Art Research Methodologies II

Recommended Prerequisites

The PhD student should display the ability to apply the skills acquired in the discipline of Art Research Methodologies I, of which Art Research Methodologies II is complementary, namely the ability to put into dialogue different spheres of knowledge with the conceptual scope of contemporary art, and to have acquired methodological instruments in the relations established with theory and art history.

Teaching Methods

1.Oral presentations using audiovisual and text materials. Invitations to artists and other agents of artistic practices to present and discuss their work.
2.Duchamp’s works shown and discussed in each class in relationship with works from other artists, simultaneously as a continuity factor and as a form of broadening the field of possibilities of conceptual relations.
3.Practical work where methodologies of relationship between formal and conceptual aspects will be explored.
4.Discussion of the thesis projects, with main incidence in the mediation of its practical dimension.

Learning Outcomes

1. Development of skills on the possibilities of articulation of data from different sources with the processes involved in the artistic practices.
2. To foster a relationship with creative processes as a speculative space, in the complexity of relations between their conceptual dimension and aesthetic experience.
3. Encourage a critical attitude towards research in a problematization of the artistic work itself, or in practices of different nature involved in the field of artistic practice.

Work Placement(s)

No

Syllabus

Pedagogical framework articulated with the Line of Research Art and Conceptual Practice:
1. The potentiality of finding in diverse artistic practices and aesthetical experience their own instruments of reasoning.
2. Duchamp as a possibility for a polymorphic and dynamic axis for the reflection on artistic practices. "Given: 1st the waterfall; 2nd the Illuminating gas" as an example of the work of art as a starting point. The “boîtes-en-valise” as a "toolbox" for speculation on art, explicitly created by the author as an alternative to a book.
3.The construction of a speculative space with a practical and experimental nature: the mapping of the creative process and its aporias. The understanding of the dynamics that the artistic practice can bring to the writing of the thesis.
4.Artistic culture as the genesis of a valid and independent reflection of art through action (through practice) and within action.

Head Lecturer(s)

António José Olaio Correia de Carvalho

Assessment Methods

Assessment
Participation in the debates arising from the work carried out: 20.0%
Reports where the processes involved in the practical work (artistic or where art is the subject) will explore speculative possibilities, being documented and mediated by writing, having the possibility of using also others means such as drawing, photography, or other forms of graphic or imagistic communication: 80.0%

Bibliography

1. ELKINS, James (Ed.), Artists with PhDs: on the New doctoral degree in Studio Art, 2009.
2. SLAGER, Henk, The Pleasure Of Research, Hatje CantzBooks, Berlin, 2015
3. Duchamp, Marcel, Engenheiro do tempo perdido : entrevistas com Pierre Cabanne, Assírio & Alvim, Lisboa, 1990.
4. de Duve, Thierry (Ed.), The definitively unfinished Marcel Duchamp, Cambridge, Mass. The MIT Press, 1992 
5. GRAY, Carole & MALINS, Julian, Visualizing Research- a Guide to the research process in Art and Design, Aldershot: Ashgate Publishing Ltd, 2004.
6. LOWRY, Sean & FREITAS, Nancy de, The Frontiers of Artistic Research: The challenge of critique, peer review and validation at the outermost limits of location-specificity. In CRITIQUE 2013,P Conference Proceedings, 26-28 November 2013, Adelaide, Australia.
7. PALTRIDGE B, Starfield S and RAVELLI L. (Ed.), Doctoral Writing in the Creative and Performing Arts: The Researcher/Practitioner Nexus, Oxfordshire: Libri Publishing Ltd, 2013.