Practice-led research and the myth of rigour

The process of determining creative works as rigorous productions of new knowledge is complex. As artists-academics, we assert that practice-led research is distinct from other disciplinary research, in the very form of rigour and evaluation processes in which these creative works require. Contextually, our premise is underpinned by broader university implications of creative research being measured against the criteria of traditional research, with its quality metrics often referencing the Sciences (Eisner 2015). We therefore, emphasise creative research as holding its own 'creative rigour', encompassing complex intersections of academy and industry

Down the Rabbit Hole

This is the Exhibition Catalogue for a two-part contemporary art exhibition series titled: Down the Rabbit Hole: A Queensland College of Art, Griffith University and University of Southern Queensland Visual Art Research Project. The significance of Down the Rabbit Hole lies in its interpretation and application of creative curiosity within a critical studio-research context. Therefore, the role of practice-led research is poignant to this project, as it adheres to the very notion of experiencing creative curiosity in order to effectively fall into the rabbit hole. It is only through engaging with experience that other worlds can be understood. In this way, creative curiosity becomes an intellectual pursuit; like a riddle that makes sense of what is initially perceived as non-sense. Often, such visual research methods are employed to cautiously interweave intellectual rigour and creative intuition within contemporary art practices. In this exhibition, it could be interpreted that creativity and criticality are intrinsically linked as it showcases not only professional expertise but also new contributions to the visual-art field

Implementing a new Doctor of Creative Arts program in the Chinese Year of the Fire Monkey

This article explores the development and implementation of a new Doctor of Creative Arts program in a regional university. The experiences of key leadership staff and Doctor of Creative Arts candidates enrolled in the foundation year of the program are contextualised within the current landscape of practice-based arts research in the higher education sector. The process was shaped by the tension between financial imperatives and the possibilities, ambiguity and ambivalence inherent in the arts. The implementation of the Doctor of Creative Arts in 2016, the Chinese Year of the Fire Monkey with its emphasis on intelligent, flexible and creative leadership, was one that offered the most relevant metaphorical framework within which the challenges were best articulated and explored. The findings revealed significant institutional awareness of the new program’s potential to facilitate innovative, creative and traditional research outputs, the importance of communicating the value of creative practice-led research for artists and the university, and leadership and support throughout planning and implementation

Artistic Freedom or Animal Cruelty? Contemporary Visual Art Practice That Involves Live and Deceased Animals

This paper examines a selection of 21st-century international examples of exhibited visual artworks involving live or deceased animals. It seeks to reveal the risks and benefits of unique encounters with animals through art and to consider the ethical implications of artwork deploying animals. Australian and international animal protection laws are not explicit when it comes to the sourcing of animals for art nor for the direct inclusion of animals in artworks. This lack leads to a variety of artistic practices, some considered ethical while others are viewed as controversial, bordering on animal cruelty. Artwork selection is determined by a focus on high-profile artists who intentionally use animals in their practice and whose reputation has been fostered by this intention. The study provides insight into how the intentional use of ethically sourced animals within art practice can be a method of addressing hierarchal human–animal imbalances. Further, this study identifies unethical practices that may be best avoided regardless of the pro-animal political statements the artists put forward. Recommendations of how to better determine what is an acceptable use of animals in art with a view to informing legal guidelines and artistic best practice are presented