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Society of Education through Art ro Dissertations in Art Education
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ISBN 978-952-310-937-7 rt
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Cover: Anna-Mari Nukarinen
Images by Natalie LeBlanc, Alison Shields,
Darlene St. Georges, Elina Härkönen & Jaime Mena-de-Torres
VISUALLY PROVOKING
Anita Sinner, Rita L. Irwin & Timo Jokela (Eds.)
VISUALLY PROVOKING:
DISSERTATIONS IN ART EDUCATION
Rovaniemi 2018
Acknowledgement
This book was published with the support of a Partnership Development Grant from the So-
cial Sciences and Humanities Research Council of Canada (890-2014-0065: The Pedagogic
Turn to Art as Research: A Comparative International Study of Art Education). Grants were
also received from Concordia University through the Office of Research.
© 2018 Authors and the copyright holders of the images. All rights reserved.
“The peer-review label is a trademark registered by the Federation of Finnish Learned
Societies (TSV). The label will indicate that the peer-review of articles and books has been
performed in line with the quality and ethical criteria imposed by the academic community”.
Federation of Finnish Learned Societies. (2015). Label for peer-reviewed scholarly publications: Requirements for use.
Retrieved from www.tsv.fi/en/services/label-for-peer-reviewed-scholarly-publications/requirements-for-use
Layout & Cover Design: Anna-Mari Nukarinen
Cover images by Natalie LeBlanc, Alison Shields,
Darlene St. Georges, Elina Härkönen & Jaime Mena-de-Torres
Lapland University Press
PO Box 8123
FI-96101 Rovaniemi
Tel +358 40 821 4242
[email protected]
www.ulapland.fi/lup
ISBN 978-952-310-936-0 (pdf)
CONTENTS
Editorial Note .......................................................7
Entries into Visually Provoking: Dissertations in Art Education ..............10
NADINE M. KALIN
I ENCOUNTERING
Pedagogical Reform: From a Field Trip to an A/R/T Field Trip ..................19
JUN HU
Artistic Action for Sustainability: Developing Practice-Led
and Practice-Based Expertise through a Joint Degree from Iceland and Finland .......30
ÁSTHILDUR JÓNSDÓTTIR, ALLYSON MACDONALD & TIMO JOKELA
A/r/tography: A Fluid Relationship of Theory, Time and Place ...................40
SOPHIA CHAITAS, GEORGIA LIARAKOU & VASILIS VASILAKAKIS
Through the Looking Glass: Reflecting on an Embodied
Understanding of Creativity and Creative Praxis as an A/r/tographer ................50
KATHRYN S. COLEMAN
The Structure of PhD Programs in Egyptian Art Education ............60
SAMIA ELSHEIKH & BILAL MAKLED
Researching Education through Visual Instruments in A/r/tography:
Photographic Images in Doctoral Dissertations ...................................67
JOAQUIN ROLDAN, JAIME MENA-DE-TORRES & NOEMI GENARO-GARCIA
Surrounding Experiences: How my Dissertation
Used Embodied Arts-Based Data Created through Live-Action Roleplay .............80
JASON COX
II ENFLESHING
Where Should We Begin to “Rethink” Ourselves?
ArtEducation: A Tale That Emerges from a Collective .............................91
Mª JESÚS AGRA PARDIÑAS & CRISTINA TRIGO MARTÍNEZ
Provoking Curating: Listening for the Call of the Cloth .......................100
LAURA LEE MCCARTNEY
An Alarming Journey ............................................... 110
JACKIE BATEY & LINDA KNIGHT
Revealing the Photo Book as an
Arts-based Educational Research Tool ..............................118
GERALDINE BURKE
Doing Research-Creation through a Multi-Fabric Wedding Dress .....129
MARÍA EZCURRA
Beginning in the Middle: My Liminal Space of ‘ma’: 間 . . . . . . . . . . . . . . . . . . . . . 140
YORIKO GILLARD
Conversation as Medium: Mapping out Interviews with Canadian Artists .......151
ALISON SHIELDS
III ENTANGLING
Research Techniques in Visual A/r/tography:
Visual Quotations and their uses in Photo Series and Visual Average ................161
RICARDO MARIN-VIADEL, RAFAELE GENET-VERNEY & XABIER MOLINET-MEDINA
Beyond the Visual: Alternate Ways of Thinking
the Role of Images in Educational Research ......................................180
MARIANE BLOTTA ABAKERLI BAPTISTA
Mise-en-scène: Troubling the Vexations
of Visual Arts Dissertations in Education in Australia .............................190
ALEXANDRA LASCZIK
Reflections of the Tide: The Adventure of the Woman and the Sea .............201
DARLENE ST. GEORGES
Performing Interventions: A Practice-led Approach to Doctoral Research ......216
NATALIE LEBLANC
“Stitching” Voices into the Patchwork Quilt of Qualitative Research .. 227
GAI LINDSAY
Biography ......................................................... 239
EDITORIAL NOTE
Visually Provoking, quiry presents educators with a number of
Provoking Visually challenges, as Nadine Kalin, in her well-con-
sidered introduction to this book, articulates
This editorial note is intended to provide an by mapping the terrain of the visual essay
overview of the genesis of Visually Provok- in general, and through the contours of the
ing, a dynamic collection of visually orient- collection, she shares her perspectives on
ed research about current doctoral studies how the visual operates as a site of knowl-
from international art educators in Australia, edge construction through shifting academic
Canada, China, Egypt, Finland, Greece, Ice- practices and modes of expression.
land, Portugal, Spain, and the United States The clusters that form our three sections
of America. Together we are thinking about, in the book are predicated by ‘en,’ a prefix
with and through the visual, focusing atten- that resonates with concept creation under-
tion on practices that are reshaping our un- way in the chapters and which serves as an
derstandings of intellectual exchange in an acknowledgement of the growing influence
effort to open deliberations, considerations, of post-qualitative dispositions, in particular,
imaginations, and potentialities for different new materiality. This book is positioned as
ways of doing research. This collection may a deliberate effort to emphasize visual en-
be considered in tandem with our related gagement, evident in the tone, content and
book, International Perspectives on Visual movement of the chapters. The sections
Arts PhDs in Education: Provoking the Field operate like a triptych, that is, the chapters
(Intellect), which explores theoretical, meth- can be read individually, partially, sequen-
odological and practice-based accounts of tially, or out of order, extending the premise
doctoral studies. of open cartographies by Dolphijn and van
We begin with a proposition: visual in- der Tuin (2012), where intra-actions provide
quiry is an interruption, a forum to deliber- orientations that are situated, relational, and
ate upon and to critically consider the peda- arguably produce “creative alternatives to
gogic turn to art as research that is underway critique” in this case, in the process, prac-
across disciplines. In art education, the artic- tice and product of artwork scholarship (p.
ulation of form and content, how the visual 14). Visually Provoking is intended to be a
operates as representation, expression or an creative venue for innovative, experimen-
object of scholarship, along with the purpose tal scholarship that is visually refined, yet
and intent of the visual as data, has long been contextual, in the interplay of images, ideas,
part of our ongoing practices. Yet visual in- design and layout. Such work is integrative,
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blending textual-visual-sound-digital quali- tic inquiry is material-based, bringing studio
ties to document, reflect and assess inquiry. art practices to the fore, and by often engag-
Authors experiment with customary ap- ing with existing artworks or museum col-
proaches to push the boundaries of scholarly lections. Each given approach then informs
conventions, appropriating terms, adapting visuals created for research, collected as data,
the style guide and generating artful space as presented as part of the outcomes, or cre-
a distinction to traditional renderings. This ated to document artistic processes, learning
is an articulation of research that invites and events, or as responses to wider social issues
extends meaning-making and educative un- that permeate art education curriculum and
derstandings with nuanced, textured, senso- instruction. However, framing these ap-
rial movements, embodied in the visual. proaches with static definitions requires a
As advocates for advancing arts research, cautionary note, for as the chapters demon-
our embrace of the visual as a form of so- strate, each author brings their own techni-
cial practice suggests chapter authors are, cal elements to bear, much as is expected in
as change-agents informed by art practice, their development of an artistic vision, mak-
charting approaches that broaden our views ing each iteration of inquiry uniquely singu-
on the affective, sensorial and intuitive qual- lar. Because of this methodological feature,
ities underlying visual inquiry. In turn, these classification is difficult and open to debate.
visual essays are akin to a laboratory for new This is not to sidestep the matter of meth-
ways to articulate such research. Therein lies odological structure, nor to avoid responsi-
an intensification, between the gradation of bility in defining research design with clarity
immaterial and material, with chapters op- and concise language in each study. Instead,
erating as expressions of active practice that we propose that individual orientations to
may remain in progress, while at the same research begin with affinity for concepts and
time, performing as objects that form part practices, and that affinity motivates authors
of the product, such as a body of work for to undertake their adaptations of these gen-
exhibition or a dissertation. By operating as eral approaches based on situated needs. In
a process and as a product, this disruption in this way, authors strive visually to achieve
academic protocol is reinforced in the mul- another mode, level or form of scholarly
titude of approaches that are shared across construction, and accountability, moving
the chapters, including but not limited to beyond the claim of scientific proof that
arts-based, a/r/tography, practice-based and has produced sedimentary boundaries of
numerous related methods. thought in the past, to a realm of speculative
Briefly, arts-based is commonly taken possibilities, where the visual is foremost a
up as an extension of qualitative research, test site for experimentation.
where a given question is based in the arts Within the collection are self-studies and
from the initial research design to the in- participant research, including exploratory
terpretations made; arts-informed provides and systematic analysis, and observational,
creative responses to a traditional methodo- interpretative or nonrepresentational stud-
logical study; practice-based locates research ies. In each case, the author provides meth-
in the studio through art making; and artis- odological specificity to their research setting
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