Year: 2006
Type: article
Abstract: This article is based on the experience of an art historian-theorist working within the context of a tertiary school \nof fine arts dedicated to the integration of studio practice and art history-theory. Such integration is the \ncornerstone of postgraduate studies in this context. Master of Fine Arts candidates are, for example, expected to \nclosely align their work for public exhibition with the historical and theoretical analysis and contextualisation \ncontained in their scholarly dissertations. This expectation is in line with current thinking on research in the \nvisual arts, with recent initiatives from within the discipline of Art History-Theory, as well as with tendencies in \ncontemporary arts practices. The article is divided into five sections: 1) an introduction, contextualisation and \nargument mentioning the author’s shift from an interdisciplinarity of content to one of methodology; and which \nlocates this change within reflection on the relationships between “Art History” and “Art Theory”, with \nreference to two texts, respectively published in 1994 – the year in which the author immigrated from South \nAfrica to New Zealand – and in 2006 – the year in which the article below was written; 2) relevant information \nabout particular curriculae which insist on the integration between studio practice and art history-theory and an \noutline of their alignment with recent thinking, initiatives and arts practices; 3) a brief discussion of the roles of \ndrawing in this alignment; 4) a presentation of a case study as an example of this alignment; and 5) in \nconclusion, a brief note on “interarts practices” and their implications for Art History-Theory as one, albeit \nfractious, discipline.
Author: Leoni Schmidt
Institution: Otago Polytechnic
Language: Afrikaans
Subfield: Visual Arts and Performing Arts
Field: Arts and Humanities
Domain: Social Sciences
SDG: Quality education
Open Access status: green
OpenAlex ID: W1488352283