Victorian College of the Arts - Research Publications

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    All the things I should have said that I never said
    Cribb, G ; Da Silva, J ; Lazaro, D ; MCQUILTEN, G ; Sequeira, D ; Teale, P (Bunjil Place, City of Casey, 2022)
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    Where is Art? Space, Time, and Location in Contemporary Art
    Douglas, S ; Geczy, A ; Lowry, S ; Douglas, S ; Geczy, A ; Lowry, S (Routledge, 2022-06-30)
    Featuring chapters by a diverse range of leading international artists and theorists, this book suggests that contemporary art is increasingly characterized by the problem of where and when it is situated. While much advanced artistic speculation of the twentieth-century was aligned with the question “what is art?,” a key question for many artists and thinkers in the twenty-first century has become “where is art?” Contributors explore the challenge of meaningfully identifying and evaluating works located across multiple versions and locations in space and time. In doing so, they also seek to find appropriate language and criteria for evaluating forms of art that often straddle other realms of knowledge and activity.
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    Anywhere iv
    Lowry, S ; Douglas, S (Centre of Visual Art, University of Melbourne; Project Anywhere; and Parsons Fine Arts, School of Art, Media and Technology, Parsons The New School for Design, 2021)
    Project Anywhere is a vehicle for illuminating the existence of art potentially located anywhere on earth. Using a peer reviewed global exhibition model and dedicated website, it is specifically designed to evaluate and promote artistic projects presented outside traditional exhibition spaces and circuits. A key feature of Project Anywhere’s innovative evaluation model is the substitution of the figure of curator with a democratizing blind peer evaluation system. Significantly, this peer evaluation model differs substantially from traditional research evaluation systems, which typically endorse the quality of project “outcomes”. Instead, by emphasizing evaluation at the proposal stage, our double-blind peer review process privileges speculation, discursive thinking and risk-taking over project “realisation”. Representations of projects hosted as part of Project Anywhere’s global exhibition program are featured on the homepage for one year, updated throughout the hosting period, and then made permanently accessible in the exhibition archive. Project Anywhere accepts both individual and collaborative proposals from artists, curators and researchers working anywhere in the world. Projects can be highly speculative or discursive in nature and can extend or contradict existing methodologies. Project Anywhere affords independent validation, feedback, and international dissemination across a range of platforms for art and artistic research at the outermost limits of location-specificity. At the cessation of the Project Anywhere annual global exhibition hosting period, all selected contributors are invited to develop a short page-based response. These responses are then presented in our biennial publication Anywhere. All the contributions featured this edited publication have been developed in response to artistic projects originally selected for inclusion in Project Anywhere’s 2019 and 2020 exhibition programs. The contributing artists, curators and researchers were all invited to develop a text/image piece that is neither straightforward documentation nor scholarly text. We are delighted to share these extraordinary ‘re-imaginings’ in this our fourth issue of Anywhere, and the second designed by Ella Egidy. Acknowledging that it is not possible to wholly explain or describe an artistic project, the contributions featured in Anywhere iv should instead be seen as alternative portals into their respective worlds.
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    How artistic research ends
    Butt, D (Surpllus, 2020)
    The term ‘artistic research’ shadowed the growth of graduate study in studio arts in the late twentieth century, including the integration of many art schools and polytechnics into a tightly integrated and networked higher education sector, and an accompanying interest in art’s relationship to traditional academic disciplines. As the art education sector grew, the key debates were concerned with what the future of artistic research should look like as it expands. However, given the impact of neoliberal austerity measures and funding cuts that have resulted in programme closures and declining enrolments, we now consider the likelihood of artistic research contracting. What if artistic research is now approaching the end of its university life, a fate shared by the humanities and critical social sciences? This essay considers the potential ways artistic research may end.