Vanessa, I fear the Emperors, Turner Prize Judges, have no clothes but "What
We Can Get Away With". Is there a place for a paper on the need for "Art
Education" to break away from "Medical" thinking? We need to redefine
primary school age potential as "prographic" and get away from the negative
emphasis on "Dys-" labels such as dysgraphia for those who "can't" draw.
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-----Original Message-----
From: The UK drawing research network mailing list
[mailto:[log in to unmask]] On Behalf Of Vanessa Corby
(V.Corby)
Sent: 11 November 2008 13:56
To: [log in to unmask]
Subject: Final Call For Papers: Creative Practice/Creative Research
Conference

Creative Practice/Creative Research: Materiality, Process, Performativity 

15 April - 17 April 2009

A gathering of emerging and established voices in the criticism, curating,
history, pedagogy and production of art

Final Call for Papers: Deadline 1st December 2008
Registration Opens 1st January 2009

www.yorksj.ac.uk/creativepractice

Contact:

James Alexander 
Senior Administrative Assistant-Project & Outreach 

[log in to unmask]  

Faculty of Arts
York St John University
Lord Mayors Walk
York 
YO31 7EX
+44(0)1904 876433

Event Synopsis:

Creative Practice/Creative Research has emerged at a critical moment in the
burgeoning discourse that surrounds what has been named ‘practice-led
research.’ The impetus for this gathering has been a desire to critique and
disseminate insights born of practice by and for artists in a context that
will impact upon the fields of art criticism, art education, cultural
theory, curating and the history of art. 

This rationale responds to the lament of sculptor Robert Morris who in 1970
noted in Artforum that the creative process remained ‘the submerged side’ of
the interpretive ‘iceberg’. In the 1970s and 1980s the advent of post-modern
theory and the social history of art located the material production of art
at an intersection of history and the social. Practice had thus been
liberated from the (psycho)biographical expressivity and mastery of the
gesture. Within British art historical scholarship however the object of
critical discourse has remained profoundly visual. In 2008 this focus on
visual outcomes acquired renewed vigor via the generation of a new model of
art historical enquiry informed by neuroscience. Situated in the gallery
like so many dead objects ‘art’s’ materiality remains the trace of a means
to an ends. Caught between formalism and semiotics theory in this paradigm
is that which can only ever be applied to art.

Creative Practice/Creative Research seeks to turn the tables; to evoke the
writing of Ettinger (1997), Jones & Stephenson (1999), Bolt & Barrett (2006,
2007) as a critical framework with which to imagine art practice as the
means by which ‘we come to know the world via handling’ ((Heiddeger, 1966)
Bolt, 2007). The work of art as ‘co-poiësis’ (Ettinger, 1997) and ‘poiëtic
revealing’ (Bolt, 2007) transforms creative production beyond the locus of a
discrete subject bound exclusively by the discrete visual outcome. The
production of art is here cognized as the generation of the not yet known.
This paradigm shift seeks to foreground the ‘dialogical’ means through which
art’s work may elicit transformations via material operations and
performativity both at the point of production and reception to reconfigure
the theoretical and historical frameworks through which it can signify.
 
To highlight such a fleshy transubjective logic of art practice will enable
interventions in the fields of curatorial practice and pedagogy. Creative
Practice/Creative Research seeks to disseminate examples of curatorial
collaboration in the creative process counter to the traditional practice of
the display of objects/outcomes in the gallery or museum. Finally this
gathering will interrogate the assimilation of fine art education within the
culture of accountability that currently structures the unruly objects of
art’s ‘research’ within higher education.

Submissions are invited from artists, critics and scholars in all fields of
the creative arts. 

Speakers

Steve Baker, UCLAN, UK
Estelle Barrett, Deakin University, AUS
Rosemary Betterton, Lancaster University, UK
Barb Bolt, University of Melbourne, AUS
Judit Bodor, Independent Curator
Vanessa Corby, York St John University, UK
Bracha Ettinger, European Graduate School, SWISS
Paula Farrance, UK
Pam Longobardi, Georgia State University, USA
Roddy Hunter, York St John University, UK
Linda Weintraub, Independent Scholar, USA
Elizabeth Watkins, Bristol University, UK
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