Studies in Art Education

A Journal of Issues and Research

ISSN: 0039-3541 (Print) 2325-8039 (Online) Journal homepage: http://www.tandfonline.com/loi/usae20

Research Acts in Art Practice

Graeme Sullivan

To cite this article: Graeme Sullivan (2006) Research Acts in Art Practice, Studies in Art
Education, 48:1, 19-35

To link to this article: http://dx.doi.org/10.1080/00393541.2006.11650497

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Copyright 2006 by the Studies in An Education
National Art Education Association A Journal ofIssues and Research
2006,48(1),19-35

Research Acts in Art Practice

Graeme Sullivan
Teachers College, Columbia University

This article argues rhat art practice is a creative and critical form of human Correspondence regard-
engagemenr rhat can be conceprualized as research. Conceptions of research ing this article may be
are critiqued rhar raise questions abour the purposes of artistic and educational sent to the author at
inquiry and the institutional and political influences that shape them. Norions the Teachers College,
Columbia University,
of arts-based research, arts-informed research, and practice-based research are
525 West 120th Street,
compared according to their policies, practices and methods. In framing art
Box 104, New York,
practice as research, various research acts are described that circumscribe the NY, 10027. E-mail:
forms, agencies and aerions that are part of the rheoretical, structural, inrerpretive gs354@columbia.edu
and crirical traditions found in the visual arts. These research acts are creative
and critical; fearure complex forms of imagination and inrellect; and make use
of processes and procedures that draw from many traditions of inquiry. Conse-
quenrly, it is argued that art practice can be conceprualized as a form of research
that can be directed towards a range of personal and public ends.

A positivist legacy expounded so clearly as a research maxim or a

curriculum mantra asserts, if you don't know where you're going, how
do you know when you get there?The assumption is that clearly defined
intentions, whether expressed as hypotheses, research questions, lesson
objectives, or standard statements, position the purpose of educa-
tional acts within the context of what is already known. Consequently
outcomes can be readily assessed according to the conceptual limits
imposed as this gives a measure of utility in comparing the new with
the old. Knowledge in this sense is expressed as a difference in 'degree'
or quantity and is compared to other things we know. This is how
we construct probable theory. However, as many in the arts and the
sciences have argued, the formal specification of intended outcomes
does not necessarily mean that valuable, unintended consequences are
not possible-one just has to be open to possibility and curiosity. With
this in mind, an interpretivist perspective would assert that ifyou don't
know where you're going, then it is best to surround a problem in order to
solveit. Here, research and educational inquiry are based on the assump-
tion that knowledge emerges from an analytic and holistic account
through consensus and corroboration where patterns and themes are
the elements used to represent complex realities. Knowledge in this 1Versions of these
sense is explored as a difference in 'kind' or quality, where insights are three aphorisms about
purpose and direction
characterized by their particularity. This is how we construct plausible can loosely be attributed
theory. to the curriculum
theorist, Ralph Tyler,
But, how do we construct theories of 'possibility'? An arts researcher
feminist Gloria Stein em,
would more than likely subscribe to the view that ifyou don't know where and the late Beatle,
you aregoing, then 4llJ! road will get you there.1 Rather than seeing inquiry George Harrison.

Studies in Art Education 19

 Graeme Sullivan

as a linear procedure or an enclosing process, research acts can also

be interactive and reflexive whereby imaginative insight is constructed
from a creative and critical practice. Oftentimes what is known can
limit the possibility of what is not and this requires a creative act to
see things from a new view. An inquiry process involving interpretive
and critical acts is then possible as new insights confirm, challenge or
change our understanding. If an agreed goal of research is the creation
of new knowledge, then it should be agreed that this can be achieved
by following different, yet complementary pathways. What is common
is the attention given to systematic and rigorous inquiry, yet in a way
that emphasizes what is possible, for to 'create and critique' is a research
act that is very well suited to arts practitioners, be they artists, teachers
or students.
In recent years art educators have been exploring these research
approaches as the arts disciplines try to claim a foothold in an informa-
tion-based economy of educational rhetoric. Art educators, however,
learned long ago that efforts to isolate human behavior into discrete,
observable chunks did not capture the complexity of what it is to come
to know something. Following procedures that clearly describe where
you are going and what outcomes might be expected is a rational plan
for pursuing questions that build on the stock of existing knowledge.
Although it is readily acknowledged that hypotheses need to be measur-
able and testable they need not lack imagination. Research methods,
therefore not only need to be systematic and rigorous, but also inven-
tive so as to reveal the rich complexity of the imaginative intellect as it
is encountered and enacted and within individual, social and cultural
settings.
Art education researchers responded to these changing demands and
the search for more adequate methods resulted in the development of a
slew of new research practices that take many forms. These approaches
are being applied at the level of schooling, where research investigates
learning in classrooms and represents it in all its artistic complexity,
and in higher education, where the role of art practice within the
academic research community is being questioned. Various terms are
used to describe these developments, such as arts-based research (Barone
& Eisner, 1997; Eisner, 1993), arts-informed research (Cole, Neilson,
Knowles & Luciani, 2004), Alrltlography (Irwin & de Cosson, 2004),
and practice-based research (Candlin, 2000; Frayling, 1997).
These orientations focus on different constituencies. Arts-based
researchers, for instance, are generally interested in improving our
understanding of schooling and how the arts can reveal important
insights about learning and teaching. Arts-informed researchers, Artog-
raphers, and the like, have a similar interest in schools, community
and culture, but their focus is on developing the practitioner-researcher

20 Studies in Art Education

 Research Acts in Art Practice

who is capable of imaginative and insightful inquiry. Practice-based

research (also known as practice-led research) is a term more commonly
used in visual arts programs in higher education where studio art
practice is being reconceptualized as questions about degree programs
beyond the MFA are addressed. These constituent interests also reflect a
geographic emphasis, with arts-based and arts-informed research in its
various forms being taken up with enthusiasm by arts educators within
the United States and Canada. Debates about practice-based research
in higher education is being pursued in art schools and art teacher
education programs in the UK, northern Europe, Australia, and New
Zealand, where the challenge is to define studio-based teaching and art
learning practices as scholarly inquiry.
The genesis of the debate about practice-based research within the
university setting can be tracked back to the 1970s and 1980s in the
United Kingdom when questions were raised about the status of arts
programs in higher education within the context of microeconomic
reform. Within the wake of global economic rationalism this discus-
sion soon spread to other countries.? However, so did opportunities to 2There are several
government sponsored
reconfigure how the visual arts might be positioned in relation to insti-
reports and professional
tutional practices such as research, as well as to artworld connections association responses
(Balkema & Slager, 2004; Macleod & Holdridge, 2006). The changing and conference papers
circumstances that thrust art schools, art teacher education programs, that track the political
changes and legislated
and other studio-based professional courses into unified university frameworks pur in
systems occurred in most of the countries mentioned above and this place during the 1980s
caused something of an identity crisis. There was a curious clash of and 1990s as the visual
arts came under close
confidence as relationships were forged, structures reframed, and in
scrutiny in higher
some cases control relinquished to others. But some past complacen- education. For example,
cies were given a jolt. Student learning could no longer be believed to in the Unired Kingdom,
result from the mere presence of an artist in the room. Art programs see rhe Harris Report
(19%), Frayling (1997),
needed to be more than a private rite of passage of personal discov- Green (2001). Wirhin
ery. The possibility of new academic career paths within the university the Australian context
setting opened up for visual artists. They became eligible for profes- see Strand (1998).
sional support through research funding because those in universities 3For a summary of the
quantitative-qualitative
teach and do research. Artists who work in art schools in universities
paradigm debare see
also teach. But do they do research? At issue arose a critical question: Creswell (2003, Chapter
Can visualartspractice be arguedto be a form ofresearch? 1), Tashakkori &
Teddlie (1998, chapters
Arts-based researchers ask a similar question: Can artisticforms beused
1 and 2), and Reichardt
as the basis for educationalinquiry? Realizing that educational research & Rallis (1994). For
that merely adopts methods from the sciences cannot fully address the an extended response
complexity of human learning in all its artistic richness, arts-based (0 questions about
merhodological issues
researchers seek to extend the methodological landscape opened up by in qualitative research
qualitative researchers. The border skirmishes over research paradigms see Eisner & Peshkin
have been going on for a long time and need not be taken up here." (1990).
Currently, however, a more pressing form of political scrutiny and

Studies in Art Education 21

 Graeme Sullivan

discipline debate faces educational researchers as the notion of what

constitutes 'evidence' is given increasingly narrow definitions. Within
an environment of standardization and testing a misguided tendency
that favors scientific rationalism as the only valid form of educational
research philosophy is prevalent.
A return to a regime of educational research, where scientific positiv-
ism reigns, and randomized field trials are believed to be the standard
4The Campbell for compiling valid and reliable evidence," has little chance of account-
Collaboration in
ing for ends as complex as learning and teaching, let alone advance
education in the United
Stares (http://www. our knowledge of constructs such as imagination or visual cognition.
carnpbellcollaborarion. Educational researchers who challenge policies and practices that favor
org), which was the gathering of evidence by such narrow means draw attention to the
modeled on the
Cochrane Collaboration
need for both short-term and long-term interventions (Chatterji, 2005),
in medicine (http:// mixed methods (Johnson & Onwuegbuzie, 2004), and more diverse
www.cochrane.org/ interventions and outcomes measures (Raudenbush, 2005). Conceptu-
indexO.html), promotes
alizing and operationalizing strategies for studying educational processes
the testing of hypoth-
eses within experimental that take place in diverse socio-cultural settings using conventions that
studies and the use favor reductive measures and other procedural controls has little chance
of randomized field of validly accounting for the variation we find in our classrooms and
trials as the basic
design for evidence-
communities. The challenge for arts researchers at all levels of educa-
based approaches to tion is doubly difficult. On the one hand there are critics to be found
educational research. within the research community who have a hard time accepting artistic
Standards for assessing
forms as credible research protocols, or the art studio as a valid site for
empirical studies in
educarion that are based research practice. On the other hand, there are even harsher critics in
on a similar conception the political arena who have an easy time proclaiming research policy
of scientific research that is especially limiting and which bears little relationship to actual
have been developed
as a way to enact
educational practice.
Federal Government Notwithstanding the need to respond to these short-term and long-
educational policy that term challenges it is necessary for arts researchers to continue to build
is consisten t with the
No Child Left Behind
more powerful theories and models of research practice. There is, for
Act (200 I) legislation instance, a common feature evident in the inquiry practices being
(http://www.wharworks. advocated by researchers interested in educational outcomes and those
ed.gov), All websites last
expanding our understanding of the theoretical scope of studio art
accessed December 16,
2005. practice. A central thesis is that research is a transformative act that has
an impact on the researcher and the researched. Further, if the purpose
of research is the creation of new knowledge, then the outcome is not
merely to help explain things in causal or relational terms, but to fully
understand them in a way that helps us act on that knowledge. Conse-
quently, arts researchers at all levels of education need not solely rely
on the methodological conventions of the social sciences as a means
of defining the research identity of the field. We have to be confident
that by following different, yet complementary pathways, we can create
important new knowledge. After all, this is what is at the heart of art,
and it is what research strives to do. Therefore the question addressed

22 Studies in Art Education

 Research Acts in Art Practice

here is: What kinds ofresearch acts are characteristic of and common to,
arts inquiry and art practice?
The Promise and Problems of Arts-Based Research
The loosely labeled term "arts-based research" is used by those
seeking to broaden forms of inquiry that can take advantage of
the way the arts offer unique insight into the human knowing and
understanding (Barone & Eisner, 1997; Diamond & Mullen, 1999;
Jipson & Paley, 1997). As a long time advocate of the importance of
artistic forms of knowing, Elliot Eisner grounds his vision of inquiry
in curriculum theory and practices from the arts and humanities in
his quest to extend the methodological scope of educational research." 5Por an overview
The methods used draw on traditions of art criticism and rely on the of the emergence of
arts-based qualitative
power of the evocative word-image to capture the complex reality of methods and a series
educational life. Eisner's recent text, The Arts and the Creation ofMind of caveats considered
(2002), consolidates the cognitive claims made about artistic experi- in relation to the
parameters common to
ence, yet his sensory-based learning and the unique insights that artistic
psychological research,
knowing has to offer remain wedded to his writing from past decades see Eisner's (2003)
and carry his essentialist stamp. He does, however, make persuasive chapter in Carnic,
arguments about the transformative power of art learning that can be Rhodes & Yardley.
See also a special
aligned with the capacity of arts-based research to be a transformative edition of Curriculum
form of research. Inquiry, (2002), 32(2),
Most arts-based researchers in the United States position their dealing with arts-based
research: http://
practice within the domains of education and the social sciences. Some home.oise.utoronto.
proclaim the integrity of the artistic product as a site of knowledge ca!-ci!32.2.html
(Barone, 2001), while others argue that the arts can enhance the direc-
tion and breadth of data representation and thus more adequately deal
with complex realities found in educational research (Cahnmann,
2003). Arts-based educational inquiry describes and interprets phenom-
ena through "seeing" and "sensing," which is the basis for compiling
thematic patterns of evidence from which meaning is made vivid.
Arts-based researchers favor those features of qualitative research that
encourage the use of reflective and responsive approaches whereby data
gathering involves creating rich descriptive word portraits and visual
documentation that reflect the insight of the insider and the intense
focus of the observer (Hoffmann Davis, 2003). While the mode of
communication is language-based, the means of representation invoke
many artistic forms that are used to capture, reflect, and inquire into
the multiple textural realities being explored.
Tom Barone and Elliot Eisner (I997) outline the basic features of
arts-based research and contrast it to the more pervasive science-based
research and claim that arts-based research offers a distinctly different
perspective on educational phenomena. What distinguishes this kind
of research is the multiplicity of ways of encountering and represent-

Studies in Art Education 23

 Graeme Sullivan

ing experience, and the use of forms of expression that can effectively
communicate these phenomena. The use of a broad range of inquiry
methods is argued, as is the need to be able to attend to the rigor neces-
sary for undertaking educational inquiry. Arts-based researchers make
use of methods found in the arts and humanities that emphasize literary
traditions and therefore the "artistry" characteristic of the research is
6See, for example, akin to art criticism and narrative storytelling." Arts-based research,
Diamond & Mullen with its emphasis on constructivism, interpretation, and contextual-
(I999) for essays on
arts-based research rhar
ism, is adaptive and lends itself to interdisciplinary approaches where
deal primarily wirh the emphasis is to offer new perspectives on educational issues.
literary-based inquiries, There is a need, however, to be clear about what Eisner and others
and McNiff (I998) for
arts-based strategies
present as arts-based research. The argument of arts-based researchers is
applied to art therapy. that the arts provide a special way of coming to understand something.
7The Center for Arts- The claim, therefore, is that as research methods broaden within the
Informed Research domain of qualitative inquiry in the social sciences, there is a need to
(CAIR) esrablished
be able to incorporate the arts as forms that more adequately repre-
by Adra Cole and
]. Gary Knowles sent the breadth of human knowing. The approach taken argues for an
comprises a network expansion of inquiry practices, yet this is undertaken within existing
of faculty, students, research paradigms. Although Eisner and others make a strong case
and arts researchers
whose mission is to
for educational change that is informed by the arts, there are limits
explore new methods to what can be achieved if the conditions of inquiry remain locked
of research rhar infuse within the constraints of the social science research. The analytic and
arts practices within
inductive strategies adapted from qualitative research neatly align with
scholarly inquiry. The
Center is located within formalist aesthetics from the arts and these structures ate used to create
the Ontario Institure an 'elemental' approach to research design. The assumption is that
for Studies in Education the inherent qualities of phenomena are able to be revealed through
of the University of
Toronto. The CAIR
sensitive and perceptive analysis that mostly takes literary form. Conse-
site carries descriptions quently, despite efforts to respond to the uncertainty of complex educa-
of research projects tional phenomena, some descriptions of arts-based research remains
and an extensive list
locked into limiting modernist conceptions of art. As such, essential-
of research resources
and publications. See ist concepts are reified rather than contested, and perspectives remain
http://home.oise. passive rather than critical. For some, the quest to embrace more artistic
utoronto.ca/ ....aresearchl forms of representation results in decorative research rather than critical
airchome3.html (last
accessed]anuary 10,
inquiry (Fox, 2001).
2006). Other arts-based researchers who focus on the perceptive educational
practitioner as the locus of inquiry more consciously deploy a range of
creative processes as part of the ensemble of research practices (Irwin
& de Cosson, 2004; Neilsen, Cole & Knowles, 2001; Mitchell, Weber
& O'Reilly-Scanlon, 2005). The role of lived experience, subjectivity,
and memory are seen as agents in knowledge construction and strate-
gies such as self-study, collaborations, and textual critiques are used to
reveal important insights unable to be recovered by more traditional
research methods. Cole and Knowles (2001) describe this approach as
"arts-informed research."?

24 Studies in Art Education

 Research Acts in Art Practice

Arts-informed research brings together the systematic and

rigorous qualities of scientific inquiry with the artistic and
imaginative qualities of the arts. In so doing the process of
researching becomes creative and responsive and the
representational form for communication embodies elements
of various arts forms-poetry, fiction, drama, two-and three-
dimensional visual art, including photography, film and video,
dance, music, and multimedia installation. (pp. 10-11)
Incorporating and embodying creative arts practices within research
frameworks characterizes approaches taken by other arts researchers
in Canada such as Rita Irwin," Sandra Weber and Claudia Mitchell." 8See the Azr/cography
website at: http://
Discipline boundaries are not seen to limit the opportunity for collabo-
m I.cust.edu. ubc.
ration among institutions, communities, schools, and the public, and cal160801Attography
this sense of collective identity is used to communicate using a range (last accessed Jan uary
of literary and visual forms. Faculty and students at the University of 13,2006).

British Columbia are also exploring innovative examples of arts-based 9The Image and
Identiry Research
research that incorporate studio explorations within rich theoretical Collective established
and cultural contexts. Expanding on ethnographic approaches such by Sandra Weber from
as autoethnography (Reed-Danahay, 1997), autobiography (Smith & the Depattment of
Education at Concordia
Watson, 2002) and self-study (Bullough & Pinnegar, 2001; Mitchell
Universiry (Montreal),
et al., 2005), Rita Irwin and her colleagues have developed a research and Claudia Mitchell
approach they call "A/r!tography" (Irwin & de Cosson, 2004). AIr! from the Faculry of
tography references the multiple roles ofArtist, Researcher and Teacher, Education at McGill
University (Montreal)
as the frame of reference through which art practice is explored as a site documents research
for inquiry. A useful way to consider these roles as research practices projects rhat use
may be to view the Artist as someone who en-acts and embodies creative image-based approaches
and interdisciplinary
and critical inquiry; the Researcher acts in relation to the culture of the
explorations to inves-
research community; and the Teacher re-acts in ways that involve others tigate a broad range of
in artistic inquiry and educational outcomes. cultural, gender and
educational issues. See
A characteristic of the arts-based research emanating from Canada is
http://www.iirc.mcgill.
the strong element of reflexive engagement that makes insightful use of ca (last accessed January
the creative and critical features of artistic knowing in its many forms. 12,2006).
Some in the research community are skeptical that non-linguistic forms
of artistic engagement such as performance, time-based media, and the
plastic arts, can be defined and defended as research modalities. This
caution may be well meaning, but it reflects an allegiance to a concep-
tion of research that remains determined by conditions and protocols
framed by the social sciences, and a perception of art that is limited
to aesthetic traditions that have little to do with contemporary art
practice. The strength of arts-based research can be found in the work
of those who ground their educational intentions in inquiry methods
that consciously draw on practices from the artworld in all its various
forms. Here, imaginative and cognitive capacities are evident as art
practices cut across media, make use of the textual richness of symbolic

Studies in Art Education 25

 Graeme Sullivan

forms, and dislodge the divides that have historically separated the artist,
viewer and the community. By taking their cue from the complexities
of contemporary art, researchers are less likely to fall into the trap of
excessive instrumentalism where arts-based inquiry becomes merely a
method or means for serving only educational ends. The outcomes of
research should have institutional currency and relevance within disci-
plines and domains located within communities and cultures. Develop-
ing arts-based research practice that has credibility in the classroom, in
the studio, and on the street, is a dilemma also facing college art educa-
tors working in visual arts programs where developments in practice-
basedresearch are taking place.
The Parameters and Politics of Practice-Based Research
Historical perspectives chart the development of art education
in schools and colleges as a curious mix of differing discipline interests,
aesthetic traditions, social influence, patronage, and politics (Efland,
1990; Nochlin, 1988; Singerman, 1999). In many countries, discrete
art schools provide discipline specific programs that mostly draw on the
atelier traditions of the academy, or upon the internationalism ofBauhaus
inspired formalism and other modernist perspectives. A challenge for
many teachers in art programs is to re-define their studio-based teaching
IOWithin the College and art learning practices in broader professional ways." Within the
An Association (CAA) current professional, vocational, and educational demands there is an
there are moves afoot
to expand the range of
increasing expectation that visual arts and art education faculty and
academic opportunities students are able to undertake research that has credibility within the
open to studio faculty academy and within the artworld. Therefore approaches to visual arts
in the visual arts as
research need to be positioned within existing frameworks but not be
questions about the
adequacy of the Master enslaved by them. An argument being made by practice-based research-
afFine Atts (MFA) as ers is that visual research methods can be grounded within the practices
the exit credential for of the studio and that these are robust enough to satisfy rigorous insti-
university level teaching
is debated.
tutional demands. The enduring concern about institutional status is
yet to be supported by a profound debate in the United States about
the way the visual arts can contribute to broader cultural discourse and
understanding that is the outcome of what artists do.
What artists do of course is to make art, and as an object and subject
of study art has been well picked over by aestheticians, historians,
psychologists, sociologists, critics, and cultural commentators for a long
time. But what artists do in the practice of creating artworks, and the
processes, products, proclivities, and contexts that support this activity
is less well studied from the perspective of the artist. As an "insider"
the artist has mostly been content to remain a silent participant, even if
the inquiring eye of interested others has given plenty of insights into
artistic experiences and activities. When circumstances require a more
clearly articulated account of what visual art experiences, objects and

26 Studies in Art Education

 Research Acrs in Art Practice

outcomes are, and how they might contribute to the stock of human
knowledge and understanding, the arguments often retreat to essential-
ist claims that are hard to defend, or offer well-meaning instrumental
reasons that are easy to dismiss.
The search for a theory of practice has been less of a concern for
artists although there is a rich history of explanatory efforts to locate
the essence of the imagination. The enduring tendency to partition
Western thought into thinking and feeling dualisms often relegated
artists to the role of visual tricksters or sensory romantics. The more
recent legacy of the modernist mantra that "form is all" rode roughshod
over any theoretical attempts to suggest that there might be something
more than meets the eye. For many artists there is no need to talk
about their work because no words can ever substitute for what the
image can do. Another reason artists remain silent is because they are
mostly content knowing that practical knowledge and the intelligence
of creativity has been drastically underestimated by those outside the
field of practice. Where others may talk of reflective action as a proce-
dure or a protocol, artists' practice, with less concern for functionalism,
can be seen as a transcognitive and reflexive response to the impulse
of creativity (Sullivan, 2001). Perceptions about artistic practice are
therefore shaped as much by what others say as artists themselves
readily mythologize it. This makes it easier for artists to pass on the
job of defining and defending what they do to aestheticians and histo-
rians. But to delegate authority to others is no longer an option as
the nature of artistic practice has changed the responsibilities of artists
as cultural theorists and practitioners. Greta Refsum (2002) describes
these conditions.
Artists and the field of visual arts deal primarily with that which
happens before artworks are made, this is their specialist arena,
what comes afterwards is the arena of the humanistic disciplines.
If the field of visual arts wants to establish itself as a profession
with a theoretical framework it must, in my opinion, build its
theory production on that which happens before art is produced,
that is, the processes that lead to the finished objects of art. (p. 7)
The status ofknowledge production in the visual arts remains a vexed
question for many. A typical distinction asks whether knowledge is
found in the art object, or whether it is made in the mind of the viewer.
This debate is ongoing and insightful accounts are beginning to appear
that seek a more profound philosophical basis for situating art practice
as a form of research within institutional settings (Diaz-Kommonen,
2002). Brown (2003), for instance, presents a realist perspective
whereby artworks as institutional artifacts are seen to exhibit properties
that are primarily objective, theory-dependent, and knowable, and this
gives access to insights that can be intuitive, mindful, and discoverable.

Studies in Art Education 27

 Graeme Sullivan

When seen in relation to the demands of research, Brown maps an

extensive set of "symptoms of practice" that highlight different areas
of shared emphasis between art making and research practice. If taken
from the perspective of the artist, both knowledge production and the
functions to which knowledge is put is best understood as a dynamic
structure that integrates theory and practice and contributes to our
individual and social systems of understanding.
A good example of the interdependent relationship among the
artwork, the viewer, and the setting is seen in conceptualizing practice-
based research in higher education as all these forms interact within
the art studio and an interpretive community (Macleod & Holdridge,
2006). A similar system surrounds arts-based educational research as the
field practitioner makes use of an array of images and objects as a means
of representing the experiences observed and how these are considered
in relation to broader constituent interests and institutional contexts.
What is common with inquiry that takes the studio experience as the
primary site for investigation is that the traditional notion of research
is disrupted. Instead of framing issues and questions according to what
might be probable or plausible, the quest is to ponder the possible. The
research strategy that unfolds is diligent in connecting what is revealed
in relation to what is already known, for this is in keeping with the rigor
or research, irrespective of the paradigm preferred. As David Hockney
observes, "I ask such questions and make the theories only afterwards,
not before-only after I have done something" (1993, p. 130). There-
fore the method that characterizes the best of practice-based research
and arts-based educational research is one that represents a "create to
critique" mode of inquiry (Sullivan, 2005). Some of the research acts
involved in art practice are briefly described in the following section.
Framing Research Acts Within Art Practice
When art practice is theorized as research, it is argued that human
understanding arises from a process of inquiry that involves creative
action and critical reflection. As a significant means of human under-
standing, art practice is very mindful work as it makes good use of
cognitive processes that are distributed throughout the various media,
languages, and contexts used to frame the production and interpreta-
tion of images. There is an inherently transformative quality to the way
we engage in art practice, either as learners or teachers, and this dynamic
aspect has to be embraced if the idea that the studio experience can be
conceptualized as research is to have legitimacy. The researcher and the
researched are both changed by the process because creative and critical
inquiry is a reflexive process. Similarly, a viewer or reader is changed
by an encounter with an art object or a research text as prior knowl-
edge is troubled by new possibilities. Many educators acknowledge the

28 Studies in Art Education

 Research Acts in Art Practice

reality of reflexive research, which "works against" existing theories and

practices and offers the possibility of seeing phenomena in new ways
(Alvesson & Skoldberg, 2000).11 At issue is the role of interpretation 11 For a postmodern
and the need to be able to identify how data, irrespective of its visual critique of research
methodology see Brown
or verbal form, are used as evidence to support the views held or the & Jones, 2001; Pink,
claims made. The challenge for the arts researcher is to maintain and 2001; Scheurich, 1997;
monitor a creative and critical perspective so as to be able to document Stronach & MacLure,
1997).
and defend the trustworthiness of interpretations made.
12 More fully developed
A series of research acts that, it is argued, help identify ways of arguments that theorize
thinking about art practice as research are shown in Figure 1, which is art practice as transfer-
mative research can be
organized around three elements that characterize studio processes as
found in chapter 3 of
a cultural practice, namely structure, agency and action.l? Art practice Art Practice as Research
involves giving form to thought in a purposeful way that embodies (Sullivan, 2005).
meaning and this is negotiated in many contexts. The relationship
among artistic structures, agencies and actions resists any fixed notions,
yet there is much to be gained by looking closely at some of the research
acts that are embedded in studio practices. For instance, a useful way
to think about this seemingly elusive aspect is to consider painting.

AGENCY STRUCTURE

FORMING
ACTS

CRITICAL
ACTS

ACTION
Figure 1: Research Acts in Art Practice

Studies in Art Education 29

 Graeme Sullivan

The term 'painting' is both a noun and a verb. As a noun, there is ready
acceptance that painting, as an object, has creative and material form,
provenance, and a host of interpretive regimes through which it can
be squeezed. However, when seen as a verb we get a sense of the way
that painting as a practice is determined by the act of doing it. In this
way, distinctions among terms such as painter, object, and viewer melt
away as the circumstance or setting influences the meanings invoked in
artistic efforts and encounters.
What this does not mean is that studio practices such as painting,
which are a means of creative and critical investigation, are too ephem-
eral to consider within the rubrics of research. As Raney (2003) notes,
'''Research' has to a large extent replaced 'expression' as a model for art
practice... and research provides a concept to link the activities taking
place in different fields" (p. 5). Whether seen as process or product, art
practice can indeed be argued to be a robust form of human engage-
ment that has the potential to reveal new insights and understand-
ings. To argue this point further, the following discussion describes the
research acts that are embodied within studio practices and those that
surround them.
Theoretical Acts in Art Practice
Perhaps the most distinctive aspect of art practice to emerge from
the linguistic challenge posed by postmodernism, whereby sign systems
and visual culture are seen to be explained by language structures, is the
move away from media as a defining characteristic. Artists in general
can no longer be seen as individuals whose singular identity is best
described by the way that they manipulate media. 'Style' is an impover-
ished concept these days. The intellectual and imaginative space within
which an artist works cannot be confined to pushing around pigments
or pixels. Nor for that matter is the artist's studio the only physical
space where this occurs-productive artistic activity takes place in just
about every setting imaginable, from the classroom to the community,
the industrial park to the Internet, and the subway to the highway. The
critical point is that messing around with thoughts has joined messing
around with media as the primary artistic practice that shapes studio
processes.
Yet, artists have always been deep thinkers. What has expanded,
however, is the range of conceptual tools, creative approaches, and
communal contexts, within which artistic practice takes place. A
characteristic of this practice shows that artists periodically "think in
a medium," "think in a language," and "think in a context" (Sullivan,
2004). The creative and critical intent ofartists who "think in a medium"
emphasize formal and expressive properties that are revealed by their
explorations of media. For artists who "think in a language" a rich

30 Studies in Art Education

 Research Acts in Art Practice

interpretive landscape is opened up because art experience is extended

through dialogue and discourse. On the other hand, artists who "think
in a context" are interested in creating critical artistic encounters that
change the way we think about things around us. Consequently, in
considering art practice as theory, the way artists think about studio
processes as forms, ideas and actions, as shown in Figure 1, gives a sense
of the rich theoretical underbelly that propels art inquiry.
Conceiving art practice as a theoretical act within a framework of
inquiry sets in place the prospect of doing research in artmaking. When
used as a site for research, art practice brings into play the seamless
relationship between the 'researcher' (artist) and the 'researched' (art
practice) and this builds on all the discursive arguments that disrupt
untenable dichotomies such as the fictive subjective-objective divide.
Or to put it another way, the task is to claim a legitimate place for the
artist in the research process, and to do this, other research acts can be
taken up.
Forming Acts in Art Practice
Although the mind is the medium that most clearly shapes art
practice, for many art researchers art materials are still the most tangible
means that give form to imaginative thought. Therefore, when under-
taking studio research where there is a focus on structural qualities
among other interests, the artist really does think in a medium. In this
process the artwork becomes the primary site and source of knowledge,
just as with painting where questions, problems, and insights emerge
as part of the practice. Research acts such as visual problem finding
and problem solving are characteristic of this kind of inquiry process
whereby forms, materials, properties, and qualities become the means
by which concerns are explored and expressed. This reflective intent
fuels an exploratory tendency as new forms and images are created, and
these open up the possibility of new meanings. A characteristic of these
research acts is that understanding emerges within the process of media
experimentation, and this performative knowledge can be likened to
more traditional grounded strategies such as observation and empirical
confirmation. A further feature is that the forming or making systems
within which an artist-researcher explores and creates incorporates all
kinds of visual and virtual fields.
Interpretive Acts in Art Practice
For those art researchers whose focus of inquiry pursues an interpre-
tive interest this can invoke a somewhat different set of research acts.
There is an acknowledgment that art practice is not only a personal
pursuit but also a public process that can change the way we understand
things. Consequently, the ideas expressed and communicated have an
interpretive utility that assumes different textual forms as others make

Studies in Art Education 31

 Graeme Sullivan

sense ofwhat it is artists have to say through what it is they see. Interpre-
tive research acts build on the rich conceptual traditions associated with
image making whose purpose is to open up dialogue between the artist
and viewer, and among an interpretive community whose interests may
cut across disciplines. The linguistic turn of postmodernism has done
much to disrupt the easy equation that presumes an artwork and its
'reading' by viewers is a simple matter of encoding and decoding visual
forms. Interpretive acts open up the space among the artist, artwork,
and the setting as different interests and perspectives are embraced.
New understandings result as they are filtered through the interpre-
tive community of art writers and theorists. As Arthur Danto (1981)
reminds us "You can call a painting anything that you choose, but you
cannot interpret in any way you choose, not if the argument holds that
the limits of knowledge are the limits of interpretation" (p. 131).
Critical Acts in Art Practice
Art practice also draws on critical research acts and this stance has
always been part of the history of art. There is an enactive or 'doing'
element here, for critical action implies both a reactive and proactive
stance, which is responsive to circumstances and contexts that require
attention. Artworks have long been used as an instrument of social and
political action, yet artists are sometimes hard pressed to show what their
actions actually achieve. For some arts commentators, the presumed
social role of artistic inquiry is misguided and should be left to the
social scientists and political theorists (Hughes, 1993). Maxine Greene
(2003), however, is fond of saying that art cannot change the world,
but it can change someone who can. She talks of the "social imagina-
tion" as a site where what is possible can take flight, and where incom-
pleteness and uncertainty are relished as habits of mind. For an arts
researcher inspired by a call to critical action, any inquiry is undertaken
for personal and public ends. A questioning attitude that is socially and
culturally directed readily maps onto methods of inquiry and research
acts that are responsive and exploratory. Yet the most crucial element
within this inquiry process is the need to be able to create forms from
which critical options can be more clearly assessed and addressed. This
will require moving in and beyond the comfort of prescribed disci-
pline knowledge, as issues and concerns demand approaches where
new perspectives are opened up. Consequently it is the creation of new
opportunities to see beyond what is known that has the potential to
lead to the creation of new knowledge.
Conclusion
The arguments presented here are based on a rather simple proposi-
tion that art practice is a profound form of human engagement that
offers important ways to inquire into issues and ideas of personal, social

32 Studies in Art Education

 Research Acts in Art Practice

and cultural importance. This practice is creative and critical; features

complex forms of imagination and intellect; and makes use of processes
and procedures that draw from many traditions of inquiry. Conse-
quently, it is argued that art practice can be conceptualized as a form
of research that can be directed towards a range of personal and public
ends. An overview of the research acts that are characteristic of the
various research practices is given and these incorporate the theoreti-
cal, structural, interpretive and critical traditions found in the arts. It
is further contended that art practice, in its most elemental form, is an
educational act, for the intent is to provoke dialogue and to initiate
change. Consequently, it is an easy task to position art practice within
educational discourse. For some arts-based researchers, however, there
is a tendency to rely too much on the instrumental capacity of the arts
to be drafted into service when used in educational contexts. Such a
move diminishes the creative and critical capability of the arts for there
is much more that art practice can do. If the challenge is to chart new
roads that will help us understand the complex worlds we live in then
there is little to be gained by merely following paths mapped by others.
The task is to vision anew what is possible, but in a way that allows
others to share the view.

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