated PhD programmes and fellowships play a special role regarding AR dissemination. Even if neither plain HTML-websites nor portals with structured content management systems facilitate scholarly communication in terms of publication, access, and reuse (at least from a library perspective), these network-based channels still seem more easily equipped by artist researchers and thus more accessible than repositories or publication servers. Footnote 40 In addition, dedicated blogs, social media platforms and multimedia networks would require further consideration. Footnote 41

Regardless of the popularity of repositories among the artistic researchers, the lack of appropriate forms of citation and referencing has emerged as a particularly problematic area. The topic goes beyond the AR community and requires other disciplines to take responsibility for their sources. Whereas AR outcomes are indeed widely dispersed and hard to track, and thus tend to get lost in the plethora of activities, lack of global directories and referencing standards also cause problems.

Nonetheless, OA has emerged as an element that constructively stimulates the dialogue between libraries, artistic researchers, and, ever more frequently, non-affiliated artists or communities who can contribute to the discussion or provision of sources. Increasing interest in collaborative, sustainable, and resource-saving practices as well as manifold forms of access, accelerate the ways of knowledge production and consumption. Footnote 42 The tangible culture of cooperation and the claim to exchange ideas at eye level can contribute to the overcoming of existing divides. This can contribute to better accessibility of AR, too.

1. Only a few are recorded in OpenDOAR , which might be caused by the lack of FAIR interfaces such as OAI-PM. The acronym FAIR stands for free and sustainable access to digital databases, as the contents are f indable, a ccessible, i nteroperable and r eusable.

2. Swiss Artistic Research Network (SARN), Institut für Künstlerische Forschung (!KF Berlin), artresearch.eu (Gothenburg).

3. Since educational resources and research data (packages) only appeared in the control group, they are not mentioned in the figure above.

4. Cf. Sandra Mühlenberend, Sammlungen an Kunsthochschulen (Dresden, Reference Mühlenberend 2020 ).

5. Cf. Peter Peters et al. Dialogues between Artistic Research and Science and Technology Studies . (New York: Routledge, 2020).

6. Henk Borgdorff, “Cataloguing Artistic Research,” in Dialogues Between Artistic Research and Science and Technology Studies , ed. Henk Borgdorff et al. (New York: Routledge, 2019) 19-30.

7. Barnaby Drabble, and Federica Martini, “Publishing Artistic Research”, in SARN Booklet (Basel: SARN, 2014 ).

8. Gerald Bast et al., Arts, Research, Innovation and Society (Cham: Springer International Publishing, Reference Bast, Carayannis and Campbell 2015 ).

9. Mika Hannula et al., ed., Artistic Research Methodology (New York: Peter Lang Reference Hannula, Suoranta and Vadén 2014 ).

10. Tomas Lundén, and Karin Sundén, “Art as Academic Output,” Art Libraries Journal 40, no. 4 (2015): 25-32. https://doi.org/10.1017/S0307472200020496 .

11. Efva Lilja, “Art, Research, Empowerment.” C.f. also the scheme of Bartar & Huber ( Reference Bartar, Huber, Mateus-Berr and Jochum 2020 , 161). The provided grid for counter assessment of socially engaged arts- and community-based research can be transferred to other areas, in that it classifies: a) excellence of approach, b) innovation and originality, c) relevance for the particular field and other disciplines, d) scientific quality, e) quality of cooperation, f) dimensions of participation, g) added value for participants, h) process-oriented aspects, i) ethical principles, and j) open-science principles.

12. Regarding publication requirements, still the Journal for Artistic Research and its underlying Research Catalogue might be mentioned (Schwab Reference Schwab and Schwab 2013 ).

13. Cf. Ruth Mateus-Berr and Richard Jochum, Teaching Artistic Research (Berlin, Boston: De Gruyter, Reference Wälchli and Caduff 2020 ).

14. Cf. Stefan Wykydal, “Nonverbal Words”, in Teaching Artistic Research , edited by Ruth Mateus-Berr and Richard Jochum (Berlin, Boston: De Gruyter, Reference Wälchli and Caduff 2020 ), 67-72.

15. As the Vienna Declaration (cultureactioneurop.org 2020 ) attests, incompatibilities hurt the artists and academic institutions even more.

16. Henk Borgdorff, “The Conflict of the faculties” (PhD diss., University of Leiden, Reference Borgdorff 2012 ), 47.

17. The Registry of Research Data Repositories ( re3org ) lists in Germany arthistoricum.net (University of Heidelberg), the two image databases Foto Marburg and prometheus (Cologne), and ECHO - Cultural Heritage Online ( Max Planck Institute for the History of Science ). In addition, Kubikat ( bibliographic data ), heiData and the digital and interdisciplinary object and multimedia repository heidICON (both University of Heidelberg) were looked through. All of them focus primarily on art historical materials. Regarding AR, re3org presents the Research Catalogue (RC), Portal de Datos Abiertos UNAM (UNAM Open Data Portal, Colecciones Universitaria, Mexico) and Portal de Datos del Mar - SNDM (Portal Argentino de Datos del Mar, Argentina) when searching on a global scale.

18. Since researchers often record their content in research information systems, language plays a special role (cf. Wälchli & Caduff Reference Wälchli and Caduff 2019 ). A differentiation between practice and theory, for example, also seems inappropriate, since many artists perceive their reflective work as theoretical . Same with media formats such as video or non-text formats. They are by no means primarily related to AR.

19. http://d-nb.info/gnd/1068661038 .

20. Even Getty's vocabularies in the context of the Art and Archaeology Technical Abstracts (AATA) do not provide any specification for AR.

21. Duby, Barker Reference Duby and Barker 2017 comment: “The vocabulary of research has largely been predicated on scientific research or more precisely an oversimplified concept thereof which depends upon the supremacy of propositional knowledge”.

22. “DataCite Metadata Schema Documentation for the Publication and Citation of Research data – Version 4.3,” DataCite Metadata Working Group, last accessed on 6 October 2021, https://doi.org/10.14454/7xq3-zf69 .

23. Spronck, Veerle. “Between Art and Academia: A Study of the Practice of Third Cycle Artistic Research”. Maastricht University, Reference Spronck 2016 . https://lkca.nl/wp-content/uploads/2020/02/scriptie-2017-between-art-and-academia-spronck.pdf .

24. Efva Lilja has been observing and participating in the Swedish AR development for decades.

25. Efva Lilja, “The Pot Calling the Kettle Black,” in Knowing in Performing , edited by Annegret Huber et al. (Bielefeld: transcript Verlag, Reference Lilja, Huber, Ingrisch, Kaufmann, Kretz, Schröder and Zembylas 2021 ), 28.

26. For this reason, the Portal Wissenschaftliche Sammlungen (i.e. portal of scientific collections) was examined, even though primarily historical holdings are indexed. In contrast to the humanities’ portals, a broader range of scientific material and tool collections are listed with remarkable contents.

27. In the context of art collections, characterization and keywording normally follow at least in-house or internationally recognized, controlled vocabularies or typification.

28. Rachel Mader, “A Review of Artistic Research and Literature,” Art/Research International: A Transdisciplinary Journal 6, no. 2 (2021): 540.

29. Besides bibliometric interests, automated recognition of whole text passages plays an important role in plagiarism prevention.

30. Comparable problems are found in texts when the transliteration systems are lacking. Stefan Schley (conversation 2021) has recently pointed out this challenge of Tibetology.

31. Stefan Przigoda, “Sammlungsdokumentation, Forschung und Digitalisierung,” in Objekte im Netz, edited by Udo Andraschke and Sarah Wagner (Bielfeld: transcript Verlag, Reference Przigoda, Andraschke and Wagner 2020 ).

32. https://european-art.net/database .

33. Artists are assigned to GND and FIAV.

34. Andrea Philips, “Artistic Research, Publishing and Capitalisation,” in Futures of artistic research , edited by Jan Kaila et al., (Helsinki: The Academy of Fine Arts, Uniarts Helsinki, Reference Phillips, Kaila, Seppä and Slager 2017 ), 24.

35. Carrie Bishop, “Creative Commons and Open Access Initiatives”, Art Libraries Journal 40, no. 4 (2015): 9.

36. Regarding goods of the art market, one could argue that their transmission to the future is otherwise guaranteed.

37. Borgdorff, “Cataloguing,” 21f.

38. Stefanie Bringezu, Was ist Kunst? (Ostfildern: Hatje Cantz, Reference Bringezu 2012 ).

39. Art academies in Switzerland are for example located at the educational level of universities of applied sciences, which have no right to award doctorates. In Austria and Germany, too, not all art academies have the right to award PhD degrees, and some subjects areas are taught in faculties in which art is only one subject among others.

40. Micro affiliations and “unaffiliated knowledge workers” (Brown Reference Brown 2016 ) have (or are aware of) far fewer paths of publication in academically recognized contexts than academic members.

41. Without judging the trend, in 2010 the “alt-metrics manifesto” emphasized the growing importance of publication venues outside the classical academic setting (Priem et al. Reference Priem, Taraborelli, Groth and Neylon 2010 ). Regarding social academic networks, a quick keyword search of the outcomes has confirmed earlier experiences: the number of artistic outputs seems vanishingly small compared to the discussion about AR.

42. Cf. in this context the conceptual framework of Documenta 15 (2022) regarding publication and participation strategies of the management team ruangrupa.

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Society for Artistic Research

The SAR Prize winner for 2023 has been announced!

The Executive Board of SAR is delighted to announce the winner of the Annual Prize for Excellent Research Catalogue Exposition 2023!

The full jury report can be read here .

SAR International Forum on Artistic Research 2024

15th International Conference on Artistic Research

SAR International Forum on Artistic Research will take place from April 10 th to 11 th 2024 , hosted by Fontys Academy of the Arts in Tilburg .

REGISTER NOW! Program may be found here .

Deadline: 27th of March 2024

This year the Society for Artistic Research (SAR) introduces a new biennial meeting format, that offers time and space for thought-provoking and stimulating dialogue between artistic researchers, artists, practitioners, as well as policy makers and stakeholders from diverse backgrounds.

The Forum 2024 co-developed by Fontys and SAR to be a new and innovative biennial format, that will alternate with the already established SAR conferences .

What Methods Do – International Symposium on Artistic Research Methods

What Methods Do – Exploring the Transformative Potential of Artistic Research

This international symposium on Artistic Research Methods will take place at the Textile Museum in Tilburg on April 9 th 13:00-19:00 .

Annual Prize for Best RC Exposition 2023 – Nomination Deadline 01.02.24

Annual Prize for Best RC Exposition 2023 – Nomination Deadline 01.02.24

The Executive Board of SAR announces the opportunity to nominate candidates for the Annual Prize for Excellent Research Catalogue Exposition 2023. The prize aims to foster and encourage innovative, experimental new formats of publication and, on the other hand, to give visibility to the qualities of artistic research artifacts. The Executive Board will appoint a jury to assess the submissions. The jury consists of one member of the SAR Executive Board, one representative from portal partners, and one former prize winner. Please note: Previous winners of the prize cannot submit for three full years after receiving their award.

Publication period of submission: Jan 1, 2023 – Dec 31, 2023.

Deadline for submission: Jan 31, 2024.

Prize Award: € 500.

For submission info please read the official announcement.

SAR Prize (2022) : Winner Announced

The prize aims to foster and encourage innovative, experimental new formats of publication and to give visibility to the qualities of artistic research artefacts.

We received 14 very good and diverse applications from different disciplines. The evaluation was carried out by a jury composed of Paulo Luís Almeida, Jacek Smolicki and Blanka Chládková. The jury highly appreciates the quality and compactness of the exhibition by Andreas Berchtold titled “ In circles leading on “:

Honorable mentions go to: “ Spotting A Tree From A Pixel ” by Sheung Yiu and “ Fragments in Time ” by Tobias Leibetseder, Thomas Grill, Almut Schilling, Till Bovermann.

Read the full jury report here .

14th SAR Conference Trondheim: recordings available

Video recordings of the opening and the keynote speeches by Pier Luigi Sacco and Anjalika Sagar, as well as the program produced in the KIT video studio are available at the conference website .

SAR Prize (2021) Winner Announced!

The Executive Board of SAR is delighted to announce the winner of the Annual Prize for Excellent Research Catalogue Exposition 2021. “ Minuting. Rethinking the Ordinary Through the Ritual of Transversal Listening ” by Jacek Smolicki.

He is followed by Alexandra Crouwers with her exposition “ Plot, the Compositor, Mourning/Mistakes ” on the second place and Timo Menke with his exposition “ DARK MATTER(S) ” on the third place.

Read the complete report here .

SAR General Assembly Election Results:

We hereby announce the results of the SAR elections that took place during the SAR General assembly on 4th of July 2022 in Weimar:

Florian Schneider has been elected SAR president (for 2022-2026)

Geir Ström has been re-elected SAR First Vice President/Treasurer (for 2022-2024)

Both Blanka Chládková & Esa Kirkkopelto have been elected as SAR board member (for 2022-2026)

See “ Who we are ” for more information.

Call for Establishing SAR Special Interest Groups – SIGs

The Executive Board is delighted to renew its Call for Establishing SAR Special Interest Groups (SIGs). SIGs may be suggested, organised, and moderated by any SAR member (individual members, representatives of institutional members) with the aim of conducting a particular activity, theme or focus area under the umbrella of SAR and promoting the activity and its results within the SAR community. For more information on establishing a SIG see: SAR Special Interest Groups (SIGs) .

CALL FOR SOLIDARITY AND PEACE

SAR expresses its solidarity with artists and researchers who as a consequence of war now have to fear for their own lives, and of those of their families and friends. We want to express our compassion with all those innocent civilians who are suffering. We are horrified about the ruthlessness with which civilian targets are attacked in the Ukraine, and we appeal for an immediate end to aggression, bloodshed and destruction and a return to human values in sight of the global future of the planet.

Like our partner associations AEC and ELIA, we state that the artistic research community is a global community where peaceful collaborations between people of all backgrounds are a lived reality. Thousands of Ukrainian and Russian students, academics, artists and researchers in art practices are at the same time working together peacefully all over Europe and the world. We stand by all these artists, as well as with Ukrainian people, in solidarity.  We likewise call on all SAR member institutions to support refugees from the war zone within their possibilities to be able to continue their art studies in a non-bureaucratic way. 

The future of life on the planet depends on the human ability for peaceful conflict resolution.

The SAR Presidents, Executive Board members, and Executive Officer

Vienna declaration

SAR is proud to present the Vienna Declaration , a policy paper advocating for the full recognition of Artistic Research across Europe. More than one year ago, the main organisations and transnational networks dealing with Artistic Research at European level and beyond decided to join forces to increase the visibility and recognition of this strand of research. The Vienna Declaration , co-written by AEC , CILECT  / GEECT ,  Culture Action Europe ,  Cumulus ,  EAAE ,  ELIA ,  EPARM ,  EQ-Arts ,  MusiQuE and SAR, is the first outcome of this important collaboration. The initiative is open to the involvement of other international organisations proving legitimate interest.

The long term aims of this concerted action, and the formulation of documents such as the Vienna Declaration on Artistic Research and the Florence Principles on the Doctorate in the Arts , are to secure full recognition of artistic research both within international as well as national research directories and funding schemes.

SARA / Society for Artistic Research Announcement service

SAR enables individual and institutional members as well as non-members to distribute announcements of relevance to artistic research environments, such as symposia, conferences, exhibitions, performances, publications, study programmes, available positions etc. via a dedicated email list, reaching colleagues who have registered at the Research Catalogue (RC).

For more info or requesting an announcement, go to: sar-announcements.com

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Artistic Research

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• Alexander Damianisch MAS 2  

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Arts-based Research, Development of the Arts, Applied Arts, Expanded Research, Implicit Knowledge, Practice Based Research, Research in the Arts, Research through the Arts, Research on the Arts

The aim of this entry is to present basic thoughts regarding practices of artistic research with the objective to describe specific criteria pertaining to this specific process of knowledge production. References to considerations regarding the philosophy of science are possible, but not intended as a demarcation to the further thoughts presented that make up the central element of the entry. Central topics of artistic research are brought into focus, evaluated, and used to generate specific processes for knowledge development. After a brief thematic introduction to the topic and an attempt to a “mapping of artistic research,” specific aspects are described in the “setting of artistic research,” followed by the thoughts regarding concrete “modes of artistic research,” and concluded through...

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Adderley. vgl. http://en.wikipedia.org/wiki/Herbie_Hancock#cite_ref-7 . 2012-07-17.

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Explainer: what is artistic research?

The role of artistic researchers is not to describe their work – it’s something else entirely.

By Professor Barb Bolt, Faculty of Fine Arts and Music.

Talk about scientific research and a few things immediately spring to mind: randomised controlled trials, journal articles, momentous breakthroughs … And while those things are also true in the arts (one need only look at the University’s Music Therapy discipline for proof) the parameters are often different. So, what does “artistic research” in a Faculty such as ours look like?

The terms “artwork” and “work of art” tend to be used interchangeably but it’s useful to tease them apart. The artwork may be defined as the production – the performance, recital, painting, sculptural installation, drawing, film, screenplay, novel, poem or event that has emerged. Meanwhile, the work of art is the work that art does: the movement in concepts, understandings, methodologies, material practice, affect and sensorial experience that arises in and through art and the artwork.

The mapping of this movement allows artistic researchers to identify and argue for the research’s claim to new knowledge, or rather new ways of knowing – which, of course, is what all research does. But the positioning of the researcher as maker and observer, and the multi-dimensional qualities that arise in artistic research, gives artistic research its particularity.

The role of the artistic researcher is not to describe his or her work, nor to interpret the work, but rather to recognise and map the ruptures and movements that are the work of art in a way not necessarily open to others. The artist-as-researcher offers a particular and unique perspective on the work of art from inside-out as well as outside-in.

In August, Dr Simone Slee, former Head of Sculpture and Spatial Practice and now the Research Convenor at VCA Art, as well as being a successful practising artist, was awarded a 2018 University of Melbourne Chancellor’s Prize for Excellence for her PhD thesis: Help a Sculpture and other abfunctional potentials – the first time an artistic research thesis has been recognised with this particular accolade.

As Simone  observed in 2016:

Centering myself within the process of the artwork’s production was the most important factor in garnering my voice within the writing. Once I enabled this to occur the project began to drive its own agenda, developing an autonomy that was also akin to an artwork itself. Commencing with the artwork this firstly generated the research questions that then enabled these to be tested, sometimes contradicted, adjusted and clarified, and provoked new questions as they applied to the work.

This centering of oneself within the artwork’s production is the most important factor in giving voice to what has become known variously as practice-led research, practice as research (PAR), creative practice research (CPR) or, more simply, artistic research.

It is a truism to say that words are inadequate to the task of encapsulating the material fact and the experience of the artwork and one could argue that any the kind of discursive mapping process is a distancing device that creates objective “data” and denies the embodied experience that is central to our encounters with art. The artwork must stand eloquently in its own way, and if it doesn’t it fails. In this very important sense, elite art practice is necessarily at the heart of artistic research.

But through mapping the work of art as well as sending their artwork out into the world, artistic researchers offer a unique perspective on art, demonstrating and arguing for the impact of artistic research in the broader realm, and particularly in the academy.

In other words, artistic research has opened the possibility for artists to find their voice in a field where hitherto they have been the object of study by art historians, musicologists, critics, curators, and cultural theorists, amongst others.

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Artistic Research: Context, Perspectives & A Definition

Excerpt of the introduction: In the first part, I will dissect the term research, dipping into the everlasting dispute about art versus science, coming back to the initial term of artistic research and giving ideas of what it is and what it can contribute to scientific research. In the last part I will focus on the education reformation, elaborating detected challenges and chances it might bring. As literature, the essay draws – amongst others – from the book Artistic research published by philosopher, editor and curator Annette W. Balkema and philosopher, editor, curator and Professor for Artistic Research at the MaHKU, Utrecht Graduate School of Visual Art and Design Henk Slager, who is also leading the publication of the Journal of Artistic Research (JAR). It is a collection of essays and discussions from a two-day symposium on artistic research. Other sources are websites of art academies involved in the development of artistic research, different speeches on the topic and the Belgian philosopher, writer and critic Dieter Lesage’s text Who’s Afraid of Artistic Research? On measuring artistic research output (2009). As the evolution of artistic research is still ongoing, I found it important to include a variety of different opinions, in order to detect common tendencies.

Related Papers

English version of "Künstlerische Forschung", in Hans-Peter Schwarz (Hg.): Zeichen nach vorn. 125 Jahre Hochschule für Gestaltung und Kunst Zürich. Hochschule für Gestaltung und Kunst Zürich, Zürich

Christoph Schenker

Knowledge in its current form is not identical to the knowledge of the sciences. Scientific knowledge is a specific kind of discourse that is set off from the discourse genres of other, non-scientific areas of competence. In concert, they all form a diversity of essentially equivalent and equally necessary systems. Nonetheless, the currently prevalent style of thinking is that cultivated by the sciences and the humanities. And it is primarily scientific technology that has proven to be the most efficient contributor to contemporary society's focus on innovation. Scholarship and the sciences also constitute the last bastion of a culture that exists exclusively as high culture. Scientific research is a curious mixture of ideology and practice, of realistic procedures and unreal demands. The need to resort to scientific support in order to reinforce the relevance or status of a given area of competence has become obsolete. In this paper I shall outline a few thoughts on the character of research in the fine arts. The concept of research is closely allied with the sciences. Even so, it is fruitful to apply this term to the pragmatic context of artistic endeavour although it is not possible to address the concepts of research and art in greater depth in this context.

Sisyphus — Journal of Education

Catarina Almeida

Although almost every debate about artistic research highlights its novelty in references to «uncertainty», »indefinability», and to its lack of identity whilst «bound to a tradition external to itself», this novelty has lasted for a few decades already. Many of the problems raised today are to be found back when research and art education began to relate within the academic context in the 1980s. So where is the speculative discussion on its uncertainty taking artistic research to? Is a solution intended to be found? Is there a problem to be solved? Through ‘productivitism’ this text argues that the aprioristic idea that artistic research is problematic has been securing its state of pendency and increasing its fragility. The final part of the article suggests a creative potential and a challenging dimension in the process of institutionalization, and ends by pointing out possible topics of work for a shared agenda with contemporary art.

Eidos. A Journal for Philosophy of Culture

Josef Früchtl

English version of "Einsicht und Intensivierung - Überlegungen zur künstlerischen Forschung", in Elke Bippus (Hg.): Kunst des Forschens. Praxis eines ästhetischen Denkens. Diaphanes, Zürich/Berlin

What is it that distinguishes artistic research? Can one speak of a tradition of artistic problems? The tendency is to concentrate on trying to define the essential features of artistic research. This involves inquiry into not only how artistic research differs from but also how it resembles or is comparable to scientific research and philosophical work. As far the pragmatics of research are concerned, there is no fundamental difference between the systems of art and scholarship. And in both fields, it is often no easy task to distinguish substance, i.e. what is essential and intrinsic to the conditions and rules of the research process, from accident, i.e. what factors should be assigned to the external operations of research. One might inquire into whether artistic research works with special methods, whether it makes use of a specific set of tools, whether it typically addresses a specific subject of research, and whether it produces knowledge that is characteristic of art.

Dieter Mersch

Since its beginnings in the 1990s, “artistic research” has become established as a new format in the areas of educational and institutional policy, aesthetics, and art theory. It has now diffused into almost all artistic fields, from installation to experimental formats to contemporary music, literature, dance or performance art. But from its beginnings—under labels like “art and science” or “scienceart” or “artscience” that mention both disciplines in one breath—it has been in competition with academic research, without its own concept of research having been adequately clarified. This manifesto attempts to resolve the problem and to defend the term and the radical potentials of a researching art against those who toy all too carefully with university formats, wishing to ally them with scientific principles. Its aim is to emphasize the autonomy and particular intellectuality of artistic research, without seeking to justify its legitimacy or adopt alien standards.

Gideon Kong

The term ‘artistic research’ is generally referred to as research in the arts, or ‘art as research’. More distinctively, it is also described as ‘research in and through art’ (Wesseling 2016, 8), distinguished from other types of research in the arts and brings to mind the popular yet seldom consistently discussed categorical distinctions from Christopher Frayling (1993). With increasing discussions to identify, describe, and legitimise artistic research against the largely scientific traditions of ‘research’, there has since been a growing amount of literature on the subject. Despite this accessibility of literature on artistic research—many written in English and published in easily available or open access journals—they often remain as efforts isolated from each other. I highlight this as an opportunity for mapping key ideas and developments of artistic research within recent discourse. This essay attempts a brief yet condensed discussion on artistic research using six recent key texts on artistic research. Chronologically, they are single books from authors Graeme Sullivan (2005), James Elkin (2009), Henk Borgdorff (2012), Mika Hannula et al. (2014), Janneke Wesseling (2016), and Danny Butt (2017).

Aldis Gedutis

Gerard Vilar

catala«La recerca artistica» es un terme de moda que sembla portar les practiques de les arts contemporanies cap a noves formes, academicament mes respectables i properes a les ciencies socials i empiriques i a les humanitats. La introduccio de doctorats a les escoles d’arts i la normalitzacio dels plans d’estudi a Europa arran del Proces de Bolonya han estat cabdals en aquest sentit. Aquestes urgencies han creat una confusio enorme al voltant del significat de «recerca artistica». M’agradaria ajudar a aportar una mica d’ordre a aquestes veus sovint contradictories. El valor de l’art rau en el que el separa de la religio, la ciencia, la filosofia i totes les altres formes i productes del pensament huma, i estic convencut que qualsevol persona que cerqui el reconeixement academic i l’eliminacio de les diferencies esta confosa. En aquest article distingeixo entre cinc conceptes diferents en l’us de l’expressio «recerca artistica»: 1. Recerca per a l’art; es a dir, per a la produccio d...

Proceedings of the Arts Research Africa Conference

Mark Fleishman

Artistic Research and the Institution: a cautionary tale Prof Mark Fleishman, Centre for Theatre, Dance & Performance Studies, UCT 1. Points of departure The central question I will examine today might be stated as follows: what impact do the specific institutional contexts, academic or otherwise, in which we produce research have on the art work itself and the potential ways of knowing associated with it? If we were to shift from a concern with epistemology (how we go about doing artistic research), or ontology (what in fact artistic research is), to a Levinasian concern with ethics, what would an ethical approach to the work of art entail with reference to these institutional pressures/distortions? I have been engaged with artistic research since the mid-1990s. Over that time I would suggest, artistic research has undergone a process of institutionalization. I understand institutionalization to be a process by which individuals come to accept shared definitions of a particular reality-the process by which actions are repeated and given similar meaning by oneself and others. Such an understanding requires us to accept that institutions are not 'naturally' occurring entities but are made by people over a period of time. Any process of institutionalization involves regulative elements: the development of policies and work rules; normative elements : the emergence of habits and work norms; and cognitive elements: the institution of a relatively stable set of beliefs and values. All three help to provide a basis for legitimacy and durability. One vector of institutionalization has been driven from within the arts disciplines themselves. Artistic research has developed a history, a number of structured organisations (PARIP; The Society for Artistic Research; The Performance as Research Working Group of the IFTR; The SenseLab etc) in different geographical locations, and a set of writings, a literature consisting of a body of key texts. And while these texts are by no means equally available or meaningful to all and the literature assembles and reassembles differently according to regional specificities, understandings and proclivities, the literature ensures an element of legitimacy and a perception of stability to the practice. Even if we cannot/don't necessarily always agree on everything to do with artistic research, the existence of the literature suggests that something actual is out there when we speak of artistic research in our various contexts. One of the papers from that body of literature, published in 2009, continues to haunt me in the sense that it unsettles any certainty I might entertain about what we now quite confidently assert about artistic research.

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• Published: 31 October 2017

The visual essay and the place of artistic research in the humanities

• Remco Roes 1 &
• Kris Pint 1  

Palgrave Communications volume  3 , Article number:  8 ( 2017 ) Cite this article

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What could be the place of artistic research in current contemporary scholarship in the humanities? The following essay addresses this question while using as a case study a collaborative artistic project undertaken by two artists, Remco Roes (Belgium) and Alis Garlick (Australia). We argue that the recent integration of arts into academia requires a hybrid discourse, which has to be distinguished both from the artwork itself and from more conventional forms of academic research. This hybrid discourse explores the whole continuum of possible ways to address our existential relationship with the environment: ranging from aesthetic, multi-sensorial, associative, affective, spatial and visual modes of ‘knowledge’ to more discursive, analytical, contextualised ones. Here, we set out to defend the visual essay as a useful tool to explore the non-conceptual, yet meaningful bodily aspects of human culture, both in the still developing field of artistic research and in more established fields of research. It is a genre that enables us to articulate this knowledge, as a transformative process of meaning-making, supplementing other modes of inquiry in the humanities.

Introduction

In Being Alive: Essays on Movement, Knowledge and Description (2011), Tim Ingold defines anthropology as ‘a sustained and disciplined inquiry into the conditions and potentials of human life’ (Ingold, 2011 , p. 9). For Ingold, artistic practice plays a crucial part in this inquiry. He considers art not merely as a potential object of historical, sociological or ethnographic research, but also as a valuable form of anthropological inquiry itself, providing supplementary methods to understand what it is ‘to be human’.

In a similar vein, Mark Johnson’s The meaning of the body: aesthetics of human understanding (2007) offers a revaluation of art ‘as an essential mode of human engagement with and understanding of the world’ (Johnson, 2007 , p. 10). Johnson argues that art is a useful epistemological instrument because of its ability to intensify the ordinary experience of our environment. Images Footnote 1 are the expression of our on-going, complex relation with an inner and outer environment. In the process of making images of our environment, different bodily experiences, like affects, emotions, feelings and movements are mobilised in the creation of meaning. As Johnson argues, this happens in every process of meaning-making, which is always based on ‘deep-seated bodily sources of human meaning that go beyond the merely conceptual and propositional’ (Ibid., p. 11). The specificity of art simply resides in the fact that it actively engages with those non-conceptual, non-propositional forms of ‘making sense’ of our environment. Art is thus able to take into account (and to explore) many other different meaningful aspects of our human relationship with the environment and thus provide us with a supplementary form of knowledge. Hence Ingold’s remark in the introduction of Making: anthropology, archaeology, art and architecture (2013): ‘Could certain practices of art, for example, suggest new ways of doing anthropology? If there are similarities between the ways in which artists and anthropologists study the world, then could we not regard the artwork as a result of something like an anthropological study, rather than as an object of such study? […] could works of art not be regarded as forms of anthropology, albeit ‘written’ in non-verbal media?’ (Ingold, 2013 , p. 8, italics in original).

And yet we would hesitate to unreservedly answer yes to these rhetorical questions. For instance, it is true that one can consider the works of Francis Bacon as an anthropological study of violence and fear, or the works of John Cage as a study in indeterminacy and chance. But while they can indeed be seen as explorations of the ‘conditions and potentials of human life’, the artworks themselves do not make this knowledge explicit. What is lacking here is the logos of anthropology, logos in the sense of discourse, a line of reasoning. Therefore, while we agree with Ingold and Johnson, the problem remains how to explicate and communicate the knowledge that is contained within works of art, how to make it discursive ? How to articulate artistic practice as an alternative, yet valid form of scholarly research?

Here, we believe that a clear distinction between art and artistic research is necessary. The artistic imaginary is a reaction to the environment in which the artist finds himself: this reaction does not have to be conscious and deliberate. The artist has every right to shrug his shoulders when he is asked for the ‘meaning’ of his work, to provide a ‘discourse’. He can simply reply: ‘I don’t know’ or ‘I do not want to know’, as a refusal to engage with the step of articulating what his work might be exploring. Likewise, the beholder or the reader of a work of art does not need to learn from it to appreciate it. No doubt, he may have gained some understanding about ‘human existence’ after reading a novel or visiting an exhibition, but without the need to spell out this knowledge or to further explore it.

In contrast, artistic research as a specific, inquisitive mode of dealing with the environment requires an explicit articulation of what is at stake, the formulation of a specific problem that determines the focus of the research. ‘Problem’ is used here in the neutral, etymological sense of the word: something ‘thrown forward’, a ‘hindrance, obstacle’ (cf. probleima , Liddell-Scott’s Greek-English Lexicon). A body-in-an-environment finds something thrown before him or her, an issue that grabs the attention. A problem is something that urges us to explore a field of experiences, the ‘potentials of human life’ that are opened up by a work of art. It is often only retroactively, during a second, reflective phase of the artistic research, that a formulation of a problem becomes possible, by a selection of elements that strikes one as meaningful (again, in the sense Johnson defines meaningful, thus including bodily perceptions, movements, affects, feelings as meaningful elements of human understanding of reality). This process opens up, to borrow a term used by Aby Warburg, a ‘Denkraum’ (cf. Gombrich, 1986 , p. 224): it creates a critical distance from the environment, including the environment of the artwork itself: this ‘space for thought’ allows one to consciously explore a specific problem. Consciously here does not equal cerebral: the problem is explored not only in its intellectual, but also in its sensual and emotional, affective aspects. It is projected along different lines in this virtual Denkraum , lines that cross and influence each other: an existential line turns into a line of form and composition; a conceptual line merges into a narrative line, a technical line echoes an autobiographical line. There is no strict hierarchy in the different ‘emanations’ of a problem. These are just different lines contained within the work that interact with each other, and the problem can ‘move’ from one line to another, develop and transform itself along these lines, comparable perhaps to the way a melody develops itself when it is transposed to a different musical scale, a different musical instrument, or even to a different musical genre. But, however, abstract or technical one formulates a problem, following Johnson we argue that a problem is always a translation of a basic existential problem, emerging from a specific environment. We fully agree with Johnson when he argues that ‘philosophy becomes relevant to human life only by reconnecting with, and grounding itself in, bodily dimensions of human meaning and value. Philosophy needs a visceral connection to lived experience’ (Johnson, 2007 , p. 263). The same goes for artistic research. It too finds its relevance in the ‘visceral connection’ with a specific body, a specific situation.

Words are one way of disclosing this lived experience, but within the context of an artistic practice one can hardly ignore the potential for images to provide us with an equally valuable account. In fact, they may even prove most suited to establish the kind of space that comes close to this multi-threaded, embodied Denkraum . In order to illustrate this, we would like to present a case study, a short visual ‘essay’ (however, since the scope of four spreads offers only limited space, it is better to consider it as the image-equivalent of a short research note).

Case study: step by step reading of a visual essay

The images (1, 2, 3, 4, 5) form a short visual essay based on a collaborative artistic project 'Exercises of the man (v)' that Remco Roes and Alis Garlick realised for the Situation Symposium at Royal Melbourne Institute of Technology in Melbourne in 2014. One of the conceptual premises of the project was the communication of two physical ‘sites’ through digital media. Roes—located in Belgium—would communicate with Garlick—in Australia—about an installation that was to be realised at the physical location of the exhibition in Melbourne. Their attempts to communicate (about) the site were conducted via e-mail messages, Skype-chats and video conversations. The focus of these conversations increasingly distanced itself from the empty exhibition space of the Design Hub and instead came to include coincidental spaces (and objects) that happened to be close at hand during the 3-month working period leading up to the exhibition. The focus of the project thus shifted from attempting to communicate a particular space towards attempting to communicate the more general experience of being in(side) a space. The project led to the production of a series of small in-situ installations, a large series of video’s and images, a book with a selection of these images as well as texts from the conversations, and the final exhibition in which artefacts that were found during the collaborative process were exhibited. A step by step reading of the visual argument contained within images of this project illustrates how a visual essay can function as a tool for disclosing/articulating/communicating the kind of embodied thinking that occurs within an artistic practice or practice-based research.

Figure 1 shows (albeit in reduced form) a field of photographs and video stills that summarises the project without emphasising any particular aspect. Each of the Figs. 2 – 5 isolate different parts of this same field in an attempt to construct/disclose a form of visual argument (that was already contained within the work). In the final part of this essay we will provide an illustration of how such visual sequences can be possibly ‘read’.

First image of the visual essay. Remco Roes and Alis Garlick, as copyright holders, permit the publication of this image under a Creative Commons Attribution 4.0 International License

Second image of the visual essay. Remco Roes and Alis Garlick, as copyright holders, permit the publication of this image under a Creative Commons Attribution 4.0 International License

Third image of the visual essay. Remco Roes and Alis Garlick, as copyright holders, permit the publication of this image under a Creative Commons Attribution 4.0 International License

Fourth image of the visual essay. Remco Roes and Alis Garlick, as copyright holders, permit the publication of this image under a Creative Commons Attribution 4.0 International License

Fifth image of the visual essay. Remco Roes and Alis Garlick, as copyright holders, permit the publication of this image under a Creative Commons Attribution 4.0 International License

Figure 1 is a remnant of the first step that was taken in the creation of the series of images: significant, meaningful elements in the work of art are brought together. At first, we quite simply start by looking at what is represented in the pictures, and how they are presented to us. This act of looking almost inevitably turns these images into a sequence, an argument. Conditioned by the dominant linearity of writing, including images (for instance in a comic book) one ‘reads’ the images from left to right, one goes from the first spread to the last. Just like one could say that a musical theme or a plot ‘develops’, the series of images seem to ‘develop’ the problem, gradually revealing its complexity. The dominance of this viewing code is not to be ignored, but is of course supplemented by the more ‘holistic’ nature of visual perception (cf. the notion of ‘Gestalt’ in the psychology of perception). So unlike a ‘classic’ argumentation, the discursive sequence is traversed by resonance, by non-linearity, by correspondences between elements both in a single image and between the images in their specific positioning within the essay. These correspondences reveal the synaesthetic nature of every process of meaning-making: ‘The meaning of something is its relations, actual and potential, to other qualities, things, events, and experiences. In pragmatist lingo, the meaning of something is a matter of how it connects to what has gone before and what it entails for present or future experiences and actions’ (Johnson, 2007 , p. 265). The images operate in a similar way, by bringing together different actions, affects, feelings and perceptions into a complex constellation of meaningful elements that parallel each other and create a field of resonance. These connections occur between different elements that ‘disturb’ the logical linearity of the discourse, for instance by the repetition of a specific element (the blue/yellow opposition, or the repetition of a specific diagonal angle).

Confronted with these images, we are now able to delineate more precisely the problem they express. In a generic sense we could formulate it as follows: how to communicate with someone who does not share my existential space, but is nonetheless visually and acoustically present? What are the implications of the kind of technology that makes such communication possible, for the first time in human history? How does it influence our perception and experience of space, of materiality, of presence?

Artistic research into this problem explores the different ways of meaning-making that this new existential space offers, revealing the different conditions and possibilities of this new spatiality. But it has to be stressed that this exploration of the problem happens on different lines, ranging from the kinaesthetic perception to the emotional and affective response to these spaces and images. It would, thus, be wrong to reduce these experiences to a conceptual framework. In their actions, Roes and Garlick do not ‘make a statement’: they quite simply experiment with what their bodies can do in such a hybrid space, ‘wandering’ in this field of meaningful experiences, this Denkraum , that is ‘opened up’: which meaningful clusters of sensations, affects, feelings, spatial and kinaesthetic qualities emerge in such a specific existential space?

In what follows, we want to focus on some of these meaningful clusters. As such, these comments are not part of the visual essay itself. One could compare them to ‘reading remarks’, a short elaboration on what strikes one as relevant. These comments also do not try to ‘crack the code’ of the visual material, as if they were merely a visual and/or spatial rebus to be solved once and for all (‘ x stands for y’ ). They rather attempt to engage in a dialogue with the images, a dialogue that of course does not claim to be definitive or exhaustive.

The constellation itself generates a sense of ‘lacking’: we see that there are two characters intensely collaborating and interacting with each other, while never sharing the same space. They are performing, or watching the other perform: drawing a line (imaginary or physically), pulling, wrapping, unpacking, watching, framing, balancing. The small arrangements, constructions or compositions that are made as a result of these activities are all very fragile, shaky and their purpose remains unclear. Interaction with the other occurs only virtually, based on the manipulation of small objects and fragments, located in different places. One of the few materials that eventually gets physically exported to the other side, is a kind of large plastic cover. Again, one should not ‘read’ the picture of Roes with this plastic wrapped around his head as an expression, a ‘symbol’ of individual isolation, of being wrapped up in something. It is simply the experience of a head that disappears (as a head appears and disappears on a computer screen when it gets disconnected), and the experience of a head that is covered up: does it feel like choking, or does it provide a sense of shelter, protection?

A different ‘line’ operates simultaneously in the same image: that of a man standing on a double grid: the grid of the wet street tiles and an alternative, oblique grid of colourful yellow elements, a grid which is clearly temporal, as only the grid of the tiles will remain. These images are contrasted with the (obviously staged) moment when the plastic arrives at ‘the other side’: the claustrophobia is now replaced with the openness of the horizon, the presence of an open seascape: it gives a synaesthetic sense of a fresh breeze that seems lacking in the other images.

In this case, the contrast between the different spaces is very clear, but in other images we also see an effort to unite these different spaces. The problem can now be reformulated, as it moves to another line: how to demarcate a shared space that is both actual and virtual (with a ribbon, the positioning of a computer screen?), how to communicate with each other, not only with words or body language, but also with small artefacts, ‘meaningless’ junk? What is the ‘common ground’ on which to walk, to exchange things—connecting, lining up with the other? And here, the layout of the images (into a spread) adds an extra dimension to the original work of art. The relation between the different bodies does now not only take place in different spaces, but also in different fields of representation: there is the space of the spread, the photographed space and in the photographs, the other space opened up by the computer screen, and the interaction between these levels. We see this in the Fig. 3 where Garlick’s legs are projected on the floor, framed by two plastic beakers: her black legging echoing with the shadows of a chair or a tripod. This visual ‘rhyme’ within the image reveals how a virtual presence interferes with what is present.

The problem, which can be expressed in this fundamental opposition between presence/absence, also resonates with other recurring oppositions that rhythmically structure these images. The images are filled with blue/yellow elements: blue lines of tape, a blue plexi form, yellow traces of paint, yellow objects that are used in the video’s, but the two tones are also conjured up by the white balance difference between daylight and artificial light. The blue/yellow opposition, in turn, connects with other meaningful oppositions, like—obviously—male/female, or the same oppositional set of clothes: black trousers/white shirt, grey scale images versus full colour, or the shadow and the bright sunlight, which finds itself in another opposition with the cold electric light of a computer screen (this of course also refers to the different time zones, another crucial aspect of digital communication: we do not only not share the same place, we also do not share the same time).

Yet the images also invite us to explore certain formal and compositional elements that keep recurring. The second image, for example, emphasises the importance placed in the project upon the connecting of lines, literally of lining up. Within this image the direction and angle of these lines is ‘explained’ by the presence of the two bodies, the makers with their roles of tape in hand. But upon re-reading the other spreads through this lens of ‘connecting lines’ we see that this compositional element starts to attain its own visual logic. Where the lines in image 2 are literally used as devices to connect two (visual) realities, they free themselves from this restricted context in the other images and show us the influence of circumstance and context in allowing for the successful establishing of such a connection.

In Fig. 3 , for instance, we see a collection of lines that have been isolated from the direct context of live communication. The way two parts of a line are manually aligned (in the split-screens in image 2) mirrors the way the images find their position on the page. However, we also see how the visual grammar of these lines of tape is expanded upon: barrier tape that demarcates a working area meets the curve of a small copper fragment on the floor of an installation, a crack in the wall follows the slanted angle of an assembled object, existing marks on the floor—as well as lines in the architecture—come into play. The photographs widen the scale and angle at which the line operates: the line becomes a conceptual form that is no longer merely material tape but also an immaterial graphical element that explores its own argument.

Figure 4 provides us with a pivotal point in this respect: the cables of the mouse, computer and charger introduce a certain fluidity and uncontrolled motion. Similarly, the erratic markings on the paper show that an author is only ever partially in control. The cracked line in the floor is the first line that is created by a negative space, by an absence. This resonates with the black-stained edges of the laser-cut objects, laid out on the desktop. This fourth image thus seems to transform the manifestation of the line yet again; from a simple connecting device into an instrument that is able to cut out shapes, a path that delineates a cut, as opposed to establishing a connection. The circle held up in image 4 is a perfect circular cut. This resonates with the laser-cut objects we see just above it on the desk, but also with the virtual cuts made in the Photoshop image on the right. We can clearly see how a circular cut remains present on the characteristic grey-white chessboard that is virtual emptiness. It is evident that these elements have more than just an aesthetic function in a visual argumentation. They are an integral part of the meaning-making process. They ‘transpose’ on a different level, i.e., the formal and compositional level, the central problem of absence and presence: it is the graphic form of the ‘cut’, as well as the act of cutting itself, that turns one into the other.

Concluding remarks

As we have already argued, within the frame of this comment piece, the scope of the visual essay we present here is inevitably limited. It should be considered as a small exercise in a specific genre of thinking and communicating with images that requires further development. Nonetheless, we hope to have demonstrated the potentialities of the visual essay as a form of meaning-making that allows the articulation of a form of embodied knowledge that supplements other modes of inquiry in the humanities. In this particular case, it allows for the integration of other meaningful, embodied and existential aspects of digital communication, unlikely to be ‘detected’ as such by an (auto)ethnographic, psychological or sociological framework.

The visual essay is an invitation to other researchers in the arts to create their own kind of visual essays in order to address their own work of art or that of others: they can consider their artistic research as a valuable contribution to the exploration of human existence that lies at the core of the humanities. But perhaps it can also inspire scholars in more ‘classical’ domains to introduce artistic research methods to their toolbox, as a way of taking into account the non-conceptual, yet meaningful bodily aspects of human life and human artefacts, this ‘visceral connection to lived experience’, as Johnson puts it.

Obviously, a visual essay runs the risk of being ‘shot by both sides’: artists may scorn the loss of artistic autonomy and ‘exploitation’ of the work of art in the service of scholarship, while academic scholars may be wary of the lack of conceptual and methodological clarity inherent in these artistic forms of embodied, synaesthetic meaning. The visual essay is indeed a bastard genre, the unlawful love (or perhaps more honestly: love/hate) child of academia and the arts. But precisely this hybrid, impure nature of the visual essay allows it to explore unknown ‘conditions and potentials of human life’, precisely because it combines imagination and knowledge. And while this combination may sound like an oxymoron within a scientific, positivistic paradigm, it may in fact indicate the revival, in a new context, of a very ancient alliance. Or as Giorgio Agamben formulates it in Infancy and history: on the destruction of experience (2007 [1978]): ‘Nothing can convey the extent of the change that has taken place in the meaning of experience so much as the resulting reversal of the status of the imagination. For Antiquity, the imagination, which is now expunged from knowledge as ‘unreal’, was the supreme medium of knowledge. As the intermediary between the senses and the intellect, enabling, in phantasy, the union between the sensible form and the potential intellect, it occupies in ancient and medieval culture exactly the same role that our culture assigns to experience. Far from being something unreal, the mundus imaginabilis has its full reality between the mundus sensibilis and the mundus intellegibilis , and is, indeed, the condition of their communication—that is to say, of knowledge’ (Agamben, 2007 , p. 27, italics in original).

And it is precisely this exploration of the mundus imaginabilis that should inspire us to understand artistic research as a valuable form of scholarship in the humanities.

We consider images as a broad category consisting of artefacts of the imagination, the creation of expressive ‘forms’. Images are thus not limited to visual images. For instance, the imagery used in a poem or novel, metaphors in philosophical treatises (‘image-thoughts’), actual sculptures or the imaginary space created by a performance or installation can also be considered as images, just like soundscapes, scenography, architecture.

Agamben G (2007) Infancy and history: on the destruction of experience [trans. L. Heron]. Verso, London/New York, NY

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Art inspired by science: students researchers unleash their creative side

By Gisela Valencia

June 17, 2024 at 12:09pm

Can art and science really be interconnected?

Scientists collect data, conduct experiments and make discoveries. Artists tell stories and tap into life's intangible spaces to shed light on the human condition. The two roles seem light years apart.

A group of FIU student researchers are bursting through stereotypes and showing us that art and science are actually two sides of the same coin. These students are using their love of nature and scientific inquiry to fuel their creation of art in a variety of mediums from drawings to crafts to photography.

The student researchers are part of the Florida Coastal Everglades Long Term Ecological Research (FCE LTER) program , which is based at FIU’s Institute of Environment. The program has collected the most comprehensive, long-term data instrumental to understanding how the Everglades is changing over time. 

While conducting research in the Everglades, the students are often moved to wonder as they stare at the sun glimmering through the trees or as they observe the patterns and properties of the wildlife and organisms they are studying.

This awe has led them to create. It has propelled them to embrace the arts, or in some cases, to renew their artistic activities with science in mind.

Paige Kleindl, a Ph.D. candidate in biology, is one of these students.

“Creativity is at the heart of science and art,” Kleindl says. "Illustration and visual depiction have always been an integral part of understanding science." 

Two years ago, Kleindl and several of her colleagues began meeting informally to talk about their artistic endeavors. The group was composed of their networks — students who were also researchers from the FCE LTER program. The meetings eventually became FCE LTER student group activities, and the crafty scientists became prolific artists.

Fast forward to today, and the group has presented two annual photography competitions, a one-day art showcase and, most recently, a two-month-long art exhibit at the Glenn Gallery at FIU’s Biscayne Bay Campus. The exhibit ended in May, but its beauty left a lasting impression on fans and artists alike.

“It was so much fun,” says Kleindl, who organized the exhibit. “It was great to see the pride on the artists' faces at the exhibit opening. We create art for fun. It’s something we do because we love it, and we love depicting nature. Being able to present these creative depictions of the Everglades to other people was amazing.”

“The name of the exhibit was 'More Than a Scientist’ because it highlighted the multifaceted nature of scientists," Kleindl adds. "People may see us as solely analytical. But scientists are so much more. What we do takes so much passion. That's what motivates us to wake up at four in the morning and travel to the wilderness in 100-degree weather just to take samples. We are passionate about our research, and we are passionate about understanding and preserving the natural world. And that feeds our creative side.”

The exhibit featured 50 pieces of art created by 10 students and one staff member. It showcased a diverse range of artwork, including black ink drawings, photography, traditional scientific illustration, linoleum prints, watercolors and embroidery, among others.

Check out a few of the works created by some of the scientist-artists in the group.

Snail prints

Carlos Pulido, a Ph.D. candidate in the Department of Earth and Environment, says that art became a way to re-energize and re-focus on science. He enjoys creating nature-inspired linoleum prints (like the one pictured above). 

“I began creating linoleum prints as a way to unwind from the rigorous demands of my Ph.D.,” he says. “This artistic expression unexpectedly enhanced my research, offering a tactile, hands-on counterbalance to my digitally-heavy routine. I've found that the entire intricate process — from sketching to carving and printing — not only helps with my mental clarity, but also enriches my approach to problem-solving in my scientific work.”

He adds, “I didn't anticipate discovering a community of artists within our own research working groups. Connecting with fellow researchers who also engage in artistic pursuits inspires me and broadens my perspective[s], both personally and professionally.”

Embroidering micro-algae 

When Hanna Innocent was in elementary school, her grandmother taught her the art of embroidery.  

"[She] would buy me embroidery kits when we'd visit during the summer," Innocent recalls. "During COVID, I picked it up again and it was like muscle memory."

Today, Innocent is a master's degree student in biological sciences -- and she weaves science into her artistry. Recently, she created her own embroidery patterns to celebrate the organisms she researches: micro-algae.

"Micro-algae and diatoms are such tiny, beautiful organisms that tend to be overlooked by everyone," she says. "The more I learn about them in my career the more I fall in love with them, not only with how important they are to life on earth, but also with how complex and intricate they can be. I started off drawing them as a way to better understand what they look like, but it turned into depicting them in several different art forms that I enjoy creating in. I see micro-algae as an array of beautiful colors and rainbows, and I want the rest of the world to see them too."

Tiny beauty

Graduate biology student Anne Sabol believes photography can help expand the reach of science. " I work in the conservation realm, and a captivating photo can draw in a new audience and get them to care about the animals we study and are trying to save in a way that traditional science publications cannot."

The result? Sabol snaps away photos of the beauty she witnesses in the Everglades. Recently, one of her photos of a cormorant earned second place in the student group's photography competition this year. 

In the photogoraph above, she captured a unique view of a tiny, intriguing animal that is usually about an inch or two long: a lettuce sea slug. " I chose this picture because it helps everyone appreciate the tiny creatures we might overlook."

Sabol will graduate with her Ph.D. this summer. 

The mangrove forest

Tommy Shannon, a Ph.D. candidate in the Department of Biological Sciences, began his journey into photography while taking pictures under the microscope and in the field. His goal was to photo-document the algae research he was conducting. But things began to change as he realized the beauty of the visual medium.

“Photography took on a second life as an art form when I discovered I could use my photos to share the wonder I see in the natural world,” he says. “In my research I get the privilege to see and experience amazing things that are inaccessible to most people. I feel like photography enables me to make these experiences accessible to a much larger group of people and to share the 'wow' I feel. For me, science and photography are two paths to the same place of discovery and understanding.”

The photo above was taken at one of the long-term ecological research sites that scientists at FIU have been visiting for over two decades.

"It's a place where the land meets the sea in a maze of mangroves and tidal rivers," Shannon explains. He says the photo "illustrates the structure and function of the mangrove forest, from the skyward leaves to the knotty tangle of roots that hold the forest steady in high winds and floods." 

Taking a closer look

At a very young age, Michelle Yi began creating art. Currently a junior marine biology major, Yi is happy to use her artistic skills to spotlight animals she's encountered in the field.  

"I chose to illustrate these pieces in particular to bring awareness to the beauty of predatory species [alligator and dragon/damselflies]," she says. "While all wild animals should be treated and respected as such, always with knowledge and caution, acknowledging their critical role in their home environments and seeing the beauty of their capabilities was a very big inspiration [for me]."

The alligator painting is a white pen piece on a wooden board that was painted black using acrylic paint. Yi then highlighted the alligator with white pen through stippling, a technique that creates an art piece by repeatedly marking the piece with small marks or spots. Yi created the damselfly drawing using colored pencils on canvas papers. 

Tangled roots

Rosario Vidales enjoys designing T-shirts. Vidales is also a Ph.D. student in the Natural Resource Science and Management program. She combined both of her interests to create a shirt design reminiscent of a band T-shirt, with a scientific twist. 

"Since my research involves red mangroves, I thought a design showcasing their tangled prop-roots would be very cool," Vidales says. "I created my design with a picture of red mangrove roots I took while out in the Everglades. I screen-printed the design onto black paper for the ['More Than a Scientist'] exhibit and have also screen printed the design onto a few shirts (which is always a fun conversation starter). I hope to create more nature inspired designs in the future."

Vidales adds that " Carbon   Sequestration, " refers to one of the ecosystem services provided by mangroves through their uptake of  carbon  dioxide from the atmosphere. Red mangroves store the carbon dioxide in their roots, branches and leaves.

Sparkling water

This is what algae looks like under a microscope. This painting features a group of algae called diatoms that are found by the trillions in the Everglades but are invisible to the naked eye.

Kleindl created this piece as a way to illuminate the tiny organisms that have captured her attention and ground her research. "I love algae," Kleindl says. "Diatoms are visually showstopping because of their symmetrical, ornate and complex design. I have seen only a few artists creating algae art, and I wanted to explore my study species from a different perspective. I told myself, 'I’m a creative scientist, let’s see what I can do.'"

This piece showcases the variety of growth forms, shapes and morphological features of diatoms captured in a collage of communities found in a single drop of water. 

“Diatom cell walls are made of glass that reflect light when we view them under the microscope," Kleindl says. "I used glitter paint to create the diatoms as a way to convey a question -  when light glimmers off the waves and water, isn't it reflecting off the cells of diatoms too?”

That's just one more way to explore science through art. 

Cross-Cultural Psychology

Art across cultures: a tapestry of diverse expressions, exploring the impact of culture on artistic perception and creation..

Posted June 4, 2024 | Reviewed by Monica Vilhauer

• The diversity of artistic expression worldwide emphasizes culture's role in art creation and perception.
• Emotional reactions to art and aesthetic judgments are deeply influenced by cultural factors as well.
• Understanding cross-cultural perspectives on art fosters empathy and inclusivity in the global art community.

This post is written by Hreem Mahadeshwar and Valedeen D'Souza, Monk Prayogshala, Mumbai.

Art is like a deep, shared language that shows us the beauty and complexity of our cultures. Going beyond words, it helps us capture the elements that make each civilization unique and also succeeds in giving us a glimpse into the hearts of those who create it. More often than not, artists use the rich traditions and symbols of their backgrounds to inspire their creations, weaving their cultural stories into their work. The diversity of artistic expression worldwide—from the intricate calligraphy found in Islamic art, which is not just an aesthetic endeavor but also a profound manifestation of cultural and religious significance, to the vibrant patterns and colors in African art, rooted deeply in the continent's rich traditions—highlights the significant role culture plays in art creation. With various kinds of cultures present it isn't hard to posit that individuals from different cultures could perceive art through unique cognitive frameworks developed within their cultural contexts.

This cultural shaping extends into the cognitive processes that underlie artistic expression and appreciation. Culture molds our cognitive frameworks, influencing how we perceive, create, and interpret art. A study found that cultural differences between the East and West profoundly affect perception and thought processes, which in turn can be reflected in artistic expressions. For example, the emphasis on perspective and individual elements in Western art contrasts with the focus on harmony and the relationship between elements in Eastern art. These distinctions not only celebrate the diversity of artistic expression but also underscore how cultural contexts shape our appreciation and understanding of art.

Moreover, the varied use of symbols in art across different cultures adds layers of meaning and complexity to the global art landscape. The meanings attributed to colors, shapes, and motifs, and the storytelling and narrative techniques, vary significantly across cultures, enriching the art world with diverse perspectives. The color red , for instance, may symbolize luck and prosperity in Chinese culture, whereas it might represent negative connotations like blood or danger in some Western contexts. Additionally, storytelling and narrative techniques exhibit remarkable variation across cultural traditions, enriching the world of art with diverse perspectives.

Japanese manga also offers a unique way of telling stories that's different from Western comics. Its special distinctive panel layouts along with its unique storytelling ways provide a rather contrasting narrative experience compared to that of Western comic books. More specifically, manga’s narrative style is deeply influenced by Japanese aesthetics and values, emphasizing the flow of time and the internal states of characters, often through the use of visually quiet, contemplative panels that contrast sharply with the action. As emphasized by Scott McCloud in “ Understanding Comics ”, Western comics tend to be rooted in American and European traditions. Thus they emphasize the external action and dynamics between characters, with a stronger focus on linear storytelling and direct conflict. The art style in Western comics often highlights realism and proportion, with a vibrant color palette used to capture the attention and convey the mood or tone of the scene. The narrative structure is generally more straightforward, with each panel pushing the story forward through action or dialogue. These cultural differences in symbolism and narrative techniques not only underscore the diversity of artistic expression but also draw attention to the role of cultural context in the interpretation of art.

Cultural backgrounds significantly shape how individuals perceive and engage with artworks, particularly through the lens of attentional processes. Cultural values, aesthetic norms, and familiarity influence what aspects of art capture attention. Cultural priming further accentuates attentional biases towards culturally congruent stimuli. For instance, while Western cultures tend to put more emphasis on the object itself, East Asian cultures pay more attention to the context surrounding the object. By recognizing and embracing the differences between cultures, we can make enjoying art a more inclusive and rewarding experience for everyone.

Also, in many cultures, people feel and show their emotions together, collectively , creating a sense of harmony, togetherness, and shared happiness . This contrasts with cultures that value individuality, where personal reactions to art can include deep self-reflection, intense feelings, and thoughts about life's big questions. This shows that different cultures have their own ways of understanding and showing emotions, which could play a role in the way individuals from various cultures look at a particular artwork. When we learn about these differences, we start to appreciate the wide range of human experiences and creativity even more. Recognizing how our backgrounds influence our views and feelings towards art helps us become more open-minded and respectful of others. This approach to art opens our hearts to the beauty of diversity, bringing us closer to art lovers around the world.

In the rich tapestry of human culture, art serves as a vibrant reflection of our diverse experiences. Rooted in cultural heritage, artistic expression resonates with varied emotions and perspectives across societies. Understanding these cross-cultural dynamics enriches our appreciation of art's universal appeal and cultural specificity. By acknowledging the influence of cultural factors on artistic interpretation and emotional reactions, we cultivate empathy and understanding across diverse cultural contexts. Ultimately, embracing cultural diversity enhances the inclusivity and richness of our artistic experiences, fostering a deeper connection to the global art community.

Monk Prayogshala Research Institution is a not-for-profit academic research institution in Mumbai, India.

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Art history major gains hands-on experience at Christie’s

By Kyra Gurney 06-17-2024

Divya Srinivasan arrived at the University of Miami with plans to major in political science and prepare for law school. Then, to fulfill the requirements of the University’s cognate program , she enrolled in art history classes and promptly fell in love with the discipline. 

“I want to go into art law, and I think the course framework at UM has really allowed me to explore many aspects of what that could consist of, from both an art historical and political perspective,” said Srinivasan, a senior in the College of Arts and Sciences who is studying art history and political science . “I’ve truly been able to combine my passions.” 

This summer, for the second year in a row, Srinivasan is gaining hands-on experience in the business side of the art world as an intern at Christie’s , the international art and luxury goods company known for its auctions.

“I was really interested in learning about the business of art,” Srinivasan said, explaining why she first applied for the internship in New York City. “The art industry is so diverse, and I wanted to get an understanding of the various career opportunities associated with it.”

Last summer, Srinivasan worked with Christie’s as a client strategy intern, helping to conduct research on current and prospective clients.  

“I think participating in an internship like this one put into perspective the number of different paths people take while navigating the art industry,” Srinivasan said. “I was able to learn about what opportunities are out there, helping me focus on how to maximize my time at UM.”

This summer, Srinivasan is interning in the trusts, estates, and appraisals department at Christie’s, where she is learning about how the company assists clients with the management and transaction of their collections.

She is excited to be back in New York and plans to take advantage of the city’s vibrant art scene by visiting museums and galleries.

Srinivasan, who grew up in Central Florida, was drawn to the University in part by the cognate program, which she saw as an opportunity to take classes on a variety of different subjects. “I think the University’s interest in making sure students are well-rounded was really helpful to me,” she said.

One of the experiences Srinivasan has enjoyed in the College of Arts and Sciences is ArtLab @ the Lowe , a class that provides students with the opportunity to help curate an exhibition at the Lowe Art Museum . Srinivasan traveled to Japan while taking the class and learned about the curatorial process and the museum industry.

After she graduates in December, Srinivasan plans to go to law school. She is drawn to several different areas within art law, including estate planning and the restitution of stolen artwork.

“I have a passion for learning about the contemporary art market, but also about how to address the historical injustices within the art world,” she said.

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40 Facts About Elektrostal

Written by Lanette Mayes

Modified & Updated: 01 Jun 2024

Reviewed by Jessica Corbett

Elektrostal is a vibrant city located in the Moscow Oblast region of Russia. With a rich history, stunning architecture, and a thriving community, Elektrostal is a city that has much to offer. Whether you are a history buff, nature enthusiast, or simply curious about different cultures, Elektrostal is sure to captivate you.

This article will provide you with 40 fascinating facts about Elektrostal, giving you a better understanding of why this city is worth exploring. From its origins as an industrial hub to its modern-day charm, we will delve into the various aspects that make Elektrostal a unique and must-visit destination.

So, join us as we uncover the hidden treasures of Elektrostal and discover what makes this city a true gem in the heart of Russia.

Key Takeaways:

• Elektrostal, known as the “Motor City of Russia,” is a vibrant and growing city with a rich industrial history, offering diverse cultural experiences and a strong commitment to environmental sustainability.
• With its convenient location near Moscow, Elektrostal provides a picturesque landscape, vibrant nightlife, and a range of recreational activities, making it an ideal destination for residents and visitors alike.

Known as the “Motor City of Russia.”

Elektrostal, a city located in the Moscow Oblast region of Russia, earned the nickname “Motor City” due to its significant involvement in the automotive industry.

Home to the Elektrostal Metallurgical Plant.

Elektrostal is renowned for its metallurgical plant, which has been producing high-quality steel and alloys since its establishment in 1916.

Boasts a rich industrial heritage.

Elektrostal has a long history of industrial development, contributing to the growth and progress of the region.

Founded in 1916.

The city of Elektrostal was founded in 1916 as a result of the construction of the Elektrostal Metallurgical Plant.

Located approximately 50 kilometers east of Moscow.

Elektrostal is situated in close proximity to the Russian capital, making it easily accessible for both residents and visitors.

Known for its vibrant cultural scene.

Elektrostal is home to several cultural institutions, including museums, theaters, and art galleries that showcase the city’s rich artistic heritage.

A popular destination for nature lovers.

Surrounded by picturesque landscapes and forests, Elektrostal offers ample opportunities for outdoor activities such as hiking, camping, and birdwatching.

Hosts the annual Elektrostal City Day celebrations.

Every year, Elektrostal organizes festive events and activities to celebrate its founding, bringing together residents and visitors in a spirit of unity and joy.

Has a population of approximately 160,000 people.

Elektrostal is home to a diverse and vibrant community of around 160,000 residents, contributing to its dynamic atmosphere.

Boasts excellent education facilities.

The city is known for its well-established educational institutions, providing quality education to students of all ages.

A center for scientific research and innovation.

Elektrostal serves as an important hub for scientific research, particularly in the fields of metallurgy , materials science, and engineering.

Surrounded by picturesque lakes.

The city is blessed with numerous beautiful lakes , offering scenic views and recreational opportunities for locals and visitors alike.

Well-connected transportation system.

Elektrostal benefits from an efficient transportation network, including highways, railways, and public transportation options, ensuring convenient travel within and beyond the city.

Famous for its traditional Russian cuisine.

Food enthusiasts can indulge in authentic Russian dishes at numerous restaurants and cafes scattered throughout Elektrostal.

Home to notable architectural landmarks.

Elektrostal boasts impressive architecture, including the Church of the Transfiguration of the Lord and the Elektrostal Palace of Culture.

Offers a wide range of recreational facilities.

Residents and visitors can enjoy various recreational activities, such as sports complexes, swimming pools, and fitness centers, enhancing the overall quality of life.

Provides a high standard of healthcare.

Elektrostal is equipped with modern medical facilities, ensuring residents have access to quality healthcare services.

Home to the Elektrostal History Museum.

The Elektrostal History Museum showcases the city’s fascinating past through exhibitions and displays.

A hub for sports enthusiasts.

Elektrostal is passionate about sports, with numerous stadiums, arenas, and sports clubs offering opportunities for athletes and spectators.

Celebrates diverse cultural festivals.

Throughout the year, Elektrostal hosts a variety of cultural festivals, celebrating different ethnicities, traditions, and art forms.

Electric power played a significant role in its early development.

Elektrostal owes its name and initial growth to the establishment of electric power stations and the utilization of electricity in the industrial sector.

Boasts a thriving economy.

The city’s strong industrial base, coupled with its strategic location near Moscow, has contributed to Elektrostal’s prosperous economic status.

Houses the Elektrostal Drama Theater.

The Elektrostal Drama Theater is a cultural centerpiece, attracting theater enthusiasts from far and wide.

Popular destination for winter sports.

Elektrostal’s proximity to ski resorts and winter sport facilities makes it a favorite destination for skiing, snowboarding, and other winter activities.

Promotes environmental sustainability.

Elektrostal prioritizes environmental protection and sustainability, implementing initiatives to reduce pollution and preserve natural resources.

Home to renowned educational institutions.

Elektrostal is known for its prestigious schools and universities, offering a wide range of academic programs to students.

Committed to cultural preservation.

The city values its cultural heritage and takes active steps to preserve and promote traditional customs, crafts, and arts.

Hosts an annual International Film Festival.

The Elektrostal International Film Festival attracts filmmakers and cinema enthusiasts from around the world, showcasing a diverse range of films.

Encourages entrepreneurship and innovation.

Elektrostal supports aspiring entrepreneurs and fosters a culture of innovation, providing opportunities for startups and business development .

Offers a range of housing options.

Elektrostal provides diverse housing options, including apartments, houses, and residential complexes, catering to different lifestyles and budgets.

Home to notable sports teams.

Elektrostal is proud of its sports legacy , with several successful sports teams competing at regional and national levels.

Boasts a vibrant nightlife scene.

Residents and visitors can enjoy a lively nightlife in Elektrostal, with numerous bars, clubs, and entertainment venues.

Promotes cultural exchange and international relations.

Elektrostal actively engages in international partnerships, cultural exchanges, and diplomatic collaborations to foster global connections.

Surrounded by beautiful nature reserves.

Nearby nature reserves, such as the Barybino Forest and Luchinskoye Lake, offer opportunities for nature enthusiasts to explore and appreciate the region’s biodiversity.

Commemorates historical events.

The city pays tribute to significant historical events through memorials, monuments, and exhibitions, ensuring the preservation of collective memory.

Promotes sports and youth development.

Elektrostal invests in sports infrastructure and programs to encourage youth participation, health, and physical fitness.

Hosts annual cultural and artistic festivals.

Throughout the year, Elektrostal celebrates its cultural diversity through festivals dedicated to music, dance, art, and theater.

Provides a picturesque landscape for photography enthusiasts.

The city’s scenic beauty, architectural landmarks, and natural surroundings make it a paradise for photographers.

Connects to Moscow via a direct train line.

The convenient train connection between Elektrostal and Moscow makes commuting between the two cities effortless.

A city with a bright future.

Elektrostal continues to grow and develop, aiming to become a model city in terms of infrastructure, sustainability, and quality of life for its residents.

In conclusion, Elektrostal is a fascinating city with a rich history and a vibrant present. From its origins as a center of steel production to its modern-day status as a hub for education and industry, Elektrostal has plenty to offer both residents and visitors. With its beautiful parks, cultural attractions, and proximity to Moscow, there is no shortage of things to see and do in this dynamic city. Whether you’re interested in exploring its historical landmarks, enjoying outdoor activities, or immersing yourself in the local culture, Elektrostal has something for everyone. So, next time you find yourself in the Moscow region, don’t miss the opportunity to discover the hidden gems of Elektrostal.

Q: What is the population of Elektrostal?

A: As of the latest data, the population of Elektrostal is approximately XXXX.

Q: How far is Elektrostal from Moscow?

A: Elektrostal is located approximately XX kilometers away from Moscow.

Q: Are there any famous landmarks in Elektrostal?

A: Yes, Elektrostal is home to several notable landmarks, including XXXX and XXXX.

Q: What industries are prominent in Elektrostal?

A: Elektrostal is known for its steel production industry and is also a center for engineering and manufacturing.

Q: Are there any universities or educational institutions in Elektrostal?

A: Yes, Elektrostal is home to XXXX University and several other educational institutions.

Q: What are some popular outdoor activities in Elektrostal?

A: Elektrostal offers several outdoor activities, such as hiking, cycling, and picnicking in its beautiful parks.

Q: Is Elektrostal well-connected in terms of transportation?

A: Yes, Elektrostal has good transportation links, including trains and buses, making it easily accessible from nearby cities.

Q: Are there any annual events or festivals in Elektrostal?

A: Yes, Elektrostal hosts various events and festivals throughout the year, including XXXX and XXXX.

Elektrostal's fascinating history, vibrant culture, and promising future make it a city worth exploring. For more captivating facts about cities around the world, discover the unique characteristics that define each city . Uncover the hidden gems of Moscow Oblast through our in-depth look at Kolomna. Lastly, dive into the rich industrial heritage of Teesside, a thriving industrial center with its own story to tell.

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Pride celebration highlights LGBTQ+ history, advocacy, and art

Home » Pride celebration highlights LGBTQ+ history, advocacy, and art

Event featured presentations from USC ONE Archives and the Los Angeles LGBT Center, paintings and ceramic art displays, and music by Mariachi Arco-Iris de Los Angeles.

Faculty, staff and students of the USC Leonard Davis School of Gerontology enjoyed presentations on LGBTQ+ history and activism as well as art displays, music and lunch during the school’s third annual Pride celebration and lunch on June 12, 2024.

Pinchas Cohen, dean of the USC Leonard Davis School, welcomed attendees and emphasized the school’s commitment to supporting LGBTQ+ community members.

“We celebrate our LGBTQ colleagues and stand beside them in every way,” he said.

Expert speakers

Derrick Morton , assistant professor of biological sciences and gerontology, spoke about the origins of Pride following the Stonewall Riots of 1969 and other milestones for LGBTQ+ advocacy, including the removal of homosexuality from the Diagnostic and Statistical Manual of Mental Disorders in 1973 and the nationwide legalization of same-sex marriage in 2015. He noted that while these successes are important, there is still more to be done to support members of gender and sexual minority communities.

“Tolerance is just the bare minimum, and acceptance is the standard,” Morton said. “Celebration should be the norm.”

Loni Shibuyama, librarian with the ONE Archives at the USC Libraries, spoke about the archives’ origin in 1952 with ONE Inc., the creator of ONE Magazine, the first nationally distributed magazine for gay and lesbian people. Today, ONE Archives is the largest repository of LGBTQ+ materials is the world, housing millions of items including periodicals, books, films, videos, audio recordings, photographs, artworks, organizational records, and personal papers.

These records show was life was like for famous activists and ordinary LGBTQ+ people alike, Shibuyama said. The archives also include records detailing the history of organizations advocating for older LGBTQ+ adults, including Senior Action in a Gay Environment and the Society for Senior Gay and Lesbian Citizens , she added.

Kiera Pollock, director of senior services at the Los Angeles LGBT Center , discussed the center’s role as the first LGBT nonprofit in the U.S. and its ownership and operation of Triangle Square Apartments, the nation’s first affordable housing development created with LGBTQ+ older adults in mind. A welcoming, affirming community is especially important for older members of gender and sexual minority groups, she explained, as they may not find the support they need in traditional senior communities and may even feel pressure to go back into the closet.

“Many older LGBTQ+ adults have no chosen family of support,” Pollock said. “LGBT-friendly long-term care is one of their biggest concerns.”

Music and artistic expression

Following the presentations, students, staff and faculty enjoyed lunch, a photobooth, art, and music in the Andrus Center courtyard.

The Sophie Davis Gallery hosted an intergenerational art exhibition featuring local artists from the LGBTQ community. Works on display included paintings by John LaRoche and Miguel Angel Reyes as well as ceramic art and live pottery demonstration by Nicole Reyes (no relation) of Cobalt & Clay .

Mariachi Arco-Iris de Los Angeles performed live music for attendees. The group is the world’s first LGBTQ+ mariachi ( arcoiris is Spanish for rainbow) and was created as a haven for mariachi musicians who identify as LGBTQ+ to come together and perform traditional Mexican regional music, per the band’s website.

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