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'Losing the plot: moving beyond text in educational practice' in The Arts and the Legal Academy: Beyond Text in Legal Education (Farnham: Ashgate, 2012), edited by Zenon Bankowski, Maksymilian Del Mar and PaulMaharg, 37-49.
No full textCommissioned for publication in a substantial multi-disciplinary collection of research into knowledge and knowing in legal education this chapter was written in collaboration with Pirrie, a Reader in the School of Education at the University of the West of Scotland. The article identifies new opportunities for common ground between architectural and legal education and their respective practices, focusing on interpretations of Ingold’s conception of wayfaring pedagogy (2007). These new opportunities include architecture live projects and mobile studios such as the Architectural Association’s ‘Polyark’ of 1973 and the multi-site ‘Polyark II’ of 2009.
The article builds on distinctions made in research previously published in the peer-reviewed journal Policy Futures in Education (vol. 9 (5), pp. 601-611, ISSN 1478-2103) which contextualised the authors’ research against broader discourse in education. This research established opportunities and constraints of the authors’ disciplines, making an explicit theoretical distinction between wayfaring and travelling and the epistemological analogues of inhabitant knowledge and occupant knowledge.
Drawing upon his doctoral research into live projects in architectural education (completed November 2012), Brown developed the sections of the chapter discussing the work of the architect Cedric Price and the educational initiatives Polyark (1973) and Polyark II (2009/10), while Pirrie was principally responsible for the development of ideas relating to differentiated aspects of knowledge and knowing
Documenting Cadere 1972-1978 (2012-13)
No full text‘Documenting Cadere 1972-78’ was researched and curated by Morris, who also designed and installed the exhibition at each of the venues: Modern Art Oxford (14 December 2012 to 10 February 2013), Mu.ZEE Ostend (2 March 3 to 2 May 2013) and Artists Space New York (11 April to 23 June 2013). The exhibition was based on research into, and chronological compilation of, Cadere’s documents, letters and photographs, allowing visitors to read the artists’ words and view his work at the same time. The exhibition critiqued the Staatliche Kunsthalle’s (Baden Baden) exhibition from 2008. Morris’s presentation of the artist refocused attention on the political dialogues informing Cadere’s work, presenting Cadere as a living performance artist who believed that the ownership of a space brought political interference to the understanding between an artist and their audience.
Works for the exhibition were lent by Anton & Annick Herbert, Herbert Foundation, Ghent (48 documents, letters and photographs), Massimo Minini Galleria Banco, Brescia (3 documents and 8 photographs), Barry Barker (2 documents and 3 photographs) and Chris Dercon (documents and photographs from PS1, New York, 1989). Each of the lenders wrote a short introductory memoir, which Morris incorporated into the exhibition and catalogue. 73 documents and letters, researched and compiled by Morris, came from her personal archive.
The tour venues, the Arts Council, Oxford City Council, Flemish government, Bloomberg Philanthropies, Andy Warhol Foundation, Lambent Foundation, New York State Council on the Arts, New York City Council and Department of Cultural Affairs, Friends of Artists Space, Ampersand Foundation, Henry Moore Foundation and Norwich University of the Arts financed the exhibition. The accompanying catalogue, published by Koenig Books, includes a 1976 recording of Cadere talking to Morris, Morris’s compilation of Cadere’s documents, and a chronology of the artist prepared by Morris