The Society for Artistic Research (SAR) was established in March 2010 as an independent, non-profit organisation for the purpose of publishing the Journal for Artistic Research (JAR). It is a dynamic, international group that is encouraging discussion and activity dedicated to artistic research. SAR is comprised of both individual and institutional members from around the globe, who support SAR through the payment of a membership fee, sponsorship, and the gifting of their time and expertise.
Click here for more information, to become a member and support JAR!
We invite submissions to JAR from all fields and disciplines in which artistic research may be relevant, including areas that may not usually be conceived of as 'artistic'. Although the journal has emerged as a result of demand in the academic field, JAR welcomes submissions from practitioners with or without academic affiliations.
The key problem for many involved in artistic research is ‘writing’ and its authority. In response to this, JAR introduces a new format for publishing artistic research, the ‘exposition’, a multi-media document that can combine and interlink text, image, film and audio material on one or more scrollable pages.
Contributors compose expositions using an online editing space, the Research Catalogue, and we welcome a variety of approaches to the form, scale, number and balance of contents. That said, submissions to JAR must meet one key requirement; they must expose artistic practice as research.
This process goes beyond simply documenting, describing or writing about work. It engages actively with the questions and claims about knowledge within practice. Text-centred expositions are perfectly acceptable, but JAR offers the possibility to challenge traditional modes of (critical) writing that use works as illustration and text as explanation. In this sense, ‘writing’ here is not understood as synonymous with text.
All submissions to the journal need to be made through the Research Catalogue, and created using the online editing space. Submissions should be in English and there is no word limit (as contributors can expose research with more, less or no text). Instead we request that a reader/viewer of the exposition should be able to grasp the core of the research in the period of an hour of investigation.
If interested in submitting, the first step is to register for an account, which is free of charge. Login details are sent by email and once received offer access to the editing space. Once logged in, an online tutorial helps to create pages, upload text, image, film and sound and combine them to make expositions. These are easily viewed as a web page and users can invite others to look at them, and collaborate with them along the way.
Before embarking on a submission to the journal you should contact us by Email to see if your research is suitable. Completed expositions can be easily submitted to the journal with just two clicks from the profile page. From there they are passed to the editorial board, and if accepted, on to peer review by a minimum of three reviewers. The Peer-Reviewing Guide gives more details of how these are conducted and how submissions are assessed.
We accept and review submissions as they come in, and currently publish two issues a year, in Spring and Autumn.
Contact Barnaby Drabble, our managing editor, should you have any further questions.
Since the 1960s, walking artists have documented the multifarious relationship between humans and their built environments. By turning walking into art, key figures such as Bruce Nauman, Richard Long, Marina Abramović, and Hamish Fulton paved the way for future practitioners, such as Janet Cardiff, Tim Brennan, Tim Knowles, and Rachel Clewlow, among others, who continue to use walking as an opportunity creatively to investigate notions of place, identity, time, consciousness, and heritage. Whether walking fosters new artistic inquiry or remains its product, what a vast majority of walking artists have in common is that they pursue a form of praxis on the surfaces of their habitats.
This practice-led research project contributes to creative walking praxis by pursuing notions of cultural identity through an engagement with sub-suburban infrastructure. By developing sound-based, visual, and textual interactions with subterranean space – specifically stormwater drains – this project seeks to investigate alternative ontologies of everyday life.
This exposition investigates practice-as-research dynamics through a project titled ‘Shuttle’, from which emerged a practice of ‘shuttling’ as a layered modality for processing methodological artistic research. An international crew of artists, designers, and performance makers enquire into peer-to-peer creative practice development: practices unfolding through the dramaturgy of a twenty-day, four-thousand-mile mobile performance-research journey in the deserts of the North American south-west. We trace the dynamics of a practice-as-research milieu through a suite of artistic operations, performatively elaborated through this rich-media exposition. Through ‘shuttling’, we generate parafunctional performative spaces and temporalities. Our spatio-temporal and sensory mode of research – conditioned, co-created, and situated as a mobile laboratory – posits reflexivity as an embodied practice, as a medium of ‘shuttling’ with the dynamic emergence of creative research practices.
This exposition documents several years of process-driven practice-as-research. The work explores themes of womanhood, embodiment, and autobiography.
Throughout the exposition I argue that the embodiment of process is key to understanding practice-as-research. I propose that practice-as-research projects should not be driven with a ‘final output’ in mind. Instead, the practice of practice-as-research should be reconsidered throughout its development; it should use its potential for liminality. It is the demonstration of a ‘living process’; living in process.
This exposition explores ways in which we live in process through a presentation of text, visual essays, and short film and video pieces. The work develops from creative artefacts and critical text into a piece of responsive writing, 'A Play of Characters'. This playtext reconsiders some of the influences in the work and explores the imagery of the whole project in a performative context.
The notion of embodiment and a 'living body of work' is developed further through the use of metaphor, in particular the metaphor of the mollusc. I use this to consider how practice evolves alongside process, 'housing' both the work and the process in both material form (the shell) and trace (the snail trail).
Different combinations of this work have been presented as performance installations, both at the University of Portsmouth, as part of my PhD examination in 2010, and at the University of Lincoln, as part of the Gnarlfest in 2014. However, by the very nature of 'living in process' this is a work that continues to evolve and 'live' in different forms. The purpose of this exposition is to explore the work in an accessible online form – one that offers alternative platforms and sequences, creating different possibilities and readings of the practice.
This exposition discusses artistic appropriations of issues related to the contemporary global food agenda and the possible impact of these interventions on the public’s food-related mindset. It begins with an overview of some of the most pressing concerns about the current state of global food production and continues by discussing how these concerns are affected by social networking technologies and online collaborations. Social initiatives and food activists, as well as artists and designers, have become interested in communal bottom-up efforts to refine the global flow of food commodities. The second chapter of this exposition discusses recent examples of contemporary food art/design works. Beside a theoretical overview, the author presents her own food art/design project ‘HotKarot & OpenSauce’ and offers an insight into the field from the perspective of a researcher-as-practitioner. The exposition aims to raise important questions about the potential of participatory art/design initiatives and critically address current global food issues, hence supporting consumers’ general awareness of what ends up on their plates, how it gets there, and under what circumstances.
The affective qualities of surfaces (and the skin) in drawing operations, wedging clay, and video are developed in this research exposition by activating them with both the concept and the practice of exhaustion in emergent series. The practical and conceptual framework emerges along side Deleuze's 'The Fold', Deleuze and Guattari's concepts of the 'smooth' and the 'striated', and Stefano Harney and Fred Moten's 'The Undercommons'. The images, videos, poetics, and concepts of the exhibition develop folding textures and generate charged affective worlds with the force to modulate habits and attunements. As these emergent worldings intensify an emergent corporeal, they also activate a research process that continually folds over and across itself, opening up to new affects, concepts, and subjectivities. Folds exhaust themselves in the multiple, unspeakable midst, until the gentle vibration sparks a current and starts to resonate the fine hairs on the surface of the skin so that they again become sticky.
The Research Catalogue (RC) is a searchable, documentary database of artistic research work and its exposition. The RC is an inclusive, open-ended, bottom-up research tool that supports the journal's academic contributions.