etivity 2 (e2) posted last week had 2 objectives: firstly, to debate the model of art as knowledge production outlined by Graeme Sullivan in his text Artist as theorist; secondly, to develop critical reading skills that can be used towards critical writing as outlined by Deborah Knott in Critical reading towards critical writing. At its core was a double question related to (1) how to read critical theory and (2) how to apply this critical reading to the production of our own writing? As D. K presents in her intro,
“Most of the papers you write will involve reflection on written texts – the thinking and research that has already been done on your subject. In order to write your own analysis of this subject, you will need to do careful critical reading of sources and to use them critically to make your own argument. The judgments and interpretations you make of the texts you read are the first steps towards formulating your own approach.”
Both Cinzia and Liliana present their reading of Artist as theorist as a useful framework to elucidate their practice, claiming that it is in the intersection of the three sites of practice- systems, communities and cultures- that lies the potential for the transformative nature of art-based knowledge production.
It also appears that for both the cultural site is where their research is currently rooted. It may be worth then investigating the use of (postmodern) visual methodologies developed around theories of representation and interpretation that, as discussed in Sullivan’s chapter (from page 167), are at the core of working in cultures:
“The critical task is to determine the social impact of these different visions, and the creative task is to create forms of representation that have the capacity to reveal, critique and transform what we know. This is characteristic of making in cultures as artists who pursue a resistant art practice make full use of the potential of visual images to help reveal critical understandings about issues of human concern.” (P.168)