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Mark Wilsher

Bio: Mark Wilsher is an academic researcher from Norwich University of the Arts. The author has contributed to research in topics: Imaging phantom. The author has an hindex of 1, co-authored 1 publications receiving 1 citations.

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TL;DR: The authors argue that the notion of the practice-only thesis is not only an unrealistic illusion that puts pressure on students, but also does not reflect contemporary professional practices and argue that an art practice to communicate any sort of specific knowledge it must be embedded in a pre-existing and continuously evolving flux of discourse produced through written and spoken language.
Abstract: As universities become accustomed to the complexities of their art and design faculties, a body of literature has emerged that explores some of the possibilities of a doctorate in the creative arts. In the area of fine art in particular, although not exclusively, there has been a drive towards a purely practice-based thesis. This article argues that the notion of the practice-only thesis is not only an unrealistic illusion that puts pressure on students, but also does not reflect contemporary professional practices. For an art practice to communicate any sort of specific knowledge it must be embedded in a pre-existing and continuously evolving flux of discourse produced through written and spoken language. The American artist Trisha Donnelly’s 2014 Serpentine Gallery exhibition is taken as an example. Critical writing in the art press produces an accepted interpretation, and this is what the artist ‘Trisha Donnelly’ comes to stand for. So artwork that might appear to be producing its meaning autonomously should be seen as a collaborative practice involving the artist together with their professional interpreters. Research students are required to produce a self-contained project which would seem to preclude the incorporation of writing or academic interpretation by others. But it is fundamentally unfair to demand a thesis without any written component since it does not exist in an expanded notion of the contemporary art world.

1 citations


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01 Jan 1983
TL;DR: In this paper, the authors studied the relationship between the production litteraire and the economy of a society. But their focus was on the relation between le champ de la production litteraires and the society.
Abstract: Etude de la production litteraire en termes relationnels, en construisant le champ litteraire, c'est-a-dire l'espace des prises de position litteraires qui sont possibles dans une periode donnee et dans une societe donnee. Les prises de position naissent de la rencontre entre les habitus d'agents particuliers et leur position, dans un champ de positions, defini par la distribution d'une forme specifique de capital. Ce capital litteraire (ou artistique, ou philosophique) fonctionne a l'interieur d'une "economie" dont la logique est inverse de l'economie plus large de la societe. L'"interet dans le desinteret" se comprend dans l'examen des relations structurales entre le champ de la production litteraire et celui des rapports de classes. De nombreux effets, a l'interieur du champ litteraire, naissent des homologies entre les positions a l'interieur des deux champs. Analyse du cas particulier du champ litteraire a la fin du XIX s. en France.

123 citations