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Searching for artistic research? A study between
disciplines, interests, policies and systems
Tabea Lurk AND Franziska Burger
T his paper gathers interim results of a study on the accessibility of artistic research. Since nocorresponding subject portal could be found, a specific data collection was started. Due to the
study’s background in Switzerland, the resulting DataBase for Applied, Fine and Performing Arts (AFPA-
DB) focusses mostly on the German-speaking and European countries, while aiming to be expanded in
the future. After summarizing the formal findings of the study, the authors explore the challenges that
occurred during the research process. Their struggle in finding and/or accessing artistic research seems
to be characteristic of the field and is therefore likely to affect similar projects in other academic art
libraries.
The DataBase for Applied, Fine and Performing Arts (AFPA-DB) results from
a growing need at art universities to provide access to artistic research (AR)
as both:
a) a source and reference for research and education; and
b) in terms of publication: presenting and situating one’s own research results in
a larger academic environment.
While an overview of options for publishing art and design has been published as
the first outcome of our research (Lurk 2021), this text focusses on the side effects
of data collection.
In 30 September 2021, 1035 entries from 38 international universities (includ-
ing 28 of the 44 German-speaking art academies)1, 3 AR associations2, and other 1. Only a few are recorded in
individual entries were indexed in the AFPA-DB. Included were 183 monographs, OpenDOAR, which might be
112 book contributions, 243 journal articles (including 154 contributions from the caused by the lack of FAIR inter-
Journal for Artistic Research), 2 conference papers, 34 artworks, 7 blog posts, 32 faces such as OAI-PM. The acro-
documentaries, 2 films, 34 presentations, 22 reports, 94 student theses and dis- nym FAIR stands for free and
sertations (including 47 dissertations from German-language art schools), 17 sustainable access to digital data-
bases, as the contents are find-
video documentaries and 253 websites (including 108 entries from the inter- able, accessible, interoperable
national exchange programme Atelier Mondial).3 and reusable.
In August 2021, the AFPA-DB results from the 28 art academies in Switzerland, 2. Swiss Artistic Research
Austria, and Germany were analysed. Even though the results are too heteroge- Network (SARN), Institut für
neous for comparisons, the collected entries were counted and listed according to Künstlerische Forschung (!KF
document types. Furthermore, a control group was then created, in which only the Berlin), artresearch.eu
results of a keyword search within the respective repositories/publication servers (Gothenburg).
was counted. Beyond semantic differences, since the difference between AR out- 3. Since educational resources
puts and AR reflection was ignored, the institutional websites were left out of the and research data (packages) only
control group (but were, however, included in the AFPA-group). appeared in the control group,
The following considerations result from an analytical reflection on metadata they are not mentioned in the
information that was captured during the research and collection phase, focus- figure above.
sing on: a) the location where the entry was found; b) accessibility, including
copyright information; and c) keywords (or lack of keywords) used for description.
After a brief outline of the motivation, the text discusses the effects of systemic
weaknesses which became apparent during the research. In doing so, we look for
reasons why the results of AR are so difficult to find.
© The Author(s), 2022. Published by Cambridge University Press on behalf of ARLIS doi:10.1017/alj.2022.4 47
This is an Open Access article, distributed under the terms of the Creative Commons Attribution licence (https://creativecommons.org/licenses/by/4.0/), which
permits unrestricted re-use, distribution, and reproduction in any medium, provided the original work is properly cited.
https://doi.org/10.1017/alj.2022.4 Published online by Cambridge University Press
47 / 2 2022
Fig. 1. Overview of the total number of entries, according to document type,
sorted by country (German-speaking countries). Since educational resources
and (research) data packages occurred only in the control group, the bars are
empty here.
Fig. 2. Overview of the total number of entries (regardless of document type)
sorted by academy/country. While the orange bars show the AFPA-DB entries,
the sum of the hits of the respective control group is coloured blue. 4. Cf. Sandra Mühlenberend,
Sammlungen an
Need for study objects Kunsthochschulen (Dresden,2020).
In the specific context of art academies, artistic or creative works have always 5. Cf. Peter Peters et al. Dialogues
been both objects of study4 and results5. Although art – at least art since the 1960s between Artistic Research and
– has established its own genres of becoming public, discursive, or engaging in Science and Technology Studies.
open dialogue with dedicated audiences, traditional scientific modes of commu- (New York: Routledge, 2020).
nication, which increase especially with the research requirements of AR, still 6. Henk Borgdorff, “Cataloguing
seem challenging. Thus, the artistic researcher continually discusses the trans- Artistic Research,” in Dialogues“
Between Artistic Research and
position”6 between artistic modes of approaching the public within the (art-)work Science and Technology Studies,
and publication standards in the scientific community. ed. Henk Borgdorff et al.
For the last 20 to 30 years, AR has become a topic of scientific funding, (New York: Routledge, 2019)
accreditation and evaluation procedures, including discussion on publication 19-30.
48
https://doi.org/10.1017/alj.2022.4 Published online by Cambridge University Press
47 / 2 2022
7, evaluation8, and methodologies9. Concerning the performance measurement 7. Barnaby Drabble, and Federica
of artistic “outputs”, the Swedish model seems groundbreaking.10 For staffing Martini, “Publishing Artistic
procedures, Lilja has proposed a question grid, and further considerations Research”, in SARN Booklet
regarding assessment or quality management procedures can be found in dif- (Basel: SARN, 2014).
ferent contexts.11 While on one hand, the ongoing debate and (self-)questioning 8. Gerald Bast et al., Arts,
of artistic researchers leads to fruitful results, which continuously expand the Research, Innovation and Society
discipline,12 on the other hand the integration of AR approaches as a critical or (Cham: Springer International
Publishing, 2015).
methodological framework for teaching13 demonstrates how established the field
has become – even in traditional subject areas such as painting.14
9. Mika Hannula et al., ed., Artistic
Research Methodology
Nevertheless, the fractures still existing between art and academia lead to (New York: Peter Lang 2014).
various daily challenges for art libraries.15 Starting with the questions of access 10. Tomas Lundén, and Karin
(acquisition and information retrieval), continuing with publication and data Sundén, “Art as Academic
management support (including rights issues), up to an increasing institutional Output,” Art Libraries Journal 40,
interest in the bibliometric measurement of art and science, one can find seem- no. 4 (2015): 25-32. https://doi.org/
ingly endless construction sites. At the same time, all have a common interest in 10.1017/S0307472200020496.
locating AR. This leads to a simple (starting) question: Where is AR – or rather: 11. Efva Lilja, “Art, Research,
How can AR results and outcomes be located? Empowerment.” C.f. also the
scheme of Bartar & Huber (2020,
161). The provided grid for counter
Searching for Artistic Research assessment of socially engaged
arts- and community-based
The systematic search for AR on academic platforms such as Web of Science, research can be transferred to
Scopus, JSTOR and Design & Applied Arts Index (DAAI) results in a considerable other areas, in that it classifies: a)
number of findings. Nevertheless, most entries discuss or write about AR rather excellence of approach, b) innov-
than being the results of AR in the sense that Borgdorff explained when stating: ation and originality, c) relevance
for the particular field and other
We can justifiably speak of artistic research (‘research in the arts’), when that disciplines, d) scientific quality, e)
artistic practice is not only the result of the research, but also its methodo- quality of cooperation, f) dimen-
logical vehicle, when the research unfolds ‘in and through’ the acts of creating sions of participation, g) added
and performing.16 value for participants, h) process-
oriented aspects, i) ethical
The cited comment explains, among other things, why for example (digital) principles, and j) open-science
humanities repositories, publication services and research portals only partially principles.
cover the professional needs of art and design.17 Even though they are located in 12. Regarding publication
the same cultural environment as creative, practice-based/practice-led requirements, still the Journal for
approaches, there are fundamental differences in: Artistic Research and its under-
lying Research Catalogue might
a) the way the research is conducted (including the definition of aims, the set- be mentioned (Schwab 2013).
ting of methods and the prospecting for interim results); 13. Cf. Ruth Mateus-Berr and
b) the way that outcomes and publications appear in a variety of formats; and Richard Jochum, Teaching Artistic
c) the technical needs for describing, characterizing, or classifying.18 Research (Berlin, Boston: De
Gruyter, 2020).
Narrowing down the previously mentioned search results using classic research 14. Cf. Stefan Wykydal,
routines such as keywords, filtering dedicated media or document types, or other “Nonverbal Words”, in Teaching
formal (metadata) characteristics is problematic in that conventions do not exist Artistic Research, edited by Ruth
for this, nor are there preferred or standardized subject terms, publication formats Mateus-Berr and Richard Jochum
or source-types. Of course, there is a Gemeinsame Normdatei (GND) entry for AR, (Berlin, Boston: De Gruyter, 2020),
19 but finding or rather offering controlled vocabularies and classifications for 67-72.
dedicated subject areas in AR seems extremely difficult. Whereas on the one 15. As the Vienna Declaration
hand the lack of vocabularies or classification systems is problematic,20 on the (cultureactioneurop.org 2020)
other hand the heterogeneity of the topics and methodologies, the creativity of attests, incompatibilities hurt the
artists and academic institutions
the artists in questioning and (re-)inventing everything, and a certain scepticism even more.
complicate finding solutions.21 16. Henk Borgdorff, “The Conflict
In fact, the discomfort of the researching artists often begins earlier –within the of the faculties” (PhD diss.,
publication or indexing process: object types used by repositories or publication University of Leiden, 2012), 47.
servers such as OPUS, DSpace, Fedora and Zenodo, as well as those of the web 17. The Registry of Research Data
portals mentioned, seem rather coarse compared to the diversity of artistic ways Repositories (re3org) lists in
of expression and becoming public. Of course, Resource Description and Access Germany arthistoricum.net
(RDA) and most academic bibliographic systems in general offer a remarkable (University of Heidelberg), the two
variety of media formats, while DataCite22 and the Confederation of Open Access image databases Foto Marburg
Repositories (COAR 2021) provide a remarkable list of resource type vocabularies. and prometheus (Cologne), and
Nevertheless, the implementation is often pending. Thus, classifying artistic ECHO - Cultural Heritage Online
outcome remains demanding. In addition, Veerle Spronck points out: (Max Planck Institute for the
History of Science). In addition,
The artistic researchers have to deal with art worlds (consisting of art critics, Kubikat (bibliographic data),
curators and festival organisers as well as the general art public), academic heiData and the digital and inter-
communities, and in some cases they contribute to public debates. To make disciplinary object and multi-
media repository heidICON (both
49
https://doi.org/10.1017/alj.2022.4 Published online by Cambridge University Press
47 / 2 2022
the outcomes of their research relevant and assessable to these diverse University of Heidelberg) were
audiences and communities, work needs to be done.23 looked through. All of them focus
primarily on art historical materi-
als. Regarding AR, re3org pre-
sents the Research Catalogue
Classifying art in a publication context (RC), Portal de Datos Abiertos
UNAM (UNAM Open Data Portal,
Understanding Efva Lilja’s24 recent statement “[t]he object of artistic research is Colecciones Universitaria,
art”25 as a serious hint, another type of cataloguing system that has largely been Mexico) and Portal de Datos del
neglected so far might come to mind: collection management systems.26 Mar - SNDM (Portal Argentino de
Whereas Lilja’s activating essay points to the risk of losing meaning or relevance Datos del Mar, Argentina) when
when adapting (appropriating) scientific attitudes from other contexts too ambi- searching on a global scale.
tiously, one might indeed ask how far scholarly communication could benefit 18. Since researchers often
from the ways of describing and documenting art.27 record their content in research
Collection management systems specialize in taking the significance (indi- information systems, language
viduality) of an artwork into account. While conservation science tends to speak plays a special role (cf. Wälchli &
of signi cant properties , when works of art become more complex, semantic- Caduff 2019). A differentiation“ fi ”
ally breaking down the work of art to a set of elements which might be pre- between practice and theory, for“ ” example, also seems inappropri-
served in different ways, and looking at materials and techniques (as ways of ate, since many artists perceive
creation) can enrich the present discussion. With regard to AR outcomes, meth- their reflective work as theoretical.
odologies gain special importance. As Rachel Mader explains, when reflecting on Same with media formats such as
Brad Haseman’s concept of practice as research approaches to creative arts video or non-text formats. They
enquiry: “research is not only conducted to create content, but also to expand the are by no means primarily related
methods and instruments of artistic practices in each single case”.28 Thus, AR to AR.
methodologies might be understood as a natural progression of the material and 19. http://d-nb.info/gnd/
techniques approach. 1068661038.
Expanding the forms of describing varying ways of creating, exploring, pro- 20. Even Getty’s vocabularies in
ducing, and presenting, and the emphasis of methodologies calls to mind more the context of the Art and
recent developments in the context of scientific publishing as offered by data Archaeology Technical Abstracts
journals or data publications. Here, as there, the description of both the proce- (AATA) do not provide any spe-
cification for AR.
dures of data collection and research methods, and the way in which the data was
then structured and evaluated, contribute to the later understanding and subse- 21. Duby, Barker 2017 comment:
“The vocabulary of research has
quent re-use. Dedicated areas are therefore provided by the respective infra- largely been predicated on scien-
structures. Relational models have replaced field-based indexing forms. tific research or more precisely an
Accordingly, a look at schemas such as CIDOC CRM from the cultural heritage oversimplified concept thereof
perspective or Records in Context (RIC) from archival practice might be worth- which depends upon the suprem-
while. They stay structurally flexible and extendible, and therefore support cre- acy of propositional knowledge”.
ativity and liveness. Furthermore, conceptual models for describing such as the 22. “DataCite Metadata Schema
standard for open educational resources (IEEE 2020), would have to be examined. Documentation for the Publication
LOM’s (Learning Object Metadata) capacity to address different target groups and Citation of Research data –
even at the metadata level seems extremely interesting. Version 4.3,” DataCite Metadata
Nevertheless, our aim is not to promote yet another standard that is not Working Group, last accessed on
applied because it is too complex or speci c or fails to gain acceptance due to 6 October 2021, https://doi.org/10.fi
14454/7xq3-zf69.
other reasons. Quite the opposite: we have the feeling that the initial question of
the availability or rather the findability of AR results relates to further structural 23. Spronck, Veerle. “Between Artand Academia: A Study of the
problems. Practice of Third Cycle Artistic
Research”. Maastricht University,
2016. https://lkca.nl/wp-content/
Referencing AR as research outcome uploads/2020/02/scriptie-2017-
between-art-and-academia-
Starting, for example, with a well-established, scientific practice such as the ref- spronck.pdf.
erencing of sources of literature, data, tables, graphs, etc. used in articles and 24. Efva Lilja has been observing
papers, it seems clear that citation conventions are so well established that and participating in the Swedish
algorithms automatically recognize most quoted sources. Automatic reference AR development for decades.
detection is, among other things, the basis for quotation indices.29 25. Efva Lilja, “The Pot Calling the
As opposed to literature, artworks and AR outputs often elude citation. Even if Kettle Black,” in Knowing in
works of art are named within a text, the automated detection of their mentions Performing, edited by Annegret
normally fails due to missing or incomplete structuring conventions. While lists of Huber et al. (Bielefeld: transcript
illustrations sometimes present a specific kind of index within the text, they Verlag, 2021), 28.
nevertheless seem so little standardised that automated counts with an accuracy 26. For this reason, the Portal
equivalent to Hirsch-Index or Received Citations are not yet available. This affects Wissenschaftliche Sammlungen
virtually all the artistic formats, including musical or performative scores, theatre (i.e. portal of scientific collections)
was examined, even though pri-
plays and photographs that are not dealt with by well-known publishers - even if a marily historical holdings are
catalogue raisonné exists with established numbering.30 indexed. In contrast to the
On the one hand this ties in with considerations in the museum context, in humanities’ portals, a broader
which referencing, the preservation of context and/or the quality assurance of range of scientific material and
50
https://doi.org/10.1017/alj.2022.4 Published online by Cambridge University Press
47 / 2 2022
online (re-)sources are discussed.31 On the other hand, collaboratively created tool collections are listed with
meta-searches such as European-art.net (EAN) are gaining importance.32 Initiated remarkable contents.
by Basis Wien and resulting from the EU funded vektor (2000-2003) project, EAN 27. In the context of art collec-
references not only artists,33 exhibitions and publications of the 13 partner insti- tions, characterization and key-
tutions, but also enables searching for artworks, if the source databases release wording normally follow at least
this information. To what extent the trend towards the visualization of collection in-house or internationally recog-
holdings, as found in the context of Linked Open Data, Knowledge Graphs, vari- nized, controlled vocabularies ortypification.
ous other data models and as countless pilot projects, is relevant for the present
28. Rachel Mader, “A Review of
context of referencing remains to be examined. Artistic Research and Literature,”
Easy ways out of the dilemma are not to be expected in the short term, for the Art/Research International: A
following reasons: Transdisciplinary Journal 6, no. 2
a) AR outcomes are spread across different genres (from dedicated works of art (2021): 540.
to curatorial work, from publication to performance, etc.) and artists tend to 29. Besides bibliometric interests,
automated recognition of whole
engage in different formats; text passages plays an important
b) publication venues and institutional framings seem constantly changing, role in plagiarism prevention.
from academic context via gallery and museums spaces to public or alter- 30. Comparable problems are
native sphere(s), including digital and hybrid environments; and found in texts when the translit-
c) communication channels often cover only temporary needs and disappear or eration systems are lacking.
migrate sooner or later to other media. Stefan Schley (conversation 2021)
has recently pointed out this
Furthermore, artistic outcomes, and especially those of AR, are bound to the challenge of Tibetology.
presence of the audience. With Andrea Phillips one can state: 31. Stefan Przigoda,
The claim of artistic research is that it is radically open and thus accessible to “Sammlungsdokumentation,
Forschung und Digitalisierung,” in
all comers, giving rise to questions of explanation, exposition, methodological Objekte im Netz, edited by Udo
investigation and publishing itself (in the sense of ‘making public’), especially Andraschke and Sarah Wagner
in a field dominated by privatization (both in terms of art’s connection to (Bielfeld: transcript Verlag, 2020).
infrastructures of its market and in terms of the pedagogical habitus of indi- 32. https://european-art.net/
viduation of expression).34 database.
33. Artists are assigned to GND
and FIAV.
Free and Open Access 34. Andrea Philips, “Artistic
Research, Publishing and
The statement highlights another conflict zone that becomes obvious when Capitalisation,” in Futures of art-
publishing: the basic understanding of openness in relation to access. While the istic research, edited by Jan Kaila
Budapest (2002) and Berlin Declaration (2003) define – from a libraries perspec- et al., (Helsinki: The Academy of
tive – what Open Access (OA) is and how it should be marked, for many artists Fine Arts, Uniarts Helsinki, 2017),
and researchers in this field, content that can be “consumed” without login, 24.
payment or admission is considered open and accessible. Therefore, just under
12% of the current AFPA-DB entries can effectively be described as OA, even
though almost 28% are accessible without restrictions (bronze OA). Some facul-
ties still believe that a sentence such as “[title] is accessible online to all (Open
Access)” and the provision of a digital resource (PDF, image, video) make the
publication OA. Expectations clash with reality when informing them that OA
requires a clear statement for reuse, indicated for example by adding a creative
commons statement and holding a signed contract note in hand (or in the arch-
ive). Accordingly, Clarrie Bishop has pointed out that successful OA projects are
“about placing relationships at the heart of your work and thinking about rights
collectively”.35 35. Carrie Bishop, “Creative
Leaving aside “things” that are also traded on the art market,36 and focussing Commons and Open Access
instead on AR results and their context, OA currently gains increasing import- Initiatives”, Art Libraries Journal
ance. In a cultural framework of inequality, in which many artists are still seeking 40, no. 4 (2015): 9.
a voice, permanent identifiers and the commons play a special role. They bring 36. Regarding goods of the art
reliability, traceability, and permanence to a digital environment that otherwise market, one could argue that their
seems highly dynamic and unstable. As Henk Borgdorff stated, when weighing transmission to the future is
the advantages and disadvantages of AR in relation to increasingly easier otherwise guaranteed.
accessible scientific infrastructures:
You gain stability and the potential for distribution at the cost of the singularity
and materiality of the operator. In artistic research this involves the chain of
reference between artwork at the one extreme and artistic research publication
at the other.37 37. Borgdorff, “Cataloguing,” 21f.
To put it differently: OA does not require reluctant relabelling, accepting reduced
quality caused for example by low image resolution or black and white printing.
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47 / 2 2022
Rather, the fracturing of incompatible legal systems creates space for new cre-
ativity, as encountered in different publishing contexts.38 In a constructive, 38. Stefanie Bringezu, Was ist
solution-oriented environment, it is then also possible to think carefully about Kunst? (Ostfildern: Hatje Cantz,
what re-use can mean in the context of design and art. 2012).
Conclusion
AR seems to be a topic that is discussed at virtually all art academies.
Nevertheless, when browsing the related scientific infrastructures, significant,
partly structural, differences occur: while some art academies have developed
digital memory infrastructures, others are still waiting for publication servers,
repositories, or (supra-)institutional access. Differences determine the field in
other contexts as well, for example financial and human resources, time span
since resources were systematically documented, acquisition/indexing and pub-
lication policies, the question of how or where closed content is accessible (as
metadata and data), accepted file-formats, evaluation mechanisms, and/or
workflows and instruments for quality approval. Certainly, the size of the insti-
tution (measured by the number of staff and students), subject orientation (type 39. Art academies in Switzerland
of specializations), and structural scopes of action vary.39 are for example located at the
Since only parts of the AR outcomes find their way into the available reposi- educational level of universities of
tories, the websites of the research institutes and their projects, associated PhD applied sciences, which have no
programmes and fellowships play a special role regarding AR dissemination. right to award doctorates. In
Even if neither plain HTML-websites nor portals with structured content man- Austria and Germany, too, not all
agement systems facilitate scholarly communication in terms of publication, art academies have the right to
access, and reuse (at least from a library perspective), these network-based award PhD degrees, and some
channels still seem more easily equipped by artist researchers and thus more subjects areas are taught in facul-
accessible than repositories or publication servers.40 In addition, dedicated blogs, ties in which art is only one sub-
social media platforms and multimedia networks would require further consid- ject among others.
eration.41 40. Micro affiliations and “una-
ffiliated knowledge workers”
Regardless of the popularity of repositories among the artistic researchers, the (Brown 2016) have (or are aware
lack of appropriate forms of citation and referencing has emerged as a particu- of) far fewer paths of publication
larly problematic area. The topic goes beyond the AR community and requires in academically recognized con-
other disciplines to take responsibility for their sources. Whereas AR outcomes texts than academic members.
are indeed widely dispersed and hard to track, and thus tend to get lost in the 41. Without judging the trend, in
plethora of activities, lack of global directories and referencing standards also 2010 the “alt-metrics manifesto”
cause problems. emphasized the growing import-
Nonetheless, OA has emerged as an element that constructively stimulates ance of publication venues out-
the dialogue between libraries, artistic researchers, and, ever more frequently, side the classical academic setting
non-af liated artists or communities who can contribute to the discussion or (Priem et al. 2010). Regardingfi
provision of sources. Increasing interest in collaborative, sustainable, and social academic networks, a quick
keyword search of the outcomes
resource-saving practices as well as manifold forms of access, accelerate the has confirmed earlier experiences:
ways of knowledge production and consumption.42 The tangible culture of the number of artistic outputs
cooperation and the claim to exchange ideas at eye level can contribute to seems vanishingly small com-
the overcoming of existing divides. This can contribute to better accessibility of pared to the discussion about AR.
AR, too. 42. Cf. in this context the concep-
tual framework of Documenta 15
(2022) regarding publication and
Tabea Lurk participation strategies of the
management team ruangrupa.
Head of Mediathek
FHNW University of Applied Sciences and Arts Nothwestern Switzerland
Academy of Art and Design
Media Library HGK Basel
Freilager-Platz 1
4142 Münchenstein near Basel
Switzerland
Email: tabea.lurk@fhnw.ch
Franziska Burger
Library Assistant
FHNW University of Applied Sciences and Arts Nothwestern Switzerland
Academy of Art and Design
52
https://doi.org/10.1017/alj.2022.4 Published online by Cambridge University Press
47 / 2 2022
Media Library HGK Basel
Freilager-Platz 1
4142 Münchenstein near Basel
Switzerland
Email: franziska.burger@hotmail.com
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