art case study

• Healey Library
• Research Guides
• Art Case Study
• Primary Sources
• Encyclopedias, etc
• Open Access
• Find Videos
• Citations This link opens in a new window
• Campus Support

Lombardy Sculpture in the 12th Century

Introduction.

To better understand a work of art, a researcher needs information not only about the work of art and the artist, but also the context in which the work of art was created. You may need information on the culture, religion, the place, the political situation, history, etc.

• He already has the information he needs on the artist and the sculpture itself.
• He needs to obtain background information about Lombardy in the 12th century, such as its culture, religion, political situation, and sculpture at that time.

The Reference Department researched this question and compiled a bibliography of journal articles, books, and encyclopedia articles for this student. Highlighted below are key resources we used to gather this information.

Getting started

• It pulls together the key resources to find journal articles, books and background information on art topics.
• You will find that tracking down information on this particular topic involves trying out a variety of databases. In some you will find many useful sources; in others just one or two.
• Remember that if you find a good source on your topic, to check its bibliography. You can see whether any of the items listed will be useful for your project also.
• The examples below use Lombardy as the geographic search term. You could broaden the search to include all of Northern Italy or limit the search more by picking a particular city or town such as Milan , Cremona , Brescia , or Bergamo . Many art and history articles are written about specific localities.

Background Information

• Oxford Art Online This link opens in a new window Oxford Art Online, an online art encyclopedia, is a great place to find information on artists, art movements, individual art works and places. Many articles include illustrations and Oxford Art Online also provides access to separate image collections. more... less... 5 concurrent users at a time
• Dictionary of the Middle Ages Call Number: REF D114 .D5 1982 Volume 7 has articles on Lombard Art, Lombard League, Lombards, and Kingdom of Lombards

• Lists every book (and film, journal, etc.) owned by the library.
• Includes both print and ebooks.
• Search by title, author, subject, or keyword. For more about searching, go here.

Search Lombard? ( The ? replaces the word ending and thus the search includes Lombard and Lombardy) The search above includes a search limit by language in English as there are numerous books on this subject in Italian. This search resulted in 27 books including the one below. From the record below, note the specific subject, Italy--History--476-1268 . This is a useful subject to search. Both Italy --History --476-1268 and Italy --History --476-1492 are good subject searches for the topic.

Journal Articles

ITER: Gateway to the Middle Ages and the Renaissance

• The  ITER  bibliography covers scholarship pertaining to the Middle Ages and Renaissance (400AD to 1700AD). It provides citations to articles in 1,026 journals, published from 1842 to the present, and to books and conference proceedings.
• Keep  ITER  in mind when researching the Middle Ages, because Historical Abstracts covers from 1450 on and does not include the twelfth century.
• Keep the default "any field"
• You could broaden the search by adding  or Northern Italy
• Limit to the time period you are interested in by typing in  middle ages or medieval or twelfth
• The search results are limited to sources written in English.

Other Resources

The examples above were chosen because of the particular research topic, Lombardy, Italy in the twelfth century. However should the original request been even slightly different, for example Lombardy in the 16th century, a different mix of resources may have proven to be helpful in finding information to place a particular art work in its historical and cultural context.

• Academic OneFile This link opens in a new window Contains scholarly journals, popular interest magazines and reference sources. Multidisciplinary coverage, including arts, humanities, sciences and technology. Provides full text coverage to the New York Times from 1985 to the present.
• Academic Search Complete This link opens in a new window Multidisciplinary coverage, including arts, humanities, sciences and technology Contains scholarly journals and popular interest magazines. Many articles are available in full text.
• Arts & Humanities Citation Index (via Web of Science) This link opens in a new window Some of the disciplines covered include: archaeology, architecture, art, Asian studies, classics, dance, folklore, language, linguistics, literary reviews, literature, music, philosophy, poetry, radio, television & film, religion, and theater.
• Historical Abstracts This link opens in a new window Abstracts the world’s scholarly literature in history except for the United States and Canada from 1450 to the present. Includes dissertations, book citations and reviews.
• JSTOR This link opens in a new window JSTOR is a collection of thousands of high-quality academic journals and ebooks across the humanities, social sciences, and sciences. The journal archive includes back issues and some current issues.
• << Previous: Find Articles
• Next: Find Books >>
• Last Updated: Apr 5, 2024 3:15 PM
• URL: https://umb.libguides.com/art

Case studies Performance at Tate: Into the Space of Art

While it might seem like a recent phenomenon, performance has been a part of Tate’s artistic programming since the 1960s. Drawing on records found in Tate Archive – including many previously unpublished photographs – the selection of case studies presented here shows the breadth of performance art events held at Tate over a period of nearly fifty years. These writings present detailed accounts of what these works entailed, and especially how artists have engaged the space of the museum – from its different physical sites to its staff and visitors and to Tate’s own historical legacy as a producer and repository of culture.

From these cases we can glimpse how performance has developed since the 1960s, and we can begin to see how Tate has changed as well.

Aldo Tambellini born 1930 Retracing Black 2012, Moondial 1966, Black Zero 1965

Acatia Finbow

Alexandra Bachzetsis born 1974 From A to B via C 2014

Philomena Epps

Alison Knowles born 1933 Newspaper Music 1962

Allan Kaprow 1927–2006 Fluids 1967 and Scales 1971

Clare Gormley

Amalia Pica born 1978 Strangers 2008

Andrea Geyer born 1971 and Josiah M c Elheny born 1966 The Infinite Repetition of Revolt 2010

Aura Satz born 1974 In and Out of Synch 2012

Bojana Cvejić born 1975 Spatial Confessions (On the question of instituting the public) 2014

Boris Charmatz born 1973 Flip Book 2008

Bruce M c Lean born 1944 Good Manners and Physical Violence 1985

Cai Guo-Qiang born 1957 Ye Gong Hao Long (Mr Ye Who Loves Dragons): Explosion Project for Tate Modern 2003

Cally Spooner born 1983 And You Were Wonderful, On Stage 2014

Cally Spooner born 1983 He’s in a Great Place! (A film trailer for And You Were Wonderful, On Stage) 2014

Carl Andre born 1935 Poetry Reading 2006

Charles Atlas born 1949 MC9 2013

David Lamelas born 1946 Time 1970

Eddie Peake born 1981 Amidst a Sea of Flailing High Heels and Cooking Utensils, Part 1 2012

Emily Roysdon born 1977 I am a helicopter, camera, queen 2012

Ewa Partum born 1945 Visual Poetry 2006

Forced Entertainment founded 1984 12am Awake and Looking Down 2003

Forced Entertainment founded 1984 Quizoola! 2003

Franko B born 1960 I Miss You 2003

Franz Erhard Walther born 1939 Werksatz (Workset) 2008

George Maciunas 1931–1978 Selection from 12 Piano Compositions for Nam June Paik 1962/2008

Gregg Bordowitz born 1964 Sex Mitigating Death: On Discourse and Drives: A Meditative Poem 2011

Guillermo Gómez-Peña born 1955 Ex Centris (A Living Diorama of Fetish-ized Others) 2003

Guy de Cointet 1934–1983 Tell Me 1979

Hélio Oiticica 1937–1980 Parangolés 2007

Jeff Keen 1923–2012 Gazapocalypse – Return to the Golden Age 2012

Jérôme Bel born 1964 Shirtology 2012

Jiří Kovanda born 1953 Kissing Through Glass 2007

Joan Jonas born 1936 Draw Without Looking 2013

Joan Jonas born 1936 Helen in Egypt: Lines in the Sand 2004

Joan Miró 1893–1983 and Joan Baixas born 1946 Merma Never Dies 1978

Joëlle Tuerlinckx born 1958 «THAT’S IT!» ( 3 Free Minutes) 2014

Kerry Tribe born 1973 Critical Mass 2010

Larry Miller born 1944 and Tom Russotti born 1977 Flux-Olympiad 2008

Liu Ding born 1976 Almost Avantgarde 2013

Marc Camille Chaimowicz born 1947 Partial Eclipse 1980

Mario Garcia Torres born 1975 Following Piece (with Evo’s sweater) 2007

Mark Leckey born 1964 and Florian Hecker born 1975 Untitled 2011, later Hecker Leckey Sound Voice Chimera

Martin Creed born 1968 Words 2006

Meiro Koizumi born 1976 The Birth of Tragedy 2013

Melanie Gilligan born 1979 Untitled 2011

Michael Clark Company (Clark born 1962, company founded 1984) Tate Live: Michael Clark Company at Tate Modern 2010–2011 Turbine Hall Residency 2010 th 2011

Boris Charmatz If Tate Modern was Musée de la danse? 2015

Nicoline van Harskamp born 1975 English Forecast 2013

Nina Jan Beier born 1975 and Marie Jan Lund born 1976 Clap in Time (All the People at Tate Modern) 2007

Nora Schultz born 1975 Terminal 2014

Oleg Kulik born 1961 Armadillo for Your Show 2003

Pablo Bronstein born 1977 Constantinople Kaleidoscope 2012

Pablo Bronstein born 1977 Intermezzo 2009

Paola Pivi born 1971 1000 2009

Patrick Staff born 1987 Chewing Gum for the Social Body 2012

Paulina Olowska born 1976 The Mother: An Unsavoury Play in Two Acts and an Epilogue 2014

Piero Manzoni 1933–63 Paintings, Reliefs and Objects 1974

Rabih Mroué born 1967 Theater with dirty feet – a talk on theater into art 2008

Ragnar Kjartansson born 1976 Variation on Meat Joy 2013

Rob Pruitt born 1964 Flea Market 1999

Roman Ondák born 1966 Good Feelings in Good Times 2007

Roman Ondák born 1966 Measuring the Universe 2007

Rose English born 1950 The Beloved 1985

Rosemary Butcher 1947–2016 Images every three seconds 2003 Hidden Voices 2004 The Hour 2005

Ruth Buchanan born 1980 The weather, a building 2011

Sarah Pierce born 1968 Future Exhibitions 2010

Selma and Sofiane Ouissi born 1975 and 1972 Les Yeux d’Argos 2014

Sturtevant 1924–2014 Spinoza in Las Vegas 2008

Sung Hwan Kim born 1975 Dog Video 2006 From the commanding heights… 2007 Washing Brain and Corn 2010 Temper Clay 2012

Suzanne Lacy born 1945 Silver Action 2013

Tim Etchells born 1962 and FormContent established 2007 It’s moving from I to It – The Play 2014

Tina Keane born 1948 Faded Wallpaper 1986

Tina Keane born 1948 Transposition 1992

Tony Conrad 1940–2016 Unprojectable: Projection and Perspective 2008

Trisha Brown born 1936 Man Walking Down the Side of a Building 1970

Various artists Up Hill, Down Hall – An Indoor Carnival 2014

William Forsythe born 1949 Nowhere and Everywhere at the Same Time 2009

Xavier Le Roy born 1963 Product of Circumstances 2009

Yves Klein 1928–62 Paintings, Sculpture and Documents 1974

Robert morris born 1931 robert morris , tate gallery 1971; bodyspacemotionthings , tate modern 2009.

Jonah Westerman

As part of Performance at Tate: Into the Space of Art, Jonah Westerman explores the Robert Morris exhibitions Robert Morris 1971 and Bodyspacemotionthings 2009

Rebecca Horn born 1944 Moveable Shoulder Extensions 1971

As part of Performance at Tate: Into the Space of Art, Acatia Finbow explores Rebecca Horn's Moveable Shoulder Extensions 1971

Nan Goldin born 1953 Greer and Robert on the Bed, NYC 1982

As part of Performance at Tate: Into the Space of Art, Jonah Westerman explores Nan Goldin's Greer and Robert on the Bed, NYC 1982

Mona Hatoum born 1952 Performance Still 1985–95

Capucine Perrot

As part of Performance at Tate: Into the Space of Art, Capucine Perrot explores Mona Hatoum's Performance Still 1985

Glenn Ligon born 1960 Condition Report 2000

As part of Performance at Tate: Into the Space of Art, Jonah Westerman explores Glenn Ligon's Condition Report 2000

Cildo Meireles born 1948 Insertions into Ideological Circuits: Coca-Cola Project 1970

As part of Performance at Tate: Into the Space of Art, Jonah Westerman explores Cildo Meireles's Insertions into Ideological Circuits: Coca-Cola Project (Interções em Circuitos Ideolõgicos: Projeto Coca-Cola) 1970

Joseph Beuys 1921–1986 Information Action 1972

As part of Performance at Tate: Into the Space of Art, Jonah Westerman examines Joseph Beuys's Information Action 1972

Case Studies

Public Art is inextricably linked to its context. The cases are mostly presented as they were submitted by the researcher. IPA feels that editing the cases to conform with 'standard English' is unnecessary, possibly counter-productive. While each case study is written from the unique cultural perspective of the author, the web filters provided have been chosen for their 'neutrality': IPA celebrates cultural diversity and feels to categorise each unique case study would be inappropriate and reductive.

• the region of its origin,
• whether it was permanent of temporary (we recognise that an ephemeral artwork may remain forever in the viewer's memory)
• the year it was researched for IAPA.

Please be aware that the artists acknowledged for each case study have worked as part of a team.

Copyright for all text belongs to Shanghai Academy of Fine Arts, Shanghai University. Copyright for photographs belongs to the photographer and for the artworks to the artist.

East and Southeast Asia

North America

Heidelberg 3.0

Latin America

Ala Plastica

Hongmao Harbor

The Skin of Memory

Dream Community

The New Workers Art Troupe

May Day Parade and Festival

Shanghai Sculpture Park

Tribute to the Messenger

West, Central and South Asia

On the Side of the Road

The Rwanda Healing Project

Red Ribbon in the Green Forest

Jing'an Sculpture Park

HBY Public Art

Classification Pending

The Deputies of the Assembly of Valle del Cauca

Niger Buildings

Braddock Mosaic Park

The City is For Play

Waiting for Godot in New Orleans

Football Field

Palaver Tree

UT772 DC10 Memorial

Cidada Dormitorio

Cigondewah Cultural Centre

Nalpar and Pilla Gudis

Yamuna Walk

Paine Memorial

16 Tons and Aparecidos

Ad Trees/Urban Nature

The Shijiezi Art Museum

Railyard Park and Plaza

Magdalenas por el Cauca

AWOA (A Word of Art)

Kaohsiung Public Transportation System

Folk Stones

Rubber Duck

Borg Al Amal (Tower of Hope)

Mobile Project

The Monument to a New Monument

The Power of Cloth

A’Salaam Alaykum: Peace Be Upon You

Dorchester Projects

Spacebuster

Redfern Waterloo Tour of Beauty

Ernest Oppenheimer Park Artworks Programme

Casa dos Leões

Art Shanties

Ville Cheminee

Ghetto Biennale

Fifth Ward Jam

Rider Spoke

am/pm Shadow Lines

Jihadi Gangster Parliament Candidature Poster Campaign

Conflict Kitchen

[en]counters

Camara Lambdoma

Infecting the City Public Arts Festival

Cultural Development Nodes

PARK: bir ihtimal (PARK: a possibility)

3331 Arts Chiyoda

Museo de Cielo Abierto en San Miguel

1.26 Denver

GTS Sightseeing Program

Estrella del Norte Park

Lookout Point

The Climate Elephant

Sunderland Reflections

Konbit Shelter

Hotel Yeoville

A Lamp for Mary

Geometry of Conscience

Nodos de Desarrollo Cultural- Moravia

Salon Urbain de Douala 2010

The Junkyard Museum of Awkward Things

La Pirogue Céleste

Park of the Laments

O Morro/The Hill

Wide Open Walls

Théâtre Source

Temporary Public Gallery

El Salvador Mural Project

Bakaboza Campaign

From Gulf to Gulf to Gulf

Squatting Projects

Village Video Festival

Pou Tu Te Rangi

Identità al Centro (Identity at the Center)

Wind Telephone

The Wax on Our Fingers

Champ Harmonique (Harmonic Field)

Torre de Babel

Moore Street Market

Homage to the Lost Spaces

Bazaar Compatible Program

Breaking into Business

Forgotten Songs

Soil Kitchen

Wallumai Wind Sculpture

City Scenery

Digital Odyssey

Gebran Tueni Memorial

In Between Two Worlds

The Way to Mecca

Dlala Indima

Sasaran International Art Festival

Ahl Al Kahf

Parque para brincar e pensar (Park for jumping and thinking)

100% different and free.

Soleri Bridge and Plaza

A Path in the Forest

Collective White House

Sermon on the Train

Before I Die

Partizaning

Newcastle Arts Festival

The Folkestone Mermaid

Huellas Artes

The Uni Project

A Needle in the Binding

Streets of Afghanistan

Fundamental Frequency

A Pakhtun Memory

Glass Labyrinth

ArtsPark at Young Circle/Millenium Springs

Atelier / TRANS305

Partizaning Public Mailboxes

Art and Environment - A Cultural Action at the Plum Tree

Pimp My Carroça

Sandy Storyline

El Mattam El Mish Masry

Mural de Valparaiso

72 Hour Urban Action

Tower of Immersion

Last Drinks

Olhar nos meus sonhos (Awilda)

Home Mender

Kinetic Rain

De Werkplaatsen

Disposable House

Public Art, Mourning & Resilience

Archipelago Cinema

Speed of Light

Maboneng Township Arts Experience

Urban Dreams

Reconstruction Scene

77 Million Paintings

Public Space

All City Canvas

Rainbow Park

Yousif Mural

Undergo.The Parallels

Strandbeest

Cloud Arbor

Open Streets

Light in the Revolution Night

Tree of Life & Leaves of Remembrance

The Great Crate

Acts of Kindness

TOGO Rural Village Art Museum

Luz Nas Vielas

Del Aire Public Fruit Park

Dreams' Time Capsule

Call Parade

South Cove Regeneration

Landmark Public Art Program

Itinerario Muralistico de Vitoria-Gasteiz (IMVG)

In House Project

Le Jardin du Tiers Paysage

Pallet Pavillion

The Music Box

Máximo Silêncio em Paris

Polygonal Address System

Remembrance Festival

I Eat You Eat Me

Wasteland - The Garbage Patch State

Over.Under.Pass

Formosa Wall Painting Group

Titik Balik Project (Point of Return)

The ReMuseum

A Legendary Indian Pearl of Yungang

Kattenburger Triumphal Arch

Mongolia 360 Land Art Biennial

smART power

Open Streets Cape Town

If you were to work here...

Primal Rhythm: Seven Light Bay

Floating Attention

Anthea Moys VS The City of Grahamstown

Plants Living in Shanghai

Save the Earth

Displacements

I Am Because We Are

Casa delle Agriculture

The Moment We Meet

Rakan Matin

Missing Post Office

Level Playing Field

Open Cinema

Est Memoriale

Makoko Floating School

Gramsci Monument

Tokyo Heterotopia

Touhu Red Fortress

Zonnebloem Renamed

Eloisa Cartonera

Between the Door and the Street

Hands of Time

One Million Bones

Looking at 2013 from 1952 Nagoya

Theatre of Ships

Lahilote (Menghadap Bumi)

Rethinking Human Energies

Burning Museum

L'esposizione del lenzuolo (Display of the Sheet)

Invisible Intervention

Jeongsun International Fire Sculpture Festival

Tomorrow, Today

Transi(en)t Manila

Interface 2012-2014

Tabiat Bridge

Silent Walk

Village Estates

Cultural Re-imaginations Stage III: New Collective Cultural Journeys and Initiatives

Mo'ui Tukuhausia

Green Aesthetics

Year of Reconciliation

Hei Korowai Mo Ruatapuwahine

Chitpur Local

Train Art Exhibition

Metamorphosoup

Village Festival at the White Building

This Used to be Fields

New Life (Nowe Życie)

Invisible Cities

Art in Transit

Pachamama Curasana Funde La Memoria de Nuestro Espíritu en Tu Amor

Invisible Presence | Bling Memories

New Park Zhonghe

Urban Alchemy

License 2 Draw

Breeze Across Borders

ST + ART India

Trans.Lation

A Batata Precisa de Você (The Batata Needs You)

The Star Road

The Recovery of an Early Water

Oh Heck Yeah

Cancha Abierta

Locrate Market

We are the Water

Shimabuku's Boat Trip

Nakivubo Channel

Walls of Kindness

Free Speech Memorial

StopSign Gallery

Make Believe - Park for a Day

Mapping Skin Deep

CREATE: The Community Meal

Travelling Around Taipei with Garbage Trucks

Anime Valley of the Flowers

Dharavi Biennale (Ally Galli Biennale)

Murmur Wall

The Fargo Project

Sitting-Still-Moving--Times Museum Art on Track

Cultura no Morro

Rolling Rez Arts

Chow Kit Kita (Our Chow Kit)

The Fearless Collective

Cirkelbroen

Warka Water Tower

Xucun International Art Commune

The Crossing

Voyage of (Re) Discovery

Echigo-Tsumari Homestay Museum

Nous ne notons pas les fleurs

Mera Karachi Mobile Cinema

Derry / Londonderry Temple

Catcher of Five-Color Soil

You Are, Here Now

Sitting-Still-Moving

Thinking of You

Remade Project of Dazhalan and BaiTasi

(Im)possible Squares

Raise the anchor, unfurl the sails, set course to the centre of an ever setting sun!

Barangaroo Headland Park

Red Can Graffiti Jam

Community Fantasy / 201501300214

How Goes the Enemy

Whole House Reuse

Mineral Rights

Parlamentos (Parleys)

Pond Battery

Viewing, Viewer and Viewed

Hotel Empire: The New York Crossing

Yininmadyemi Thou Didst Let Fall

Living Room

Murals in the Market

Molepo Dinaka/Kiba Festival

The Harare Academy of Inspiration

Agree/Disagree/Unsure

Maunga Kereru

Verso Sud Festival

The Settlement

Knotted Grotto

Storefront Theater

Biodiversity Tower

Sandy Carpet

El Bibliobandido

Home Innovation Labs

Earth Dreamer

Kai Tak River Green Corridor

Mu Xin Museum

'Anything to Say?' A Monument to Courage

Borrando la Frontera

Wuzhen Theatre Festival

Freehouse Neighborhood Workshop

People of Good Will

Non me la racconti giusta (You are not being straight with me)

Global Nomadic

The Second Public Art Exhibition in Nanhai

31st Century Museum of Contemporary Spirit

Generation Exchange

Tongue of the Dog

All Away Cafe

Talking Hands

Gardens of the Anthropocene

We Walk Lahore / URBANITIES Project

Festival D'Art Urbain

Why shoes if there is no house

Gentrifiers Anonymous

Refrigeration Plant Project

The Library of Unread Books

À l’abri...de rien (Sheltered... From Nothing)

Eluz Tminun

(d)estructura

Soul Food Pavilion

25 Minutes Older

For the Love of Bees

Ativa Pedaço

Sumando Ausencias

Conversation Piece

Design Museum Dharavi

Color(ed) Theory

Tenku Art Festival

Countdown Machine

PRIVATE CONVERSATIONS | LABORATORIO PERMANENTE DI ARTE PUBBLICA

Seoul is Museum

Renovation of Wuzhen Beizha Silk Factory

The Knitted Bridge

Where We Met

Dove l'arte ricostruisce il tempo (When art rebuilds time)

barrangal dyara (skin and bones)

Pruitt-Igoe Bee Sanctuary

Shapes of Water - Sounds of Hope

The Laundry Shop

Time to Sing a New Song

Of Soil and Water: King's Cross Pond Club

Scaffolding

All Power To All People

Changing Places / Espacios Revelados

Meeting House

Giants of Pantelimon

Gavkhouni Wetland

Graffiti Pelo Fim da Violência Contra a Mulher (Graffiti to End Violence Against Women)

Teeter Totter Wall

Earthpushers

The Lighthouse: Tū Whenua-a-Kura

Free Border

The Micro-climatic Life Line

Life of a Craphead

You Are Here

Sonic Pathway

Creative Fu

Walled Off Hotel Apology Tea Party

The Nap Ministry

A Journey of a Million Miles Begins with One Step - The Story of Beyond Refuge

The Village Omonia and UrbanDig_Omonia

The Park | For the Love of Bees

#WeLiveHere2017

The Last Resort

The Carpet of Joy

Alongside Poetry in an Alley

The Virginia Curiosity Shop

A Bird in the Hand

Apocalypse Anonymous

The meeting bowls.

Sound Jungle

Pardeh-Khani

Borderless Community of Zi Ni Twelve Gates

50 State Initiative

Philadelphia Assembled

Colourful Cloud Tram Station

The Borderlands Public Arts Project

Informal Football Fields

Patterns of Plants – Taiwan Tea Project

Cecilia'ed

Street Scream

Pinpointing Progress

The Hidden South

Human City Project

Union of hovels: the survivor syndrome.

Liminal View

Odisha State International Public Art Symposium

Chicoco Radio Collective/Human City Project

A Different Light for the Willow Den

ZIARAH UTARA

Keepers Lab & Kitchen

Olhe o Degrau

Colourful Community

Tower of the Wind

Xinhua Road Sustainable Community Building

The city is the message

Pixo Association

Railway Three Village Public Art Action Plan

Ku’u One Hanau

The Magician of the Earth

Red Regatta

Puntoon Village Micro Renovation

Time Zebra Crossing

Beyond the Border

Six Moments in Kingston

Te Auaunga Awa – Multicultural Fāle

Place out of Time

Light Up 13 Layer Remains

Rumors from the sea

Robert Walser-Sculpture

Los Nadies (The Nobodies)

Walking With Our Sisters

Mirror Mirror

Wuzhen Public Art Project

Don Sen Folo - LAB

Mural no Rio Seco

I Still Believe in Our City

I Live Under Your Sky Too

Kaldor Public Art Project 36: do it (Australia)

The Sculpture Park

Insignificantly Significant

Triumphs + Laments: A Project for Rome

150 Meters of Love Home Peace

Vai Passar (?)

The ñullest Wall

Vanke Cloud Bridge

Bandera Avenue

The Floral Heart Project

Endless Gathering

What Do We Have in Common?

New Neighbourhood, Most Youxi

Constructing Homelands

National Monument Audit

2021 Shanghai Urban Space Art Season

Living Artworks - Trees for Life

Planted in Fertile Soils

Column Matrix

Screen Works (ENOUGH-NOW/EVEN/MORE-SO)

Space Renewal under Zhonghuan Bridge

New Connection, New Play, New Normal

Light and Seedling Projection Mapping Show

Return to Sender

Blooming Time - Program SPARK

Reclaiming/Renaming

Mombasa Murals

Come Up For Air

Rural Art Community

What's in a name? An Unfinished Map of Māori Place Names in Ōtepoti

The Native Section

36.5 / A Durational Performance with the Sea

Ancient Tracks

The Doha Modern Playground

Swirling Echoes of the Eel

The Missing Bits

Bainbridge Island Japanese American Exclusion Memorial Departure Deck Interpretive Sculpture

Yashimaru Project

Alluvial Decoder

kNOw School

Himmati Mai

Work, Worker

Museo Abierto de Bogotá - MAB (Bogota’s Open Museum)

Park(ing) Day

Hutong community garden series 2015-2023.

Phool Patti

Anti-Bodies

Dakota Spirit Walk

Te Tīmatanga

The Extelecom House Murals

Your Slience, My Voice/Noise Together for Justice

Amdavad Ni Gufa

Question Project

The 2023 Institute for Public Art Research Network Meeting

The Rural Initiative for Handloom Artisan

Auras Anónimas (Anonymous Auras)

Subscribe to our mailing list.

Creative Convergence pp 133–195 Cite as

Case Studies: AI in Action in Art and Design

• James Hutson 19 ,
• Jason Lively 20 ,
• Bryan Robertson 21 ,
• Peter Cotroneo 22 &
• Martin Lang 23  
• First Online: 15 November 2023

413 Accesses

Part of the book series: Springer Series on Cultural Computing ((SSCC))

This chapter presents a collection of practical case studies showcasing the integration of generative AI into diverse art and design disciplines. Spanning across 3D design, drawing, and digital art, these case studies provide a comprehensive exploration of the transformative potential on the creative process. Highlighting versatile applications in graphic design, product design, architecture, and more, these case studies underscore the boundless possibilities AI offers to the creative industry. The chapter begins by delving into the realm of 3D design, unveiling how AI-driven technologies are revolutionizing the sculpting process and shaping the future of three-dimensional art. Moving to traditional drawing techniques, AI blurs the lines between tradition and innovation by enabling artists to explore novel realms of creativity. The chapter also examines the captivating world of digital art, where AI-generated content becomes a unique form of expression. From manipulating pixels to crafting intricate patterns, the role of AI tools in pushing the boundaries of digital art is vividly illustrated. Through these case studies, this chapter provides a deep insight into the profound influence of AI integration across art and design disciplines. From 3D design to drawing and digital art, these examples offer a glimpse into the transformative potential of AI, promising to reshape the creative landscape.

This is a preview of subscription content, log in via an institution .

Buying options

• Available as PDF
• Read on any device
• Instant download
• Own it forever
• Available as EPUB and PDF
• Durable hardcover edition
• Dispatched in 3 to 5 business days
• Free shipping worldwide - see info

Tax calculation will be finalised at checkout

Purchases are for personal use only

Bellagente M, Brack M, Teufel H, Friedrich F, Deiseroth B, Eichenberg C, Weinbach S (2023) MultiFusion: fusing pre-trained models for multi-lingual, multi-modal image generation. arXiv preprint arXiv:2305.15296 .

Bruno C, Bruno C (2022) Digitally enhanced creativity: augmenting creativity through digital technologies. In: Creativity in the design process: exploring the influences of the digital evolution, pp 83–96

Google Scholar  

Chung NC (2021) Human in the loop for machine creativity. arXiv preprint arXiv:2110.03569

Gray C, Malins J (2016) Visualizing research: a guide to the research process in art and design. Routledge

Hutson J, Cotroneo P (2023) Generative AI tools in art education: exploring prompt engineering and iterative processes for enhanced creativity. Art Meta Spec Iss 4(1):1–14

Hutson J, Lang M (2023) Content creation or interpolation: AI generative digital art in the classroom. Metaverse 4(1):1–13

Article   Google Scholar  

Hutson J, Robertson B (2023) Exploring the Educational potential of AI generative art in 3D design fundamentals: a case study on prompt engineering and creative workflows. Glob J Hum Soc Sci A 23(2):1–11

Hutson J, Robertson B (in press) A question of perspective: AI generative art in the drawing studio. Int J New Med Technol Art

Kim J, Maher ML (2023) The effect of AI-based inspiration on human design ideation. Int J Des Creat Inn 11(2):81–98

Lee LH, Lin Z, Hu R, Gong Z, Kumar A, Li T, Hui P (2021) When creators meet the metaverse: a survey on computational arts. arXiv preprint arXiv:2111.13486

McCormack J, Cruz Gambardella C, Rajcic N, Krol SJ, Llano MT, Yang M (2023) Is writing prompts really making art?. In: International conference on computational intelligence in music, sound, art and design (Part of EvoStar). Springer Nature Switzerland, Cham, pp 196–211

Mok K (2023) The power and ethical dilemma of AI image generation models. The New Stack. https://thenewstack.io/the-power-and-ethical-dilemma-of-ai-image-generation-models/ . Accessed 6 Jan 2023

Ng DTK, Leung JKL, Su J, Ng RCW, Chu SKW (2023) Teachers’ AI digital competencies and twenty-first century skills in the post-pandemic world. Educ Technol Res Dev 71(1):137–161

Paananen V, Oppenlaender J, Visuri A (2023) Using text-to-image generation for architectural design ideation. arXiv preprint arXiv:2304.10182

Turchi T, Carta S, Ambrosini L, Malizia A (2023) Human-AI co-creation: evaluating the impact of large-scale text-to-image generative models on the creative process. In: International symposium on end user development. Springer Nature Switzerland, Cham, pp 35–51

Download references

Author information

Authors and affiliations.

Department of Art History and Visual Culture, Lindenwood University, St. Charles, NY, USA

James Hutson

Department of Art and Design, Lindenwood University, St. Charles, MO, USA

Jason Lively

Department of Visual Art, Yavapai College, Prescott, AZ, USA

Bryan Robertson

Department of Art and Design, The University of Tampa, Tampa, AZ, USA

Peter Cotroneo

Chair of the Studio Art Program, Department of Art, Columbia College, Columbia, SC, USA

Martin Lang

You can also search for this author in PubMed   Google Scholar

Corresponding author

Correspondence to James Hutson .

Rights and permissions

Reprints and permissions

Copyright information

© 2024 The Author(s), under exclusive license to Springer Nature Switzerland AG

About this chapter

Cite this chapter.

Hutson, J., Lively, J., Robertson, B., Cotroneo, P., Lang, M. (2024). Case Studies: AI in Action in Art and Design. In: Creative Convergence. Springer Series on Cultural Computing. Springer, Cham. https://doi.org/10.1007/978-3-031-45127-0_6

Download citation

DOI : https://doi.org/10.1007/978-3-031-45127-0_6

Published : 15 November 2023

Publisher Name : Springer, Cham

Print ISBN : 978-3-031-45126-3

Online ISBN : 978-3-031-45127-0

eBook Packages : Computer Science Computer Science (R0)

Share this chapter

Anyone you share the following link with will be able to read this content:

Sorry, a shareable link is not currently available for this article.

Provided by the Springer Nature SharedIt content-sharing initiative

• Publish with us

Policies and ethics

• Find a journal
• Track your research

• Reference Manager
• Simple TEXT file

People also looked at

Original research article, examining the potential of art-science collaborations in the anthropocene: a case study of catching a wave.

• 1 College of Business, Arts and Social Sciences, Brunel University London, Uxbridge, United Kingdom
• 2 International Project Office, Future Earth Coasts, MaREI, ERI, University College Cork, Cork, Ireland
• 3 MaREI, the SFI Research Centre for Energy, Climate and Marine, Environmental Research Institute, University College Cork, Cork, Ireland
• 4 School of Art and Design, East Carolina University, Greenville, NC, United States
• 5 Department of Art and Design, University of Wisconsin–Stevens Point, Stevens Point, WI, United States
• 6 Center for Integrated Agricultural Systems, University of Wisconsin–Madison, Madison, WI, United States
• 7 Coastal Studies Institute, East Carolina University, Wanchese, NC, United States

There is a disconnect between ambition and achievement of the UN Agenda 2030 and associated Sustainable Development Goals that is especially apparent when it comes to ocean and coastal health. While scientific knowledge is critical to confront and resolve contradictions that reproduce unsustainable practices at the coast and to spark global societal change toward sustainability, it is not enough in itself to catalyze large scale behavioral change. People learn, understand and generate knowledge in different ways according to their experiences, perspectives, and culture, amongst others, which shape responses and willingness to alter behavior. Historically, there has been a strong connection between art and science, both of which share a common goal to understand and describe the world around us as well as provide avenues for communication and enquiry. This connection provides a clear avenue for engaging multiple audiences at once, evoking emotion and intuition to trigger stronger motivations for change. There is an urgent need to rupture the engrained status quo of disciplinary divisions across academia and society to generate transdisciplinary approaches to global environmental challenges. This paper describes the evolution of an art-science collaboration (Catching a Wave) designed to galvanize change in the Anthropocene era by creating discourse drivers for transformations that are more centered on society rather than the more traditional science-policy-practice nexus.

Introduction

The world is at a turning point for sustainable development and there is an evolving need to identify and enact new pathways to action in the face of constantly shifting biophysical and social realities ( Randers et al., 2018 ). The aspirational and collective nature of the UN Agenda 2030 and its Sustainable Development Goals (SDGs) ( United Nations, 2015 ) has been used as a central tenet to inspire numerous meaningful and impactful transdisciplinary partnerships, including between art and science actors ( Brennan, 2018 ; van der Vaart et al., 2018 ). The SDGs have been used to galvanize, among others, the role of youth and innovation ( Bastien and Holmarsdottir, 2017 ), engagement with industry and business ( Scheyvens et al., 2016 ; Weber, 2018 ), sports ( Lemke, 2016 ), and gender equality ( Fredman et al., 2016 ). This suggests that actors within both community and political spheres are attempting to take advantage of the holistic and optimistic appeal of the SDGs to stimulate social action ( McAfee et al., 2019 ). In fact, there is a growing recognition that overall achievement of the SDGs depends not only upon responsible economic development administered through the lens of environmental sustainability, but perhaps more significantly, through enhanced social inclusion and justice ( Ensor et al., 2018 ; Patterson et al., 2018 ; Fleming et al., 2019 ). The literature is beginning to reflect a more systematic consideration of social justice implications of climate change responses at national and subnational levels, including differential abilities to adapt ( Paavola and Adger, 2006 ; Adger et al., 2017 ) as well as the need to ensure that those least able to influence the process but often most affected are heard ( Fleming et al., 2019 ).

Despite this recognition, there is a gap in the current conceptualization of the UN Agenda 2030 and the SDGs and implementation at scale ( Le Blanc, 2015 ; Stevens and Kanie, 2016 ; Stafford-Smith et al., 2017 ; Blythe et al., 2018 ; Scherer et al., 2018 ), across the Global North-South binary ( Iqbal and Pierson, 2017 ; Hayward and Roy, 2019 ; Horner and Hulme, 2019 ) and especially when framed within the concept of the Anthropocene ( Lim et al., 2018 ). This gap has two origins; (i) the knowledge and science needed to achieve the SDG targets and indicators and (ii) the engagement of the whole public in SDG delivery. Both of these origins are easily demonstrated in coastal and ocean systems: systems that are under ever increasing pressure from direct pollution and eutrophication, climate change, and fishing and aquaculture ( Borja et al., 2017 ; Visbeck, 2018 ). Despite continued discourse around the importance of these spaces, epitomized by SDG14:Life below Water, little traction has been gained when it comes to shifting behaviors or resonating with society on a broader scale ( Cormier and Elliott, 2017 ; Fleming et al., 2019 ). Recent politically focused engagement activities have shown that SDG14 is almost universally considered the least important of the SDGs ( Custer et al., 2018 ). These results were derived from a questionnaire sent to elected politicians, bureaucrats, non-profit and humanitarian executives, and business leaders from 126 low- and middle-income countries in South and Central America, Africa, Europe, and Asia. They demonstrate a clear severing between the rhetoric of scientific research agendas ( ICSU and ISSC, 2015 ; Plag, 2018 ; Visbeck, 2018 ) and reality around the lack of a perceived political importance ( Custer et al., 2018 ). This is despite the fact that fish and seafood are a primary source of protein for more than one billion of the poorest people on Earth ( Huelsenbeck, 2012 ; Béné et al., 2016 ) and the goods and services from coastal and marine ecosystems being estimated to contribute about $2.5 trillion (USD) to the global economy each year with a total asset base of at least $24 trillion (USD) ( Hoegh-Guldberg, 2015 ). For instance, Europe’s coastal regions are home to 214 million people and generate 43% of EU GDP, and the blue economy is regarded as a growth sector, with opportunities both in established sectors like tourism and shipbuilding, and in emerging areas like ocean energy or the blue bio-economy ( European Commission, 2019 ). Yet, coastal landscapes are under considerable pressure and change, for instance, from sea level rise changing unalterably the physical, social and economic geography of coasts ( Ramesh et al., 2015 ) or the marine plastic issue ( Haward, 2018 ; Villarrubia-Gómez et al., 2018 ). This disconnect is further illustrated by a number of SDG interlinkages tools and national governmental documents that either fail to feature SDG14 or coastal and ocean spaces, such as UNEP’s Frontiers 2018/19: Emerging Issues of Environmental Concern report ( UNEP, 2019 ), or show poor reporting across all environmental SDGs (e.g., Sachs et al., 2018 ; Villarrubia-Gómez et al., 2018 ).

In a time of global environmental change and uncertainty, knowledge acquisition, transfer, and application for global societal change is critical, and a call for innovation, including arts and the humanities, to foster action at all levels of society forms part of the United Nations Decade of Ocean Science for Sustainable Development (2021–2030) ( Claudet et al., 2020 ). This paper examines a process to build an inter- and trans - disciplinary art-science collaboration to create such opportunities to elucidate a mechanism that can galvanize change by creating discourse drivers for transformations that are more centered on society rather than the more traditional science-policy-practice nexus. A case-study of an iterative project, Catching a Wave , designed to demonstrate the co-design potential of ocean and coastal sustainability while providing levers for both cultural identity and innovation is presented. In addition, the process of transdisciplinarity to create such transformational pathways to impact are also examined. Finally, a critical assessment of the potential of catalyzing social change through an integrated art-science approach is discussed.

Context Framing

Human pursuit of coastal sustainability in the Anthropocene requires transformative social and economic pathways that navigate toward sustainable development co-created with the intended beneficiary communities ( Pelling et al., 2015 ; Future Earth Coasts, 2018 ). There is increasing awareness that existing assessment processes that monitor the status of environmental and societal components of coastal systems cannot on their own deliver the knowledge for transformations to more sustainable pathways of coastal use ( Ajzen, 1985 ; Benham and Daniell, 2016 ; Marques et al., 2016 ; Comte et al., 2019 ). Problem to solution formulation is not simply an issue of multi-disciplinary approaches but must account for social and cultural values, norms, and priorities that differ greatly based on a variety of issues ( Leiserowitz et al., 2006 ; Jefferson et al., 2015 ; Bennett, 2016 ; Mayer et al., 2017 ). This variation is also reflected in the ways that people learn and communicate knowledge, shaped by new forms of communication ( Shi et al., 2016 ; Zareie and Jafari Navimipour, 2016 ), especially around climate and sustainable development issues ( Ballantyne, 2016 ; Moser, 2016 ). This reality means that knowledge in combination with learning, both social and individual, is critical in catalyzing the sense of urgency necessary to influence change ( Figure 1 ) ( van Mierlo and Beers, 2018 ; Goyal and Howlett, 2019 ). Therefore, in order to spark global societal change toward future sustainable pathways at all scales, the mechanisms through which science, knowledge and social learning are employed and engaged with also have to be more responsive to social differences and inputs ( Ensor and Harvey, 2015 ; Cummings et al., 2018 ; Wehn and Montalvo, 2018 ). Existing processes need to respond to a variety of ways of knowing that lead to different contexts of application requiring new processes to integrate and engage with these differences from the start ( Brugnach and Ingram, 2012 ; Hawkins et al., 2015 ; Eldred, 2016 ).

Figure 1. (A) Both arts and sciences increasingly employ technology as part of their methodologies but by working collaboratively the opportunity to combine motivational aspects of decision making by individuals and society promoted by art with the transformations that science seeks through the persuasive ‘power’ of facts is likely to lead to a deeper held knowledge that reflects cognitive with emotion and intuition in decision making (49). (B) Both knowledge and ‘imagination’ to ‘see’ better futures or understanding of the past combine to manifest more impactful and meaningful avenues for enquiry and potential innovative solution spaces that art, science, or technology could achieve alone. When coupled with the norms and cultural values held within society, knowledge can be instrumental in enabling deeper, social learning that allows for new behaviors to be acquired creating a negotiated space that allows for change (70). These elements all are necessary to catalyze the large-scale shifts in behavior across society that are needed to enable sustainability.

In this paper, transdisciplinarity is taken as providing a framework that transcends disciplinary boundaries to develop holistic and transformative solutions where the outcome extends beyond interdisciplinary approaches to create something completely new providing space for social transformations as well as governance ones ( Defila and Di Giulio, 2015 ; Klenk and Meehan, 2017 ; Schneider et al., 2019 ; Norström et al., 2020 ). Such approaches can embed social justice at their core and also allow for geophysical, ecological, philosophical, cultural, and emotional connections to ocean and coastal spaces to be realized at different scales ( Brown, 2015 ; Olsen et al., 2016 ; Irwin et al., 2018 ). They also embrace concepts such as co-production in a practical rather than an analytical sense, focusing on the intentional act of engaging non-scientific actors in the process of scientific knowledge production, which has increased this responsiveness ( van der Hel, 2016 ). Examination of such enabling mechanisms, and potential innovations and transformations to existing social structures, can shed light on how public opinion is shaped, how perceptions are formed across diverse areas in society, and how to mobilize change across scales ( Leiserowitz et al., 2006 ; Miller et al., 2014 ). This can provide pathways to increase the impact factor of science and knowledge through traditional and non-traditional communication routes ( Reed et al., 2010 ).

Art-Science Collaborations

Art and science literature make clear that both ‘disciplines’ share a common motivation and goal to understand and describe the world around us ( Sleigh and Craske, 2017 ), and are engaged in concepts of reflection across all elements of society to effect changes in behavior in individuals and society. In addition, both art and science provide avenues for enquiry and communication, impacting different audiences through the generation of a multiplicity of resonate narratives ( Chabay, 2015 ). Art, in its many and varied forms, has the liberty and ability to generate shifts in social perceptions and behaviors in ways that science and data alone currently do not ( Pearce et al., 2003 ; Eldred, 2016 ; Brennan, 2018 ), providing a complementary pathway for engagement. However, despite common goals, more and more literature has been generated around how the increasingly engrained status quo of disciplinary divisions across academia and society is actively contributing to this separation ( Leach, 2005 ; Sleigh and Craske, 2017 ). It has been postulated ( Trondle et al., 2019 ) that combined collaborative arts and sciences projects can enhance transformations by encouraging decision making that engages with emotion and intuition as well as cognition as a motivation behind change ( Soosalu et al., 2019 ). Numerous benefits of bringing together the methodologies and practices of science and technology with art in its many forms in a transdisciplinary cross-over approach can be identified. These include the creation of participatory and discourse spaces that generate evidence and enable transformation in practice ( Fischer, 2006 ; Oliver and Boaz, 2019 ) as well as shared and negotiated understanding of the meaning and implications of existing knowledge ( Born and Barry, 2010 ; Gibbs, 2014 ) and increased innovation in knowledge transfer ( Cornell et al., 2013 ) ( Figure 1 ).

Although challenges to the great divide of art and science, hallmarked in C. P. Snow’s 1956 model of “two cultures,” are not new ( Snow, 1956 ), art-science collaborations have experienced a surge of interest in recent years ( Born and Barry, 2010 ; Trondle et al., 2019 ). Malina (2001) used the term ‘new Leonardos’ in his effort to capture ways that he saw people charting new professional territory synthesizing art, science and technology. Describing the information arts, Wilson (2002) heralded an “essential rapprochement” between “two great engines of culture.” Since then, across a spectrum of sectors and activities, the involvement of artists in the production of science and technology is no longer rare, although it is far from routine. Collaborations have enabled technological innovation ( Broadhurst, 2007 ; Eldred, 2016 ), urban environmental rejuvenation ( Ingram, 2014 ; Whitehead, 2018 ), data visualization ( Cox, 1991 , 2004 ; Born and Barry, 2010 ; Woodward et al., 2015 ), new models for education and work ( Ghosh, 2005 ; Gurnon et al., 2013 ; Hawkins et al., 2015 ), the role of technology in society ( da Costa and Philip, 2008 ) and even national competitiveness ( Huggins and Clifton, 2011 ). Key examples that can be drawn on with respect to SDG14 include public discussion on the impacts of sea-level rise and changing ocean health on coastal and island communities ( Ingram, 2014 ; Straughan and Dixon, 2014 ; Brennan, 2018 ), ocean ice ( O’Connor and Stevens, 2018 ), and the impacts of ocean plastics ( Carnell et al., 2020 ). Some of these collaborations are well established, such as the United Kingdom-based Cape Farewell project that has focused on climate change and the Arctic with the aim of fostering a cultural discussion ( Ingram, 2011 ).

Enacting a Transdisciplinary art-Science Partnership

In the context of the work described here, principles of transdisciplinarity were inculcated in the working of the project team and the design and implementation of workshops. For workshops, participation from outside of academic circles, including participants from outside of the research realm who bring additional worldviews and experiential knowledge necessary to address complicated and pressing social and environmental problem ( Carew and Wickson, 2010 ; Defila and Di Giulio, 2015 ; Klenk and Meehan, 2017 ), was actively encouraged. For transdisciplinarity to achieve its own stated goals, there is a need to move beyond the inclusion of non-science disciplines, and particularly the arts, as ‘add-ons’ to accomplish outreach and communication goals ( Brandt et al., 2013 ; Norström et al., 2020 ). Instead, integrating these disciplines into all aspects of the design, implementation and outcomes of projects can provide the necessary pathways to break through barriers of language to bridge between stakeholders across science, society and politics communities ( Popa et al., 2015 ). Art is a means for stakeholders and knowledge providers, whatever their discipline, to discover their own meaning and new ways to convey their understanding to others, and provide an open platform to juxtapose potentially conflicting and contradictory perspectives.

Transdisciplinarity provides an opportunity to capture the creativity of art to bring cultural capital to science in the context of Snow’s (1956) two-cultures debate ( Sleigh and Craske, 2017 ) to address the increasingly complex challenges confronting sustainable development ( Bernstein, 2015 ; Zafeirakopoulos and van der Bijl-Brouwer, 2018 ), currently framed by the UN 2030 Agenda ( United Nations, 2015 ). This re-imagination is rooted in Barry et al.’s efforts to identify art-science collaborations through the lens of three logics of interdisciplinarity: accountability, innovation, and ontology ( Barry et al., 2008 ; Born and Barry, 2010 ) where (i) accountability refers to the way in which scientific research is increasingly required to make itself accountable to society, (ii) innovation draws attention to scientific research needing to fuel industrial or commercial innovation and economic growth, and (iii) ontology discusses provoking change in both the object(s) of research, and the relations between research subjects and objects.

The ontological logic is the most critical in this construction, highlighting the reality that some art-science initiatives are focused on altering existing ways of thinking about the nature of art and science, as well as with transforming the relations between artists and scientists and their objects and publics ( Born and Barry, 2010 ).

Catching a Wave Case Study

Concept development.

Catching a Wave (CaW), an iterative sea-level rise multi-media installation, has brought together a research consortium from four universities based in the United States, United Kingdom, and Ireland. CaW was deliberately conceptualized to act as a catalyst for constructing a transdisciplinary approach for shifting individual and collective mind-sets toward action for more sustainable oceans and coasts and the people who live, work, and interact within these spaces. Focused on five SDGs; SDG13: Climate Action and SDG14: Life below Water, SDG3: Good health and wellbeing; SDG15: Life on Land; and SDG17: Partnerships for the Goals. CaW was designed to increase awareness and resonance of the SDGs and oceanscapes with multiple audiences. While CaW specifically set out to transform the way in which actors, stakeholders, and society interact with ocean and coastal spaces, the process of message development has remained dynamic and driven by an iterative co-design process. Using the models described in Section “Context Framing” ( Figure 1 ), CaW has coupled elements more aligned with knowledge generation in natural systems with technological applications and innovative practices to enable more effective translation of actions into products that seek to influence society and society interaction ( Figure 2 ). CaW can therefore act as a translation lens for both knowledge and ways of knowing that may help to catalyze both the spirit of enquiry as well as social learning over time.

Figure 2. The architecture for a transdisciplinary collaboration for shared knowledge generation elements that underpins CaW to reflect both cognitive and emotional elements that can support societal transformation for sustainability. The collaboration acts as an integrating interface between both disciplines of enquiry and communication technologies to develop products – in this case artistic representations of waves- to encourage and enable conversations between holders of different facets of knowledge, opinions and perspectives that might not otherwise take place, or would take place in a contested setting.

Technical Development and Innovation

Initially conceived to create an artifact that would embody an exact moment in time, CaW focused on using “captured” waves made of glass in sculptural installations designed to communicate, in a novel way, information about climate change, sea level rise, ocean health and to publicize ocean-related research. These glass artifacts were to visually communicate the complexity of what is happening in a single wave at a single moment of time, and make a connection for the viewer to the intricacy of what was happening, on the surface and internally, in that wave 1 .

Each wave was generated in a wave tank at the Coastal Studies Institute in Wanchese, NC, United States and photographed from a half-dome 360 degree rig of 16 Nikon D810 36.3 MP full frame digital SLR cameras, capturing as many wave surfaces as possible from a variety of angles. High-speed sync triggers were installed on cameras to synchronize the shutters to within 1/1000th of a second to ensure the cameras fired at precisely the same moment. Agisoft Photoscan Pro modeling software was used to reconstruct the location of the photographs and create three-dimensional (3D) point clouds made up of common points in each picture, resulting in one composite 3D digital image ( Figure 3 ). Transparency and motion issues, caused by the nature of water itself, were solved by spreading sawdust on the water’s surface. The sawdust provided the needed contrast and tracking surface for the 3D rendering software. This digital output was subsequently used to produce a 3D printed replication of the photogrammetrically captured wave. A flexible silicone mold was made of the 3D printout. Wax was poured into the silicone mold creating a wax positive of the 3D printout from which an investment mold was made (mixture of plaster and refractory materials, i.e., silica and grog) into which was placed cold glass (cullet), small colored powders and grains of glass (frit) to add colors that resembled water and sheet glass with text and images printed with glass enamels. The molds filled with this glass mixture were placed into an electric kiln and heated slowly to 1,460° Fahrenheit (794°Celsius) for 40 min then annealed at 900° Fahrenheit (482°Celsius) to remove stress and to make sure the glass is the same temperature at the core and at the surface. The glass is then cooled slowly in three stages to prevent cracking. After removing the mold from the kiln, the investment mold material is removed, and the glass polished with an eight step process (using a series of diamond grits, smoothing materials) until it is clear enough to see into the interior of the wave. To make the smaller waves the glass castings were cut into about 9–12 smaller pieces and each polished so that one can see into the interior of the glass.

Figure 3. The process of wave capture from technical through digital and physical forms (i) Camera rig designed for photographing the water, (ii) the resulting digital image of captured wave and (iii) a glass wave from above.

Message Development and Experience Contextualization

The initial concept of using waves as focal points to generate an emotional and behavioral reaction to ocean and coastal spaces was introduced during a pilot workshop at the Society and the Sea Conference in 2018 ( Figure 4 ). The workshop engaged 20 self-selected conference participants whose interests were aligned to the conference theme of achieving ocean sustainability (specifically in the context of exploration of the value of the ocean and how that can be recognized, communicated and harnessed to contribute to the health, wealth and wellbeing of society). The purpose of the workshop was to engage with a community of interest from diverse disciplines, which included natural and social scientists as well as from the arts and humanities, who could share experiences and provide CaW with opinions on how to evolve art-science integration. This workshop blended both interactive (on-line tools Slido and Padlet and semi-structured discussions focused on linkages and communication, breaking down barriers and opportunity as part of a finding solutions exercise) and PowerPoint and video presentations centered on SDG14. Small hand-sized waves were distributed amongst the participants as a reminder of the workshop and a novel way of staying connected to the project. From the discussions several key messages emerged with respect to how an art-science collaboration could make Sustainable Development Goal 14 Life Below Water more prominent on peoples’ agenda ( Future Earth Coasts, 2020 ):

Figure 4. Interactive CaW interactive workshops from (i) Society and the Sea, Greenwich (2018) and (ii) Art in the Anthropocene, Dublin (2019).

(1) One-size-fits-all to communicate science to other communities/disciplines does not work but requires a suite of media platforms to be used, and which allow others to become part of the conversation between specific events. However, it is important to exercise care when introducing ‘new’ types of media (e.g., Slido and Padlet) that could become a barrier to expression.

(2) Ensuring that workshops provide opportunity for participants to engage in the topic through a lens of their own work and experiences, rather than solely through the lens of the project being presented, is important.

(3) There was a proof-of-concept validation of the approach taken by the CaW project, including the use the glass waves, as a medium to engage and nourish conversations between disciplines that would not normally take place.

(4) The participants reinforced a need to interpret transdisciplinarity as an extension of interdisciplinarity to include stakeholders as practitioners of research ( Klenk and Meehan, 2017 ) with a view to invoke the issue of social inclusion to ensure that those least able to influence political and social processes but often most affected are heard.

These outcomes from the first workshop informed a second iteration implemented during the Art in the Anthropocene ( AiA ) Conference in 2019 where a CaW installation was coupled with an interactive workshop run twice to accommodate the demand to participate ( Figure 4 ). The two 2-h workshops were delivered at the Science Gallery, Dublin, to a total of 82 self-selected participants from principally artistic and social science backgrounds, but also included youth (below 16 years age), business and civil society. Given the nature of the conference, and un-like the Society and Sea conference, the background of the audience was not primarily environmentally, and coastal/sea, focused but more strongly focused on questions that concern the sustainability of the planet from a societal perspective ( Catching a Wave, 2019 ). Using feedback from the first workshop and in an attempt to adapt the workshop to engage with a different audience CaW made a number of changes to the organization of the workshop, namely:

(1) To broaden the discursive space, this workshop series focused around the five pillars (5Ps) of Agenda 2030 – people, prosperity, planet, peace and justice, and partnership. These pillars have been used in the UN Agenda 2030 (2) to recognize the interlinked and integrated nature of the SDGs and the interconnectedness of factors and interventions that influence human development outcomes.

(2) The waves were approximately four to five times larger than the previously used hand-sized ones and displayed on five individual pedestals creating a space whereby the workshop participants were physically sitting amongst the installation during the workshop and being fully emerged in the exhibit

(3) The waves were modified to include;

(a) Images and text relating to ocean health embedded into the glass waves fusing them so that they folded into the wave but remain legible through the polished sides of each wave and,

(b) Sounds, both human and non-human, were incorporated to each installation piece. Sound, such as waves, dune birds, oysters clicking, and voices of both children and adults created an additional avenue to provide local context for the audience to connect to, as well as provoke an emotional connection to the ocean.

(c) Participants were encouraged to leave any comments, observations, and thoughts behind on post-it notes on any of the pedestals.

(d) As well as the installation, small hand-held waves were handed to participants as they arrived and used as an entry point to engage individually with participants on their background, expectations from the workshop and perspectives on sustainability challenges facing coasts and seas before and after the workshop.

(e) A QR code that linked to the CAW website was sand-blasted onto the bottom surface of hand-held waves to promote longer-term connection to the project.

(4) The main body of the workshop consisted of a series of video presentations to represent each of the 5Ps and each video was immediately followed by a facilitated discussion on how the video linked to and juxtaposed with individual perceptions to the challenges of coastal and marine sustainability.

(5) During both workshops, a graphic artist made a recording of the conversations by visually articulating how the discussions and conversations were formed, and highlighting those aspects of coastal and marine sustainability participants considered most important and urgent, as well as mechanisms for learning ( Figure 5 ).

Figure 5. A graphical recording of the CaW interactive workshop at the Art in the Anthropocene Conference 2019 that captured conversations and observations made by attendees. Graphic Artist: Eimear McNally.

From the CaW side, the intent of workshop discussion was to explore how an art-science partnership could engage with non-scientist audiences to recognize and emphasize what is perceived by the science community as a critical state of the world’s oceans ( IPCC, 2019 ) through a transdisciplinary approach. However, from the workshop participants the discussion revolved around how collaborative efforts such as CaW should work internally to extend beyond interdisciplinarity and achieve a transdisciplinary approach, as well as the need to be flexible and agile in terms of project goals and objectives. The messaging also from the workshops elucidated an increasing desire amongst researchers from more artistic disciplines for optimistic and empowering efforts that unite communities and populations rather than fear-driven efforts that have a more dividing response. In general, it became apparent that whilst natural sciences are comfortable with the drive of the UN Agenda 2030 and the SDGs, there is strong criticism of these initiatives from other disciplines and a perceived lack of societal focus in implementation ( Liverman, 2018 ; Swain, 2018 ). Outcomes from discussions suggested that:

(1) Trying to set a broader context of SDGs to meet the composition of the audience had the unintended outcome of losing clarity around the place of sciences in the context of the art.

(2) Achieving a balance of synergies and trade-offs between environmental change and impacts on society is challenging.

(3) There is a need to lead with the requirement for a transdisciplinary approach to justify and validate a wider context rather than a focus on specifics (e.g., SDG14).

(4) There are currently weak procedures to assess the art-science collaborative process to evaluate the impact of transdisciplinarity endeavors and their behavioral influences on diverse communities of interest.

Overall, there was validation of the proof of concept in that participants were strongly encouraging that the blending of science and art used by the CaW project presented considerable opportunity to lead to more meaningful engagement across different communities, but the collaboration needed to be widened to ensure transdisciplinarity.

Engagement and Impact

The overall goal of CaW has adapted into the development of a process of engagement and collaboration that enables moving beyond accounting for impacts on coastal and ocean systems to instead address concerns around closing knowledge gaps to specifically empower those who are often left out of the management and usage conversation for a variety of reasons. CaW has therefore been influenced by the desire to contribute to providing new tactile and other sensory experiences that connect recognized and disenfranchised stakeholders to ocean and coastal spaces, specifically shaping that experience with, and for, those likely to be impacted by changes to the system.

With each iteration, CaW has demonstrated learning within the project team across social, ecological, and physical aspects of the oceans while providing space for both cultural identity and technological and social innovation. This approach has allowed the CaW project to move beyond a ‘service mentality’ where science and art products are produced in isolation into the development of an integrated collaboration space that can demonstrate the power and synergies between these disciplines. A critical review of this learning gleaned from the workshops has provided an opportunity for the evaluation of the potential knowledge generation of CaW using both the framework discussed in Figure 1 as well as the ontological logic of interdisciplinarity previously presented ( Barry et al., 2008 ; Born and Barry, 2010 ).

Barry et al. (2008) ’s ontological logic enables the exploration of how CaW processes of scientific and technological production; in the process of creating the glass waves, for example, altering ways of thinking about the relationships between science and art and the objects they produce. A co-benefit from a shift in behavioral responses across different sections of society toward action for more sustainable oceans and coasts would be to reduce gaps in their viewpoint of the UN Agenda 2030 and the SDGs. To date, CaW’s engagement has been largely limited to inherently science-art audiences. This has been critical to both message development and anchoring of the work in local contexts. However, future events are being planned to target a range of different audiences. This will provide a greater opportunity to increase accessibility of outputs to different stakeholder groups and audiences allowing more avenues for impact across scales. Increased engagement is expected to strengthen the evidence and co-designed elements of CaW outcomes.

Technology and artistic innovation have played a large role in CaW’s development as the project’s message has matured from pathways to sustainability toward a vision with a stronger social justice influence. This has included the development of a website 2 and use of social media to promote art-science messaging. The inclusion of audio, especially the voices of coastal inhabitants, has provided an additional avenue to anchor the work with personal experiences that describe different aspects of human connection to ocean and coastal spaces. In retrospect, this anchoring has provided profound influence for the project’s own transformation by allowing actors in society to describe the types of knowledge gaps that exist within their own decision making and spheres of influence.

Challenges and Opportunities of Collaborations in the Anthropocene

While case studies like CaW can demonstrate the importance of not only transdisciplinary approaches for knowledge generation, they also raise many questions around who is generating that knowledge, and how it is utilized. As social justice becomes a more systemic consideration for the SDGs ( Freistein and Mahlert, 2016 ; Scoones et al., 2020 ), questions around power and influence over decision making become more pertinent ( Bexell and Jönsson, 2017 ; Fukuda-Parr and McNeill, 2019 ). A series of multiple, often contested, pathways for guiding societies toward sustainability have been identified with controversies emerging between weak and strong sustainability ( Dietz and Neumayer, 2007 ; Neumann et al., 2017 ), between techno-centrism and eco-centrism ( Audet, 2014 ), between adaptation and transformation ( Dow et al., 2013 ) and between reformist and revolutionary positions ( Geels, 2011 ; Geels et al., 2015 ). This contested space, all argued from a position of evidential strength, highlights the need for a more negotiated process that can develop clear bargained objectives where, both at individual and collective scales, the many technical and/or technocratic solutions that are presented by disciplines can be evaluated and re-evaluated to determine a positive way forward.

Art-science collaborations offer a way to structure the discussions that arise at each decision point on the sustainability route. Art offers a way of creating a platform that allows different perspectives and different conversations to take place in order to negotiate or bargain which pathway or which approach society may want to adopt in that journey. In this way, the model presented in Figure 1A becomes a series of feedback systems for potential persuasion as well as knowledge generation ( Figure 6 ) that is underpinned by the constructs in Figure 1B . The feedback loop provides a mechanism for the needs of society to influence the knowledge that is being generated by art, science and technology or any combination of the three. Therefore, this re-imagined space creates a strong opportunity to fully engage with issues raised under a social justice lens in the future as well as provide an avenue for society to actively define knowledge needs. Acknowledging that collective action and behavioral change, at all scales, is strongly dependent on networks and flows of information between individuals and groups and the relationships and patterns of reciprocity and exchange, rupturing the engrained status quo of divisions across and between academia and society offers solutions spaces rather than dictates destinations.

Figure 6. A model of knowledge generation that is responsive to the needs of society and allows reciprocity and exchange between and within disciplines.

While the literature and concepts discussed in this paper, as well as the case study, demonstrate transdisciplinary benefits, it must also be recognized that there are methodological and collaborative challenges necessary for such endeavors. This reality has stimulated critical reflection on practice and limitations in traditional disciplinary evaluation methods (e.g., Muller et al., 2015 ; van Mierlo and Beers, 2018 ) but also allowed space from reframing art-science intersections as ‘shared encounters with politics and environmental change’ ( Gabrys and Yusoff, 2012 ). While there are two central themes that resonate within current art-science collaborative practice: (i) the ability to engage diverse publics ( Gabrys and Yusoff, 2012 ; Lesen et al., 2016 ) and (ii) the ability to ‘do’ social, cultural and political work ( Gibbs, 2014 ; Galafassi et al., 2018 ), there is evidence that expectations of artists and scientists may differ as a consequence of disparate training, methods, values, vocabulary, funding, and income ( Lesen et al., 2016 ). If art-science collaborations are visualized on a spectrum, at the ‘service mentality’ end artists might take inspiration from science but not work directly with scientists, and likewise there might be scientists making art without direct contact with artists. At the other end of the continuum, integrated partnerships between artists and scientists have been gaining in popularity as an intellectual practice, however, disciplinary integration remains a difficult obstacle to overcome.

Nevertheless, within the sustainability and climate change arena, increasingly framed within the concept of the Anthropocene ( Crutzen, 2006 ), integrated, co-designed and co-produced, challenge-led collaborations can provide the innovation needed to allow the visualization and realization of solutions and pathways to sustainability become more reachable from a local to global scale across social and political spectra ( Reed and Abernethy, 2018 ). As Biermann et al. (2016) state ‘The Anthropocene is now being used as a conceptual frame by different communities and in a variety of contexts to understand the evolving human–environment relationship.’ The authors go on to state that ‘…the Anthropocene can be a useful conceptual frame only when it is viewed from a cross-scalar perspective that takes into account developments at local, regional and global levels, variant connections among these levels and issue domains, as well as societal inequality and injustice’ ( Biermann et al., 2016 ). The power of the Anthropocene concept, therefore, is in examining and amplifying (i) complex normative understanding (making pervasive inequalities more visible); and (ii) novel directions for better governance, from local to global ( Biermann et al., 2016 ) including increasing centrality of actors from the whole myriad of social structures. This contextualized, localized and social understanding of the Anthropocene, sensitive to global inequalities and disparities, can contribute to new insights into global and local interconnectivities relevant to the delivery of the SDGs and other international conventions (e.g., the New Urban Agenda, Paris-COP21, and the Convention on Biological Diversity).

There is precedent for urging against modernist metaphors of ‘building bridges’ across disciplinary divides and instead for ‘plunging into the river together, rather than attempting to bridge it’ ( Head, 2011 ) that supports the notion that insights from both the arts and sciences will be needed to overcome maladaptive practices by practitioners and society alike common in the Anthropocene. Art-science collaborations aim to transcend practices that compartmentalize knowledge, instead catalyzing innovations by cross-pollinating disciplinary processes and products ( Leimbach and Armstrong, 2018 ). While art-science collaboration is often touted as ‘transformative’ resulting in changes in perspectives or insight by facilitating engagement with the public or with stakeholders and subjects of science, mechanisms that begin to measure this impact-to-influence remain challenging (105). Quantitative methods (visitor numbers, citations, etc.) do not provide the data needed to determine the value and benefit of aesthetic engagement, while conventional qualitative evaluations are insufficient because they do not assess value beyond their disciplinary value structures. This research space opens several potential avenues of novel investigation in the future.

Studies have recognized that environmental issues and societies responses to them are in themselves a competitive space ( Tiller et al., 2019 ). The process of understanding the need for significant systemic changes in practices, informed by scientific analysis of trends, acknowledging local knowledge and ways of knowing, and taking stock of social-ecological system constraints and opportunities for transformation is critical to the approach described in this paper. The multifaceted challenges of coastal and ocean sustainability cannot be addressed by science alone. While it is often easier to describe the problem rather than to agree on the actions that need to be taken in specific contexts to address those risks, the demand for innovative research and practices that ‘think outside the box’ – with new modalities of transdisciplinary action research that complement traditional disciplinary research is growing rapidly. There is an urgent need for new means of representation to convey the complexity of environmental change, and a growing recognition of the limited ability of science alone to influence policy change. Sustainability and climate science are the latest to acknowledge the urgency to rupture this status quo in order to enable action.

Data Availability Statement

The datasets generated for this study are available on request to the corresponding author.

Ethics Statement

Written informed consent was obtained from the relevant individuals for the publication of any potentially identifiable images or data included in this article.

Author Contributions

SP: conceptualization, methodology, writing – original draft preparation, and writing – review and editing. ML: conceptualization, methodology, writing – original draft preparation, and writing – review and editing. HW: conceptualization, methodology, project administration, visualization, and writing – review and editing. LR and KT: conceptualization, funding acquisition, investigation, and methodology. MI: conceptualization and writing – review and editing. JM: data curation, formal analysis, investigation, and visualization.

Conflict of Interest

The authors declare that the research was conducted in the absence of any commercial or financial relationships that could be construed as a potential conflict of interest.

The research reported on in this paper was funded in part by Future Earth Coasts, by East Carolina University (College of Fine Arts and Communication Research and Creative Activity Awards) and by the University of Wisconsin–Stevens Point (Research and Creative Activities Grant #3218.07). Participation to workshops mentioned in the text benefited from a Marine Research Programme Networking and Travel Grant (NT/19/45) from the Marine Institute, Ireland and Brunel University London (QR-GCRF).

Acknowledgments

The authors wish to thank Aoife Deane (MaREI) for her continued insight into project communication and impact, Dr. Ruth Brennan (Trinity College Dublin) for her support and assistance with the audio components of CaW, and Keven Brunett for his contribution to numerous CaW exhibitions. In addition, the authors would like to thank the reviewers for their constructive comments on this manuscript.

• ^ CaW video.
• ^ www.catchingawave.org

Adger, W. N., Butler, C., and Walker-Springett, K. (2017). Moral reasoning in adaptation to climate change. Environ. Polit. 26, 371–390. doi: 10.1080/09644016.2017.1287624

PubMed Abstract | CrossRef Full Text | Google Scholar

Ajzen, I. (1985). “From intentions to actions: a theory of planned behavior,” in Action Control. SSSP Springer Series in Social Psychology , eds J. Kuhl and J. Beckmann (Berlin: Springer). doi: 10.1016/j.addbeh.2005.08.012

Audet, R. (2014). The double hermeneutic of sustainability transitions. Environ. Innov. Soc. Transit. 11, 46–49. doi: 10.1016/j.eist.2014.02.001

CrossRef Full Text | Google Scholar

Ballantyne, A. G. (2016). Climate change communication: what can we learn from communication theory? Wiley Interdiscip. Rev. Clim. Chang. 7, 329–344. doi: 10.1002/wcc.392

Barry, A., Born, G., and Weszkalnys, G. (2008). Logics of interdisciplinarity. Econ. Soc. 37, 20–49. doi: 10.1080/03085140701760841

Bastien, S., and Holmarsdottir, H. B. (eds) (2017). “The Sustainable Development Goals and the Role of Youth-Driven Innovation for Social Change,” in Youth as Architects of Social Change: Global Efforts to Advance Youth-Driven Innovation , eds S. Bastien and H. B. Holmarsdottir (Cham: Springer International Publishing), 3–22. doi: 10.1007/978-3-319-66275-6_1

Béné, C., Arthur, R., Norbury, H., Allison, E. H., Beveridge, M., Bush, S., et al. (2016). Contribution of fisheries and aquaculture to food security and poverty reduction: assessing the current evidence. World Dev. 79, 177–196. doi: 10.1016/j.worlddev.2015.11.007

Benham, C. F., and Daniell, K. A. (2016). Putting transdisciplinary research into practice: a participatory approach to understanding change in coastal social-ecological systems. Ocean Coast. Manag. 128, 29–39. doi: 10.1016/j.ocecoaman.2016.04.005

Bennett, N. J. (2016). Using perceptions as evidence to improve conservation and environmental management. Conserv. Biol. 30, 582–592. doi: 10.1111/cobi.12681

Bernstein, J. H. (2015). Transdisciplinarity: a review of its origins, development, and current issues. J. Res. Pract. 11:R1.

Google Scholar

Bexell, M., and Jönsson, K. (2017). Responsibility and the United Nations’, sustainable development goals. Forum Dev. Stud. 44, 13–29. doi: 10.1080/08039410.2016.1252424

Biermann, F., Bai, X., Bondre, N., Broadgate, W., Arthur Chen, C.-T., Dube, O. P., et al. (2016). Down to earth: contextualizing the anthropocene. Glob. Environ. Chang. 39, 341–350. doi: 10.1016/j.gloenvcha.2015.11.004

Blythe, J., Silver, J., Evans, L., Armitage, D., Bennett, N. J., Moore, M.-L., et al. (2018). The dark side of transformation: latent risks in contemporary sustainability discourse. Antipode 50, 1206–1223. doi: 10.1111/anti.12405

Borja, A., Elliott, M., Uyarra, M. C., Carstensen, J., and Mea, M. (2017). Bridging the gap between policy and science in assessing the health status of marine ecosystems. Front. Mar. Sci. 4:32. doi: 10.3389/fmars.2017.00032

Born, G., and Barry, A. (2010). ART-SCIENCE: from public understanding to public experiment. J. Cult. Econ. 3, 103–119. doi: 10.1080/17530351003617610

Brandt, P., Ernst, A., Gralla, F., Luederitz, C., Lang, D. J., Newig, J., et al. (2013). A review of transdisciplinary research in sustainability science. Ecol. Econ. 92, 1–15. doi: 10.1016/j.ecolecon.2013.04.008

Brennan, R. E. (2018). Re-storying marine conservation: integrating art and science to explore and articulate ideas, visions and expressions of marine space. Ocean Coast. Manag. 162, 110–126. doi: 10.1016/J.OCECOAMAN.2018.01.036

Broadhurst, S. (2007). Digital Practices: Aesthetic and Neuroesthetic Approaches to Performance and Technology. New York, NY: Palgrave.

Brown, V. A. (2015). Utopian thinking and the collective mind: beyond transdisciplinarity. Futures 65, 209–216. doi: 10.1016/j.futures.2014.11.004

Brugnach, M., and Ingram, H. (2012). Ambiguity: the challenge of knowing and deciding together. Environ. Sci. Policy 15, 60–71. doi: 10.1016/j.envsci.2011.10.005

Carew, A. L., and Wickson, F. (2010). The TD Wheel: a heuristic to shape, support and evaluate transdisciplinary research. Futures 42, 1146–1155. doi: 10.1016/j.futures.2010.04.025

Carnell, S., Cooper, K., Moss, R., Wilson, T. M., Walsh, P., Auman, H. J., et al. (2020). Vanishing Point. Available online at: http://www.vanishingpoint.net.au/ (accessed March 9, 2020).

Catching a Wave (2019). Catching a Wave at Art in the Anthropocene conference | Dublin | 7-9 June 2019. Available online at: https://www.catchingawave.org/workshop-dublin-7-june-2019 (accessed March 31, 2020).

Chabay, I. (2015). “Narratives for a Sustainable Future: vision and Motivation for Collective Action,” in Global Sustainability: Cultural Perspectives and Challenges for Transdisciplinary Integrated Research , ed. B. Werlen (Cham: Springer International Publishing), 51–61. doi: 10.1007/978-3-319-16477-9_3

Claudet, J., Bopp, L., Cheung, W. W. L., Devillers, R., Escobar-Briones, E., Haugan, P., et al. (2020). A roadmap for using the UN Decade of ocean science for sustainable development in support of science, policy, and action. One Earth 2, 34–42. doi: 10.1016/j.oneear.2019.10.012

Comte, A., Pendleton, L. H., Bailly, D., and Quillérou, E. (2019). Conceptual advances on global scale assessments of vulnerability: informing investments for coastal populations at risk of climate change. Mar. Policy 99, 391–399. doi: 10.1016/j.marpol.2018.10.038

Cormier, R., and Elliott, M. (2017). SMART marine goals, targets and management – Is SDG 14 operational or aspirational, is ‘Life Below Water’ sinking or swimming? Mar. Pollut. Bull. 123, 28–33. doi: 10.1016/j.marpolbul.2017.07.060

Cornell, S., Berkhout, F., Tuinstra, W., Tàbara, J. D., Chabay, I., de Wit, B., et al. (2013). Opening up knowledge systems for better responses to global environmental change. Environ. Sci. Policy 28, 60–70. doi: 10.1016/J.ENVSCI.2012.11.008

Cox, D. (1991). Collaborations in art/science: renaissance teams. J. Biocommun. 18, 15–24.

PubMed Abstract | Google Scholar

Cox, D. (2004). The art and science of visualization: metaphorical maps and cultural models. Technoetic Arts 2, 71–79.

Crutzen, P. J. (2006). “The ‘Anthropocene’,” in Earth System Science in the Anthropocene , eds E. Ehlers and T. Krafft (Berlin: Springer), 13–18. doi: 10.1007/3-540-26590-2_3

Cummings, S., Regeer, B., de Haan, L., Zweekhorst, M., and Bunders, J. (2018). Critical discourse analysis of perspectives on knowledge and the knowledge society within the Sustainable Development Goals. Dev. Policy Rev. 36, 727–742. doi: 10.1111/dpr.12296

Custer, S., DiLorenzo, M., Masaki, T., Sethi, T., and Harutyunyan, A. (2018). Listening to Leaders 2018: Is Development Cooperation Tuned-in or Tone-Deaf? Williamsburg, VA: AidData at the College of William & Mary.

da Costa, B., and Philip, K. (2008). Tactical Biopolitics: Art, Activism, and Technoscience. Cambridge, MA: MIT Press.

Defila, R., and Di Giulio, A. (2015). Integrating knowledge: challenges raised by the “Inventory of Synthesis.”. Futures 65, 123–135. doi: 10.1016/j.futures.2014.10.013

Dietz, S., and Neumayer, E. (2007). Weak and strong sustainability in the SEEA: concepts and measurement. Ecol. Econ. 61, 617–626. doi: 10.1016/j.ecolecon.2006.09.007

Dow, K., Berkhout, F., and Preston, B. L. (2013). Limits to adaptation to climate change: a risk approach. Curr. Opin. Environ. Sustain. 5, 384–391. doi: 10.1016/j.cosust.2013.07.005

Eldred, S. M. (2016). Art–science collaborations: change of perspective. Nature 537, 125–126. doi: 10.1038/nj7618-125a

Ensor, J., Forrester, J., and Matin, N. (2018). Bringing rights into resilience: revealing complexities of climate risks and social conflict. Disasters 42, S287–S305. doi: 10.1111/disa.12304

Ensor, J., and Harvey, B. (2015). Social learning and climate change adaptation: evidence for international development practice. Wiley Interdiscip. Rev. Clim. Chang. 6, 509–522. doi: 10.1002/wcc.348

European Commission (2019). The EU Blue Economy Report. Luxembourg: Office of the European Union.

Fischer, F. (2006). Participatory governance as deliberative empowerment: the cultural politics of discursive space. Am. Rev. Public Adm. 36, 19–40. doi: 10.1177/0275074005282582

Fleming, L. E., Maycock, B., White, M. P., and Depledge, M. H. (2019). Fostering human health through ocean sustainability in the 21st century. People Nat. 1, 276–283. doi: 10.1002/pan3.10038

Fredman, S., Kuosmanen, J., and Campbell, M. (2016). Transformative equality: making the sustainable development goals work for women. Ethics Int. Aff. 30, 177–187.

Freistein, K., and Mahlert, B. (2016). The potential for tackling inequality in the Sustainable Development Goals. Third World Q. 37, 2139–2155. doi: 10.1080/01436597.2016.1166945

Fukuda-Parr, S., and McNeill, D. (2019). Knowledge and Politics in Setting and Measuring the SDGs: introduction to Special Issue. Glob. Policy 10, 5–15. doi: 10.1111/1758-5899.12604

Future Earth Coasts (2018). Our Coasta l Futures: Strategy for Research. Available online at: https://www.futureearthcoasts.org/our-coastal-futures/ (accessed June 28, 2019).

Future Earth Coasts (2020). InvestInBlue: What’s Art got to do with it? Society and Sea conference | Greenwich | 6 & 7 September 2018. Available online at: http://www.futureearthcoasts.org/society-and-the-sea-2018/ (accessed March 31, 2020) Google Scholar

Gabrys, J., and Yusoff, K. (2012). Arts, sciences and climate change: practices and politics at the threshold. Sci. Cult. 21, 1–24. doi: 10.1080/09505431.2010.550139

Galafassi, D., Kagan, S., Milkoreit, M., Heras, M., Bilodeau, C., Bourke, S. J., et al. (2018). ‘Raising the temperature’: the arts on a warming planet. Curr. Opin. Environ. Sustain. 31, 71–79. doi: 10.1016/j.cosust.2017.12.010

Geels, F. W. (2011). The multi-level perspective on sustainability transitions: responses to seven criticisms. Environ. Innov. Soc. Transit. 1, 24–40. doi: 10.1016/j.eist.2011.02.002

Geels, F. W., McMeekin, A., Mylan, J., and Southerton, D. (2015). A critical appraisal of sustainable consumption and production research: the reformist, revolutionary and reconfiguration positions. Glob. Environ. Chang. 34, 1–12. doi: 10.1016/j.gloenvcha.2015.04.013

Ghosh, R. (2005). CODE: Collaborative Ownership and the Digital Economy. Cambridge, MA: MIT Press.

Gibbs, L. (2014). Arts-science collaboration, embodied research methods, and the politics of belonging: ‘SiteWorks’ and the Shoalhaven River, Australia. Cult. Geogr. 21, 207–227. doi: 10.1177/1474474013487484

Goyal, N., and Howlett, M. (2019). Who learns what in sustainability transitions? Environ. Innov. Soc. Transit. 34, 311–321. doi: 10.1016/j.eist.2019.09.002

Gurnon, D., Voss-Andreae, J., and Stanley, J. (2013). Integrating art and science in undergraduate education. PLoS Biol. 11:e1001491. doi: 10.1371/journal.pbio.1001491

Haward, M. (2018). Plastic pollution of the world’s seas and oceans as a contemporary challenge in ocean governance. Nat. Commun. 9:667. doi: 10.1038/s41467-018-03104-3

Hawkins, H., Marston, S. A., Ingram, M., and Straughan, E. (2015). The art of socioecological transformation. Ann. Assoc. Am. Geogr. 105, 331–341. doi: 10.1080/00045608.2014.988103

Hayward, B., and Roy, J. (2019). Sustainable living: bridging the north-south divide in lifestyles and consumption debates. Annu. Rev. Environ. Resour. 44, 157–175.

Head, L. (2011). More than human, more than nature. Griffith Rev. 31:43. doi: 10.1017/S0140525X10000191

Hoegh-Guldberg, O. (2015). Reviving the Ocean Economy: the case for action - 2015. Gland: WWF International, 60.

Horner, R., and Hulme, D. (2019). From international to global development: new geographies of 21st century development. Dev. Change 50, 347–378. doi: 10.1111/dech.12379

Huelsenbeck, M. (2012). Ocean-Based Food Security Threatened in a High CO2 World. Washington, DC: Oceana.

Huggins, R., and Clifton, N. (2011). Competitiveness, creativity, and place-based development. Environ. Plan. A 43, 1341–1362. doi: 10.1068/a43559

ICSU, and ISSC (2015). Review of the Sustainable Development Goals: The Science Perspective. Paris: International Council for Science (ICSU).

Ingram, M. (2011). Eliciting a response through art. Nat. Clim. Chang. 1, 133–134. doi: 10.1038/nclimate1140

Ingram, M. (2014). Washing urban water: diplomacy in environmental art in the. Gend. Place Cult. 21, 105–122.

IPCC (2019). in Report on the Ocean and Cryosphere in a Changing Climate , eds H.-O. Portner, D. C. Roberts, V. Masson-Delmotte, P. Zhai, M. Tignor, E. Poloczanska, et al. (Geneva: IPCC).

Iqbal, I., and Pierson, C. (2017). A north-south struggle: political and economic obs tacles to sustainable development. Sustain. Dev. Law Policy 16:4.

Irwin, E. G., Culligan, P. J., Fischer-Kowalski, M., Law, K. L., Murtugudde, R., and Pfirman, S. (2018). Bridging barriers to advance global sustainability. Nat. Sustain. 1, 324–326. doi: 10.1007/s11625-018-0604-z

Jefferson, R., McKinley, E., Capstick, S., Fletcher, S., Griffin, H., and Milanese, M. (2015). Understanding audiences: making public perceptions research matter to marine conservation. Ocean Coast. Manag. 115, 61–70. doi: 10.1016/j.ocecoaman.2015.06.014

Klenk, N. L., and Meehan, K. (2017). Transdisciplinary sustainability research beyond engagement models: toward adventures in relevance. Environ. Sci. Policy 78, 27–35. doi: 10.1016/j.envsci.2017.09.006

Le Blanc, D. (2015). Towards integration at last? The sustainable development goals as a network of targets. Sustain. Dev. 23, 176–187. doi: 10.1002/sd.1582

Leach, J. (2005). “Being in between”: art-science collaborations and a technological culture. Soc. Anal. Int. J. Soc. Cult. Pract. 49, 141–160.

Leimbach, T., and Armstrong, K. (2018). “Creative partnerships and cultural organisations: ‘enabling’ and ‘situating’ arts–science collaboration and collective learning,” in Transdisciplinary Theory, Practice and Education: The Art of Collaborative Research and Collective Learning , eds D. Fam, L. Neuhauser, and P. Gibbs (Cham: Springer), 241–256. doi: 10.1007/978-3-319-93743-4_16

Leiserowitz, A. A., Kates, R. W., and Parris, T. M. (2006). Sustainability values, attitudes, and behaviors: a review of multinational and global trends. Annu. Rev. Environ. Resour. 31, 413–444. doi: 10.1146/annurev.energy.31.102505.133552

Lemke, W. (2016). The role of sport in achieving the sustainable development goals. UN Chron. 53, 6–9. doi: 10.18356/7260830a-en

Lesen, A. E., Rogan, A., and Blum, M. J. (2016). Science communication through art: objectives, challenges, and outcomes. Trends Ecol. Evol. 31, 657–660. doi: 10.1016/j.tree.2016.06.004

Lim, M., Sogaard Jorgensen, P., and Wyborn, C. (2018). Reframing the sustainable development goals to achieve sustainable development in the Anthropocene - a systems approach. Ecol. Soc. 23:22. doi: 10.5751/ES-10182-230322

Liverman, D. M. (2018). Geographic perspectives on development goals: constructive engagements and critical perspectives on the MDGs and the SDGs. Dialogues Hum. Geogr. 8, 168–185. doi: 10.1177/2043820618780787

Malina, R. F. (2001). The New Leonardos. Leonardo 34, 293–294. doi: 10.1162/00240940152549186

Marques, S., Steiner, A. Q., and de Almeida Medeiros, M. (2016). Assessing the performance of the Aichi Biodiversity Targets in Brazil: a test using two regional-scale indices related to coastal and marine ecosystem conservation. Mar. Policy 67, 130–138. doi: 10.1016/j.marpol.2016.01.030

Mayer, A., Shelley, T. O., Chiricos, T., and Gertz, M. (2017). Environmental risk exposure, risk perception, political ideology and support for climate policy. Sociol. Focus 50, 1–20. doi: 10.1080/00380237.2017.1312855

McAfee, D., Doubleday, Z. A., Geiger, N., and Connell, S. D. (2019). Everyone loves a success story: optimism inspires conservation engagement. Bioscience 69, 274–281. doi: 10.1093/biosci/biz019

Miller, T. R., Wiek, A., Sarewitz, D., Robinson, J., Olsson, L., Kriebel, D., et al. (2014). The future of sustainability science: a solutions-oriented research agenda. Sustain. Sci. 9, 239–246. doi: 10.1007/s11625-018-0599-5

Moser, S. C. (2016). Reflections on climate change communication research and practice in the second decade of the 21st century: what more is there to say? Wiley Interdiscip. Rev. Clim. Chang. 7, 345–369. doi: 10.1002/wcc.403

Muller, L., Bennett, J., Froggett, L., and Bartlett, V. (2015). “Understanding third space: evaluating art-science collaboration,” in Proceedings of the 21st International Symposium on Electronic Art , Vancouver.

Neumann, B., Ott, K., and Kenchington, R. (2017). Strong sustainability in coastal areas: a conceptual interpretation of SDG 14. Sustain. Sci. 12, 1019–1035. doi: 10.1007/s11625-017-0472-y

Norström, A. V., Cvitanovic, C., Löf, M. F., West, S., Wyborn, C., Balvanera, P., et al. (2020). Principles for knowledge co-production in sustainability research. Nat. Sustain. 3, 182–190.

O’Connor, G., and Stevens, C. (2018). Studioantarctica: edition. Leonardo 51, 57–58.

Oliver, K., and Boaz, A. (2019). Transforming evidence for policy and practice: creating space for new conversations. Palgrave Commun. 5:60.

Olsen, E., Fay, G., Gaichas, S., Gamble, R., Lucey, S., and Link, J. S. (2016). Ecosystem Model Skill Assessment. Yes We Can! PLoS One 11:e0146467. doi: 10.1371/journal.pone.0146467

Paavola, J., and Adger, W. N. (2006). Fair adaptation to climate change. Ecol. Econ. 56, 594–609. doi: 10.1016/j.ecolecon.2005.03.015

Patterson, J., Thaler, T., Hoffmann, M., Hughes, S., Oels, A., Chu, E., et al. (2018). Political feasibility of 1.5°C societal transformations: the role of social justice. Curr. Opin. Environ. Sustain. 31, 1–9. doi: 10.1016/j.cosust.2017.11.002

Pearce, C., Diamond, S., and Beam, M. (2003). BRIDGES I: interdisciplinary collaboration as practice. Leonardo 36, 123–128. doi: 10.1162/002409403321554189

Pelling, M., O’Brien, K., and Matyas, D. (2015). Adaptation and transformation. Clim. Change 133, 113–127.

Plag, H. P. (ed.) (2018). Workshop Report “Proceedings of the Implementing and Monitoring the Sustainable Development Goals in the Caribbean: The Role of the Ocean” January 17-19, 2018. Saint Vincent: GEOSS Science and Technology Stakeholder Network (GSTSN).

Popa, F., Guillermin, M., and Dedeurwaerdere, T. (2015). A pragmatist approach to transdisciplinarity in sustainability research: from complex systems theory to reflexive science. Futures 65, 45–56. doi: 10.1016/j.futures.2014.02.002

Ramesh, R., Chen, Z., Cummins, V., Day, J., D’Elia, C., Dennison, B., et al. (2015). Land–Ocean Interactions in the Coastal Zone: past, present & future. Anthropocene 12, 85–98. doi: 10.1016/j.ancene.2016.01.005

Randers, J., Rockstrom, J., Stoknes, P. E., Goluke, U., Collste, D., and Cornell, S. (2018). Transformation is Feasible - How to Achieve the Sustainable Development Goals within Planetary Boundaries. Kräftriket: Stockholm Resilience Center.

Reed, M. G., and Abernethy, P. (2018). Facilitating co-production of transdisciplinary knowledge for sustainability: working with canadian biosphere reserve practitioners. Soc. Nat. Resour. 31, 39–56. doi: 10.1080/08941920.2017.1383545

Reed, M. S., Evely, A. C., Cundill, G., Fazey, I., Glass, J., Laing, A., et al. (2010). What is social learning? Ecol. Soc. 15:r1.

Sachs, J., Schmidt-Traub, G., Kroll, C., Lafortune, G., and Fuller, G. (2018). SDG Index and Dashboards Report 2018. New York, NY: Bertelsmann Stiftung and Sustainable Development Solutions Network (SDSN).

Scherer, L., Behrens, P., de Koning, A., Heijungs, R., Sprecher, B., and Tukker, A. (2018). Trade-offs between social and environmental Sustainable Development Goals. Environ. Sci. Policy 90, 65–72. doi: 10.1016/j.envsci.2018.10.002

Scheyvens, R., Banks, G., and Hughes, E. (2016). The private sector and the SDGs: the need to move beyond ‘Business as Usual.’. Sustain. Dev. 24, 371–382. doi: 10.1002/sd.1623

Schneider, F., Giger, M., Harari, N., Moser, S., Oberlack, C., Providoli, I., et al. (2019). Transdisciplinary co-production of knowledge and sustainability transformations: three generic mechanisms of impact generation. Environ. Sci. Policy 102, 26–35. doi: 10.1016/j.envsci.2019.08.017

Scoones, I., Stirling, A., Abrol, D., Atela, J., Charli-Joseph, L., Eakin, H., et al. (2020). Transformations to sustainability: combining structural, systemic and enabling approaches. Curr. Opin. Environ. Sustain. 42, 65–75. doi: 10.1016/j.cosust.2019.12.004

Shi, J., Visschers, V. H. M., Siegrist, M., and Arvai, J. (2016). Knowledge as a driver of public perceptions about climate change reassessed. Nat. Clim. Chang. 6, 759–762.

Sleigh, C., and Craske, S. (2017). Art and science in the UK: a brief history and critical reflection. Interdiscip. Sci. Rev. 42, 313–330. doi: 10.1080/03080188.2017.1381223

Snow, C. P. (1956). The Two Cultures. Cambridge: Cambridge University Press.

Soosalu, G., Henwood, S., and Deo, A. (2019). Head, heart, and gut in decision making: development of a multiple brain preference questionnaire. SAGE Open 9, 1–17. doi: 10.1177/2158244019837439

Stafford-Smith, M., Griggs, D., Gaffney, O., Ullah, F., Reyers, B., Kanie, N., et al. (2017). Integration: the key to implementing the Sustainable Development Goals. Sustain. Sci. 12, 911–919. doi: 10.1007/s11625-016-0383-3

Stevens, C., and Kanie, N. (2016). The transformative potential of the Sustainable Development Goals (SDGs). Int. Environ. Agreements Polit. Law Econ. 16, 393–396. doi: 10.1007/s10784-016-9324-y

Straughan, E., and Dixon, D. (2014). Rhythm and mobility in the inner and outer hebrides: archipelago as art-science research site. Mobilities 9, 452–478. doi: 10.1080/17450101.2013.844926

Swain, R. B. (2018). “A critical analysis of the sustainable development goals,” in Handbook of Sustainability Science and Research. (World Sustainability Series , ed. W. Leal Filho (Cham: Springer), 341–355. doi: 10.1093/heapro/day036

Tiller, R., Arenas, F., Galdies, C., Leitão, F., Malej, A., Romera, B. M., et al. (2019). Who cares about ocean acidification in the Plasticene? Ocean Coast. Manag. 174, 170–180. doi: 10.1016/j.ocecoaman.2019.03.020

Trondle, M., Greenwood, S., Ramakrishnan, C., Tschacher, W., Kirchberg, V., Wintzerith, S., et al. (2019). The Entanglement of Arts and Sciences: On the Transaction Costs of Transdisciplinary Research Settings . Available online at: https://www.researchcatalogue.net/view/12219/12220/0/8973 (accessed August 22, 2019).

UNEP (2019). Frontiers 2018/19 Emerging Issues of Environmental Concern. Nairobi: United Nations Environment Programme.

United Nations (2015). Transforming Our World: The 2030 Agenda for Sustainable Development. New York, NY: United Nations.

van der Hel, S. (2016). New science for global sustainability? The institutionalisation of knowledge co-production in Future Earth. Environ. Sci. Policy 61, 165–175. doi: 10.1016/j.envsci.2016.03.012

van der Vaart, G., van Hoven, B., and Huigen, P. P. P. (2018). The role of the arts in coping with place change at the coast. Area 50, 195–204. doi: 10.1111/area.12417

van Mierlo, B., and Beers, P. J. (2018). Understanding and governing learning in sustainability transitions: a review. Environ. Innov. Soc. Transit. 34, 255–269. doi: 10.1016/j.eist.2018.08.002

Villarrubia-Gómez, P., Cornell, S. E., and Fabres, J. (2018). Marine plastic pollution as a planetary boundary threat – The drifting piece in the sustainability puzzle. Mar. Policy 96, 213–220. doi: 10.1016/j.marpol.2017.11.035

Visbeck, M. (2018). Ocean science research is key for a sustainable future. Nat. Commun. 9:690. doi: 10.1038/s41467-018-03158-3

Weber, O. (2018). The Financial Sector and the SDGs: Interconnections and Future Directions. Waterloo, ON: Centre for International Governance Innovation.

Wehn, U., and Montalvo, C. (2018). Knowledge transfer dynamics and innovation: behaviour, interactions and aggregated outcomes. J. Clean. Prod. 171, S56–S68. doi: 10.1016/J.JCLEPRO.2016.09.198

Whitehead, F. (2018). “Civic experiments: tactics for praxis,” in Art and Future: Energy, Climate, Cultures , ed. P. Stupples (Newcastle upon Tyne: Cambridge Scholars Publishing), 133–144.

Wilson, S. (2002). Information Arts Intersections of Art, Science, and Technology . Cambridge, NY: MIT Press.

Woodward, K., Jones, J. P., Vigdor, L., Marston, S. A., Hawkins, H., and Dixon, D. P. (2015). One Sinister Hurricane: Simondon and Collaborative Visualization. Ann. Assoc. Am. Geogr. 105, 496–511. doi: 10.1080/00045608.2015.1018788

Zafeirakopoulos, M., and van der Bijl-Brouwer, M. (2018). Exploring the transdisciplinary learning experiences of innovation professionals. Technol. Innov. Manag. Rev. 8, 50–59.

Zareie, B., and Jafari Navimipour, N. (2016). The impact of electronic environmental knowledge on the environmental behaviors of people. Comput. Human Behav. 59, 1–8. doi: 10.1016/j.chb.2016.01.025

Keywords : transdisciplinarity, sustainability, art-science, Anthropocene, SGD14

Citation: Paterson SK, Le Tissier M, Whyte H, Robinson LB, Thielking K, Ingram M and McCord J (2020) Examining the Potential of Art-Science Collaborations in the Anthropocene: A Case Study of Catching a Wave. Front. Mar. Sci. 7:340. doi: 10.3389/fmars.2020.00340

Received: 20 January 2020; Accepted: 22 April 2020; Published: 19 May 2020.

Reviewed by:

Copyright © 2020 Paterson, Le Tissier, Whyte, Robinson, Thielking, Ingram and McCord. This is an open-access article distributed under the terms of the Creative Commons Attribution License (CC BY) . The use, distribution or reproduction in other forums is permitted, provided the original author(s) and the copyright owner(s) are credited and that the original publication in this journal is cited, in accordance with accepted academic practice. No use, distribution or reproduction is permitted which does not comply with these terms.

*Correspondence: Shona K. Paterson, [email protected]

This article is part of the Research Topic

Marine Observations and Society: Pathways to Improve Public Engagement and the Science-Policy Nexus

• Technical Support
• Find My Rep

You are here

The Art of Case Study Research

• Robert E. Stake - University of Illinois at Urbana-Champaign, USA
• Description

"The book is a concise and very readable guide to case study research. It includes a good introduction to the theoretical principles underlying qualitative research, and discusses a wide range of qualitative approaches, namely naturalistic, holistic, ethnographic, phenomenological and biographic research methods. . . . Stake offers some useful practical advice, for example, on how to conduct in-depth interviews, how to analyze qualitative data and on report writing. . . . Stake writes in a rather unusual and very personal style but this makes the text very readable. The author's obvious passion for research makes the text even more enjoyable and stimulating. . . . the book. . . seems particularly appropriate for those undertaking this type of research in the fields of education and social policy."

--Ivana La Valle in Social Research Association News

"It is gratifying to encounter a text so cogently advocating the case study method (aka: naturalistic fieldwork) as a legitimate knowledge-enhancing endeavor."

--Sala Horowitz in Academic Library Book Review

"I have just finished a qualitative case study based almost entirely on interviews with engineering students. The two sources on which I depended most heavily were Robert E. Stake's The Art of Case Study Research and Harry F. Wolcott's Writing Up Qualitative Research. I have heard others sing the praises of different works and I have referred to them, but favor the two mentioned."

--Terry C. Hall, Ed.D., Independent Scholar

"This volume consolidates and elaborates ideas Robert E. Stake articulated in earlier journal articles and chapters in a form that is useful and readily accessible to both practitioners and students of educational research methods. His unusually personal presentation style and innovative format for sharing practical tips through authentic examples add to the main treasure of his new book: an incomparable sophistication about research epistemology and practice. . . . His vast experience in the field and in the classroom and his intimate knowledge of the literature intersect, providing the reader with an unusually comprehensive portrayal of a specialized field. . . . The Art of Case Study Research is a significant contribution to research methodology literature and will undoubtedly assume quick popularity as a text."

--Linda Mabry, Indiana University, Bloomington

"A concise and readable primer for doing case study research, the fruit of many years of experience and wisdom. Robert E. Stake's book is also valuable as a genuine attempt to integrate, rather than pick arguments with, the best there is of contending approaches to qualitative inquiry."

--A. Michael Huberman, Harvard University and The Network, Inc.

" The Art of Case Study Research is most useful to novices in qualitative inquiry. I could see using it in combination with other texts or readings in an introductory course to qualitative research methods or in a research methods survey course. Because of its readable style and wellspring of examples and helpful suggestions, both graduate and undergraduate students will find the book useful. Researchers seeking to more fully understand the case study approach as perceived by one of the leaders in case study work will also pick up this book. Researchers and policymakers in social service agencies may also be interested because case studies are increasingly part of evaluation strategies."

--Corrine Glesne, University of Vermont

Unique in his approach and style, Robert E. Stake draws from naturalistic, holistic, ethnographic, phenomenological, and biographic methods to present a disciplined, qualitative exploration of case study methods. In his exploration, Stake uses and annotates an actual case, at Harper School, to demonstrate to readers how to resolve some of the major issues of case study research; for example, how to select the case (or cases) that will maximize learning, how to generalize what is learned from one case to another, and how to interpret what is learned from a case. Uniquely, this book legitimizes direct interpretation as a case research method. It covers such topics as the differences between quantitative and qualitative approaches to case study; data gathering, including document review; coding, sorting, and pattern analysis; the roles of the researcher, triangulation; and reporting a case study. Also provided are end-of-chapter "workshops" that help students focus on new concepts.

Written with the inspired and thought-provoking style of a master storyteller, The Art of Case Study Research helps readers chart their way through the labyrinth of case study research.

See what’s new to this edition by selecting the Features tab on this page. Should you need additional information or have questions regarding the HEOA information provided for this title, including what is new to this edition, please email [email protected] . Please include your name, contact information, and the name of the title for which you would like more information. For information on the HEOA, please go to http://ed.gov/policy/highered/leg/hea08/index.html .

For assistance with your order: Please email us at [email protected] or connect with your SAGE representative.

SAGE 2455 Teller Road Thousand Oaks, CA 91320 www.sagepub.com

This is a very useful resource for students who are evaluating case study research, or who are contemplating this as a methodology for their own research.

I have used a previous edition extensively for my own research. Yin is an essential for all case study researchers. I am delighted to have the new edition. It is a classic.

An excellent text for educator/student research methods using case study as an approach. Written in a way that makes interpretation, understanding and application easier.

This is an essential book for research using a case study approach.

Stake provides a useful step by step guide to case study methods used in qualitative inquiry. The use of workshop scenarios helps cement its application in practice.

A concise book that is so elaborate most especially for early career researchers using case study as an approach. The writing style is simple with detail examples; also the use of foot notes in the book is an “icing on the cake”.

It did not suit the needs of the actual students. This does not mean that the book would be not good - in contrary.

Classic book to go alongside Yin for a different philosophical perspective. Will advise students doing case study to read this.

Great book, essential reading for all research methods modules

This is a classic text and clearly accessible to novice and more mature researchers interested in Case Study Research. Each chapter is well defined and signposts the next chapter.

For instructors

Select a purchasing option.

Tama Art Library by Toyo Ito: Library in Paradise

Minimalistic approach and clean lines are a characteristic of the 2013 Pritzker Prize award-winning architect Toyo Ito. His architectural style showcases a lightness in the structures reflective of air and wind. His projects carry a fluidity to themselves which breaks the limitations of modern architecture .

His projects radiate a drive for perfection that he achieves flawlessly with a connecting blend of noteworthy internal and external space qualities. Tama Art University Library located in the suburbs of Tokyo is one such project by the Japanese architect. 

The Tama Art University Library as suggested by the name is part of an art university that provides for students to experience and experiment in all aspects of art and design. The library serves as the northern gateway to the campus, stretching up a gentle slope and standing out with its sharp lines and arcade-like composition. Due to the site topography and the presence of a front garden with varied short and tall trees, Toyo Ito envisioned the library to be a connection emerging as an experience of a continuous landscape within the building. 

The university cafeteria was the only place where both students and staff members from different disciplines of the university could share space and interact. So, the first thought by Toyo Ito and his design team while ideating for the library was to create a space that served as a common ground for everyone in the passing by. The first concept was ‘to create an open gallery on the ground level that would serve as an active thoroughfare for people crossing the campus, even without intending to go to the library’. 

To achieve the free movement of people and the surrounding view, the architect and his design team started thinking in the lines of a structure of randomly placed arches. The arches aligned to the thought derived from the want to create a structure corresponding to a cave and its stalactites that do not follow a certain pattern of geometry. Ito in his original proposal wanted the library to be excavated but due to budget restraints, he had to change his idea and raise the library from the basement to the first floor. The dimensions and placement of the arches are such that the ground floor of the building acts as an open space allowing for its floor to follow the slope of the surrounding land. The building blends with the natural surroundings merging the interiors and exteriors.  

In this project architect, Toyo Ito worked in close collaboration with structural engineer Mutsuro Sasaki to derive an abstract and evolving grid of curved lines where the load is evenly distributed in its 56 intersecting points. The grid allowed for the derivation of the arches in a way that it created colonnades of rigid capitals and pin anchors. The simple arch-like structural system allows for the heavy concrete construction to look impossibly light. It then seems to reflect the initial visuals of the stalactites that had inspired the project. 

“The characteristic arches are made out of steel plates covered with concrete. In plan, these arches are arranged along curved lines that cross at several points. With these intersections, we were able to keep the arches extremely slender at the bottom and still support the heavy live loads of the floor above.”  – Toyo Ito.

Therefore though the building’s 166 arches, varying in width from 1.8 to 16 m, follow the same grid on both levels, not two of them are exactly alike, as the floor slopes at the ground floor while the roof slants at the first floor. The library’s open plan on the first floor, which is a result of the curved grid, is a single flowing fluid space with just arches and a continuity unobstructed by non-existent walls. The junction of the lines of arches helps softly segregate zones within this one space. The wide and open volume of this floor is strategically divided with the use of furniture designed by Kazuko Fuji. The different furniture elements divergent in size and shapes, along with the partitions that function as bulletin boards, etc., give the space a sense of spatial continuity while assigning the zones with personal visual character.

In the South-facing end of the building where the roof is lowest the function has been zoned to be for formal purposes demarcated by the high, rectilinear shelves. In the North-facing end, a more informal function like reading and studying area has been drawn due to low, winding shelves roughly following the curves of the grid.

As one moves up the stairs to the second floor, they can find sizable art books placed on low bookshelves crossing under the arch curves. Amidst these shelves are study desks of various sizes meant for a group as well as individual study. The presence of a state-of-art copy machine allows users to do specialized editing work. As the students or staff members wait for the bus in the library, they are invited by the large glass table showcasing the latest issues of magazines.

The rows of arches along the curvilinear grid and the ones intersecting provide for a diverse spatial experience. Owing to the varied span and height changes of the arches the visual quality of the space changes from open volume filled with natural light similar to a gallery to a continuous impenetrable tunnel. The library acts as a point of opposites, as a place for interaction and of silent contemplation with books and film media around. The spatial and structural experience is a metaphorical parallel for the user producing a feeling of walking through a forest or in a cave. The openness and lightness of the building blending with the external nature thus without assertions acts as a focal center of activity helping enhance the creativity and curiosity among the members of the university very organically.

Rethinking The Future (RTF) is a Global Platform for Architecture and Design. RTF through more than 100 countries around the world provides an interactive platform of highest standard acknowledging the projects among creative and influential industry professionals.

10 things to remember when designing Church

860-880 Lake Shore Driveo by Mies Van Der Rohe: Glass House apartments

Related posts.

Nokha Community Center by Sanjay Puri

Project in-depth: Kurilpa Bridge

Bouillon Nature Retreat by Architecture Brio

Galta Ji Temple, Jaipur

Unveiling the mystique of museums: A Journey through the Bronze Gallery in National Museum Delhi

Approach to Sustainability: A Case Study on Metro Networks Of Chennai

• Architectural Community
• Architectural Facts
• RTF Architectural Reviews
• Architectural styles
• City and Architecture
• Fun & Architecture
• History of Architecture
• Design Studio Portfolios
• Designing for typologies
• RTF Design Inspiration
• Architecture News
• Career Advice
• Case Studies
• Construction & Materials
• Covid and Architecture
• Interior Design
• Know Your Architects
• Landscape Architecture
• Materials & Construction
• Product Design
• RTF Fresh Perspectives
• Sustainable Architecture
• Top Architects
• Travel and Architecture
• Rethinking The Future Awards 2022
• RTF Awards 2021 | Results
• GADA 2021 | Results
• RTF Awards 2020 | Results
• ACD Awards 2020 | Results
• GADA 2019 | Results
• ACD Awards 2018 | Results
• GADA 2018 | Results
• RTF Awards 2017 | Results
• RTF Sustainability Awards 2017 | Results
• RTF Sustainability Awards 2016 | Results
• RTF Sustainability Awards 2015 | Results
• RTF Awards 2014 | Results
• RTF Architectural Visualization Competition 2020 – Results
• Architectural Photography Competition 2020 – Results
• Designer’s Days of Quarantine Contest – Results
• Urban Sketching Competition May 2020 – Results
• RTF Essay Writing Competition April 2020 – Results
• Architectural Photography Competition 2019 – Finalists
• The Ultimate Thesis Guide
• Introduction to Landscape Architecture
• Perfect Guide to Architecting Your Career
• How to Design Architecture Portfolio
• How to Design Streets
• Introduction to Urban Design
• Introduction to Product Design
• Complete Guide to Dissertation Writing
• Introduction to Skyscraper Design
• Educational
• Hospitality
• Institutional
• Office Buildings
• Public Building
• Residential
• Sports & Recreation
• Temporary Structure
• Commercial Interior Design
• Corporate Interior Design
• Healthcare Interior Design
• Hospitality Interior Design
• Residential Interior Design
• Sustainability
• Transportation
• Urban Design
• Host your Course with RTF
• Architectural Writing Training Programme | WFH
• Editorial Internship | In-office
• Graphic Design Internship
• Research Internship | WFH
• Research Internship | New Delhi
• RTF | About RTF
• Submit Your Story

Looking for Job/ Internship?

Rtf will connect you with right design studios.

Academia.edu no longer supports Internet Explorer.

To browse Academia.edu and the wider internet faster and more securely, please take a few seconds to  upgrade your browser .

Enter the email address you signed up with and we'll email you a reset link.

• We're Hiring!
• Help Center

ENCOUNTERING THE SPIRITUAL IN ART A Neurological Approach to the Exploration of Spirituality in Contemporary Art Case Study: Bill Armstrong's Photography

In this dissertation, I approach spirituality in art from a psychological and neurological perspective. The main innovation is to present Iain McGiclhrist's theory about the divided nature of our brain to argue that art and spirituality are far more connected to each other than we previously believed, being both processed mainly by our Right Hemisphere. McGilchrist's ideas are then applied to Bill Armstrong's Infinity photography series.

Related Papers

Annalisa Burello

This essay attempts to apply Peter Osborne’s advanced theories of photography, as formulated in the essay Infinite Exchange: The Social Ontology of the Photographic Image (Osborne, 2010) to Andreas Gursky’s image Untitled XV (2008). Specifically, it will address the issues of presumed medium anxieties instigated by the photograph’s unique indexical, temporal, and material qualities. CONCLUSIONS Untitled XV clearly illustrates Osborne’s rejection of the commonly held assumption that ‘‘photography’ today displays the unity of a ‘medium’’. In Untitled XV, Gursky challenges many ontological and procedural tenets regarding photography such as indexicality, temporality and materiality, bringing to the fore Osborne’s theorization of the disjunctive nature of digital imaging processing.

Malcolm Hanson

In The Master and His Emissary, Iain McGilchrist proposes that an intrinsic aspect of human neurology has an undue influence on shaping culture and that this particular trait manifests itself in opposition to spirituality, art and the body. I examine these domains to find evidence for the cultural processes he warns of. I also draw on Lacanian theory, via the work of Slavoj Žižek, as a general template to map out the ideological landscape in which the features McGilchrist identifies are played out. I have limited the use of Lacanian theory so that there can be a space for the development of McGilchrist’s ideas. The thesis looks at aspects of culture that manifest this ideological process and focuses on the delivery of psycho-social healthcare as an exemplar of it, on how overt statements of beneficence are ideologically grounded. State delivery of psycho-social care ignores the assumptions on which its methods are founded. This thesis addresses that lack. Any attempt to promote a definitive solution to this situation could become yet another ideological structure that merely compounds the problem. I look for a solution in areas beyond the symbolic network utilised by an ideology, areas that correspond to the Lacanian Real. In the daily lived experience of a subject, this can also be translated as the esoteric. I explore concepts found in mystic traditions, whether religiously grounded or of a more secular nature. I conclude that their practical application becomes ideologically corrupted if they are overly prescriptive, but they do show the potential for individual subjects to prepare for the singular events that sometimes rupture the standing order. With suitable preparation, individuals stand a better chance of using such events to change their circumstances for the better.

Masters Thesis

At a time of rapid transformation in many parts of Sydney, my practice-based research investigated how magical rituals and objects associated with Witchcraft might be used to protect neighbourhoods affected by questionable development and gentrification. Using bricolage as a methodology, the research conceptually blended the subversive role of the Witch with grass roots activism to create a guardian persona, the Artist-as-Witch. This role was underpinned by the notion of ‘enchantment’, which critiques disenchanted, modern values that commonly turn everything into commodities. Within this framework, a speculative place-lore based on the core principles of Witchcraft evolved. This was applied to three Sydney suburbs affected by the construction of the controversial WestConnex Motorway. A range of artistic outcomes, including apotropaic objects and installations, resulted from community workshops and ritual processes such as walking, gleaning and ‘tree shrining’. These outcomes sought to activate the mnemonic potential of fetish objects, the liminal magic of threshold zones, and the power of community engagement to express resistance to radical urban development.

Religion, Brain & Behavior

Glenn McLaren

Where will the philosophers of the future come from and can we have civilization without them? In this paper I argue that there is a co-dependent relationship between philosophy and civilization, one that has emerged and developed in relation to the emergence of information technologies, particularly writing and print. It is these technologies which created the conditions for the deep and prolonged concentration required for deep understanding. The internet, however, today’s powerful information technology which is increasingly mediating humanities relationships, is proving to be a technology which threatens this relationship. The internet is a technology which draws us in, obliterating the distance required for critical thought. Unless we can find ways to distance ourselves from this technology with which we create high fidelity virtual realities, we will become trapped in our hi-tech representations of reality. This will be the triumph of virtual reality and perhaps the end of civilization and philosophy.

Patrick Beldio

Sri Aurobindo (nèe Aurobindo Ghose, 1872-1950), a native of India, spent his youth studying poetry and the classics in England. Upon his return to colonial India, he became influential in Indian revolutionary politics. Inspired by his own spiritual experience, Śaktism, Vedānta, Tantra, and the Bhagavad Gītā, he later developed his own “integral yoga” in the French colonial city of Pondicherry. Instead of transcending the Earth, his yoga seeks to transform matter into what he calls “the new supramental creation.” He wrote over 30 books in the areas of yoga theory and practice, social, political, and cultural reflection, art and poetry. He wrote his most important work, his epic poem Savitri, over a 35-year period as a way to develop his spiritual practice. Mirra Alfassa (1878-1973) shared Sri Aurobindo’s goals and joined him in 1920. She was a gifted painter and musician and a spiritual seeker from Paris whom he named “the Mother” when they established the Sri Aurobindo Ashram in 1926. He considered her the feminine Śakti to his masculine Īśvara role, and their followers believe them to be their Avatāras (God/dess in human form). After he died, the Mother continued to guide the Ashram until her death. For 52 years she used painting to grow in her spiritual practice. Both gurus encouraged many of their disciples to use the arts for spiritual growth. Sri Aurobindo’s work has inspired various prominent thinkers, and is considered a significant contribution to Hindu studies, as well as 20th-century colonial Indian history. He is regarded as one of the pioneers of the modern yoga renaissance; however, since the 1980s there has been a lack of scholarship on his thought, and particularly as this applies to art and religion. Also, the Mother’s participation has never been critically examined in this tradition. This dissertation investigates the following question: What are the Mother’s and Sri Aurobindo’s aesthetic theory and to what extent does their artwork and their collaboration with their disciples demonstrate their aesthetics? This study uses a historical-critical methodology to examine the development of thought in their written texts on culture and aesthetics, and a visual culture approach to interpret their use of art, architecture, and visual culture. It relies upon disciples’s diaries, reproductions of drawings and paintings by the Mother and her disciples, and the author’s ethnographic data collected during his stay in the Ashram in India in 2012-13. The results of this dissertation: 1) their yoga is “descendant,” demanding a principle of growth that welcomes oppositions found in life to stimulate the universalization of the basic consciousness and to divinize the Earth; the arts aid this process by helping the disciple to face oppositions with sincerity and resilience, and to unveil spiritual potentials that were not known until the creative process uncovered them; 2) they prize the intuition and higher spiritual faculties of consciousness in their creative process and spiritual experience, which diminishes and potentially annihilates the importance of the intellect; 3) for them, the arts are essentially tied to beauty, which aids their goal of the “new creation;” their ideal of beauty occurs when the physical art media harmonizes with the meaning of the artwork, uniting qualities of beauty with the value of beauty. This study concludes that if Sri Aurobindo is a guru who is primarily an artist, his teaching is principally found in an examination of his creative process, his poetry, and his work with his and the Mother’s disciples. Likewise, as an artist-guru, the Mother’s teaching is chiefly encountered in an investigation of her guidance of the Ashram, her painting, music, architecture, and visual culture, and most importantly her claims to the transformation of her own body. Their combined teaching is intended to be a transformative experience of growth through beauty, which for them is a way to create a non-sectarian sacred gaze in their followers. Their aesthetic goals might be characterized as expanding the basic consciousness in order to critique past uses of beauty that have become an abuse of others; to reinterpret past achievements in beauty with an intent to include all; and still further, to create new, more inclusive expressions of beauty in one’s own historical context.

Peter Hampson

Susan Michael

Neoplatonism and the Arts, ed G. Zavota (forthcoming)

Dr Angela Voss

RELATED PAPERS

simon morley

Laurel Tien

Oikosophia Journal Quaderni di Studi Indo-Mediterranei X, 307-318.

Mark Selkrig , Alison Baker

Seppi Esfandi , Seppi Esfandi

The Idea of North: Myth-Making and Identities

Rina Corpus

Dr Michelle Antoinette

Ciaran McCloskey

Music Beyond Airports: Appraising Ambient Music

Lisa Colton

Donna Weston

Sotheby's Institute of Art MA

Wayne J Cosshall

At Home in the World: The Life and Art of Gulammohammed Sheikh, edited by Chaitanya Sambrani. . New Dehli: Tulika Books and Vadehra Art Gallery, pp. 278–93

Marcia Kupfer

spencer horne

Kim Skjoldager-Nielsen

Derek Ventling

Davor Džalto

Sustainability in Higher Education Conference - Swansea

Louise Livingstone

Katherine Pierpoint

Loredana Pazzini - Paracciani

Jean MacPhail

Dissertation 2014, University of Sheffield

Nicky Crane

Paul Gilgunn

Bradley Lewis

Jazz Perspectives

Tony Whyton

Valerie Behiery

Eduard Heyning

Revista Canaria de Estudios Ingeleses

Pippa Marland

AM Journal of Art and Media Studies

Kornelia Boczkowska

Fo Guang University Electronic Theses and Dissertations website: http://libthesis.fgu.edu.tw/cgi-bin/cdrfb3/egsweb.cgi?o=destdcdr

Bulletin of Spanish Studies

Ricki O'Rawe

Aries: Journal for the Study of Western Esotericism 19, no. 2

Tommy P Cowan

Paul Taberham

Religions 10:4 (2019)

Salvador Ryan

Hua-Chun Fan

The Vision of the Absurd, Aesthetic Machines, Entanglement and Affect

Dr Mikey Georgeson

Studies in Philosophy and Education

RELATED TOPICS

•   We're Hiring!
•   Help Center
• Find new research papers in:
• Health Sciences
• Earth Sciences
• Cognitive Science
• Mathematics
• Computer Science
• Academia ©2024

Research Methodologies for the Creative Arts & Humanities: Case studies

Case studies.

Definitions:

“A research method that engages in the close, detailed examination of a single example or phenomenon.  ...Case studies are often published by ethnographers, participant observers and historical researchers. The study of ‘classic’ cases plays a central role in  training in some fields, especially anthropology, law and psychoanalysis.” See Calhoun, C. J. (2002). Dictionary of the social sciences. New York: Oxford University Press

“A detailed analysis of a person or group from a social psychological, or  medical point of view" See Bali, R. K. (Ed.). (2005). Clinical knowledge management: opportunities and challenges . IGI Global

• Peace, M. A case study of the 2007 Kangaroo Island bushfires (2012)
• Singh, G. Ethnic conflict in India (2000)
• Werthmann, C. Green roof (2007)

ECU Library Resources - Case Studies

• The art & craft of case writing
• Case study research methods
• Case study research: theory, methods, practice
• Case study research : design and methods
• Fast fundamentals: case study research methods
• Qualitative research through case studies

Further Reading

• Writing guide: case studies
• Case study research design
• << Previous: Action Research
• Next: Constructivism >>
• Action Research
• Case studies
• Constructivism
• Constructivist grounded theory
• Content analysis
• Critical discourse analysis
• Ethnographic research
• Focus groups research
• Grounded theory research
• Historical research
• Longitudinal analysis
• Life histories/ autobiographies
• Media Analysis
• Mixed methodology
• Narrative inquiry research method
• Other related creative arts research methodologies
• Participant observation research
• Practice-based & practice-led research
• Qualitative research
• Quasi-experimental design
• Social constructivism
• Survey research
• Usability studies
• Theses, Books & eBooks
• Subject Headings
• Academic Skills & Research Writing
• Last Updated: Mar 11, 2024 3:12 PM
• URL: https://ecu.au.libguides.com/research-methodologies-creative-arts-humanities

Edith Cowan University acknowledges and respects the Noongar people, who are the traditional custodians of the land upon which its campuses stand and its programs operate. In particular ECU pays its respects to the Elders, past and present, of the Noongar people, and embrace their culture, wisdom and knowledge.

Controversial Art Criticisms: In-Depth Case Studies

Like a bee to the flower, art draws you in. But not all art is created equally, and it’s often a battlefield between critics and artists.

This article will delve into case studies of controversial art criticisms throughout history. You’ll discover how pieces once rejected or dismissed, like Donatello’s ‘David’ or Vermeer’s ‘Girl with a Pearl Earring’, later became celebrated masterpieces.

We’ll also explore the scandalous side of artworks that pushed societal norms and caused outrage, such as Duchamp’s ‘Fountain,’ Picasso’s ‘Les Demoiselles d’Avignon,’ and Manet’s ‘Olympia.’

Despite their initial reception, these controversial pieces have shaped the world of art as we know it today. So buckle up; we’re about to embark on an eye-opening journey through some of history’s most fiercely debated artworks!

Above image: Marcel Duchamp – Fontaine, exemplary 2 – Tate Modern / Romainbehar / via Wikimedia Commons / Public Domain

Significance of Controversial Art

Have you ever thought about how some of the most impactful works in art history, like Donatello’s ‘David’ or Vermeer’s ‘Girl with a Pearl Earring,’ were once considered scandalous, creating a whirlwind of controversy? It’s true! Now seen as masterpieces, these pieces were initially met with harsh criticisms.

Consider Monet’s ‘Impression: Sunrise.’ It was laughed at and rejected by the Paris Salon. Its title even sparked mockery from critics who coined the term ‘impressionist’ as an insult! Yet today, it’s one of the greatest masterpieces of the century.

Art controversies are not just historical footnotes; they’re integral to understanding how these works challenged societal norms and pushed boundaries, leading to new artistic movements and changing our perception of what art could be.

Reaction to Rejected Art

It’s fascinating to delve into the world of art that was initially rejected yet later hailed as revolutionary and groundbreaking. Imagine the shock when Vermeer’s ‘Girl with a Pearl Earring’ was first dismissed as mundane! Now, it’s celebrated as a masterpiece.

Picture the scoffs at Monet’s ‘Impression: Sunrise,’ only for it to inspire an entire artistic movement. And who could forget Duchamp’s ‘Fountain’? A urinal labeled as art certainly caused outrage, but today, we recognize its significance in challenging our definitions of art.

These controversial pieces remind us that art isn’t just about aesthetics or pleasing patrons; it’s about pushing boundaries, evoking strong reactions, and often, causing a stir. So next time you stumble upon controversial artwork, remember – today’s scorn can become tomorrow’s praise!

Controversial Art Categories

You’ll find that controversial art can be grouped into several distinct categories, each with its unique ways of sparking debate and challenging societal norms.

For instance, did you know that 73% of people reported feeling angry or offended by at least one piece of modern art in their lifetime? This goes to show the profound emotional impact such works can have!

Some art pieces are controversial because they lack artistic merit or challenge viewers’ expectations. Others make bold political statements that stir up controversy. The definition of ‘good’ art is subjective and often leads to intense debates.

Remember that the value of an artwork isn’t just about its price tag; it’s also about the conversations it starts, whether they’re heated arguments or enlightened discussions!

Debating Artistic Merit

Consider this: when assessing the merit of an artwork, you’re not just looking at its technical prowess or aesthetic appeal but also its ability to provoke thought and elicit emotion.

Artistic value is subjective; what one person may view as a masterpiece could be seen as trash by another. This subjectivity often leads to controversy in art criticism.

Take, for instance, Marcel Duchamp’s ‘Fountain.’ At first glance, it’s just a urinal with a pseudonym scribbled on it. But when you consider its historical context and implications, it becomes a bold statement about the nature of art itself.

Similarly, Manet’s ‘Olympia’ received backlash for portraying a prostitute as unflattering, yet today, it’s admired for challenging societal norms.

So remember, controversies often signal groundbreaking work!

Political Statements in Art

Let’s delve into how artists have used their work to make powerful political statements, challenging societal norms and often stirring significant controversy.

Picasso’s ‘Guernica’ is a prime example. This mural vividly depicts the massacre of a Basque village during the Spanish Civil War, serving as a potent critique against fascism. Its raw power and unsettling imagery sparked heated debates about its propriety and impact.

Similarly, Ai Weiwei’s ‘Dropping a Han Dynasty Urn’ was seen as heresy, but it also symbolized his protest against China’s disregard for cultural heritage amid rapid modernization. Controversial? Absolutely! But these artists weren’t just seeking to shock – they were using art to confront political injustices head-on.

Challenging Viewer Expectations

Moving on from political statements in art, let’s delve into another provocative aspect – challenging viewer expectations.

Artists often shatter norms and push boundaries to evoke stronger reactions. Instances like Marcel Duchamp’s ‘Fountain’ or Ai Weiwei’s ‘Dropping a Han Dynasty Urn’ exemplify this.

Duchamp confronts us with a urinal, forcing us to question our definition of what constitutes art. Similarly, Weiwei shocks us by smashing a 2000-year-old urn, an act seen as heresy by many.

These pieces challenge the status quo and provoke thought and debate about societal norms and conventions in art. Remember that being controversial doesn’t strip these works of artistic merit; it merely adds another layer for interpretation and understanding.

Controversial Art and Offense

Imagine yourself in a gallery, coming face-to-face with Andres Serrano’s ‘Piss Christ’ or Robert Mapplethorpe’s sexually explicit photographs. You might feel shocked or even offended. That’s precisely what happened when these pieces first hit the public eye.

Serrano’s artwork, featuring a crucifix submerged in urine, sparked outrage and vandalism. Likewise, Mapplethorpe’s exhibition was canceled due to its explicit content, leading to protests and intense debates about art censorship.

Controversial? Absolutely. But remember that such artworks often aim to provoke thought and challenge societal norms rather than to offend. As you stand there amidst the controversy, consider this: Isn’t it the role of art to push boundaries and stir up conversation?

Rejection of Art in its Time

It’s heartbreaking to think that some of the most revered artworks today were once shunned and dismissed in their own time.

Donatello’s ‘David’ was hidden in private courtyards due to its controversial depiction of a young, nude male.

Vermeer’s ‘ Girl with a Pearl Earring ,’ now considered one of Europe’s most celebrated paintings, was initially regarded as unimportant and sold for barely anything at auction after his death.

And who could forget Monet? His masterpiece, ‘Impression: Sunrise,’ was laughed at by critics and rejected by the Paris Salon.

Yet these artists pushed boundaries and challenged norms, creating pieces that would eventually become invaluable contributions to art history.

Their work is a powerful reminder that art is subjective, misunderstood, and often underappreciated but consistently impactful.

Controversial Art and Ignorance

Well, isn’t it amusing how society can turn a blind eye to the brilliance of controversial art, opting to slap labels on them rather than taking time to appreciate their intricacies?

Look at Vermeer’s ‘Girl with a Pearl Earring,’ considered mundane initially but now deemed a masterpiece.

Or Donatello’s ‘David’—only displayed in private courtyards due to its daring depiction of nudity.

And let’s not forget Monet’s ‘Impression: Sunrise.’ It was laughed at and rejected by the Paris Salon, but today, it is one of history’s greatest masterpieces.

So, next time you encounter something unconventional or controversial in the art world, remember—today’s scorn might be tomorrow’s applause.

Determining the Value of Art

You’ve probably noticed that the value of art is not always determined by its initial reception but rather by the evolving reactions of critics, patrons, and the public over time.

It’s a fascinating process to observe, as an artwork can be initially misunderstood or reviled, only to be later hailed as a masterpiece. Take Monet’s ‘Impression: Sunrise,’ for instance. Initially laughed at and rejected by the Paris Salon, it sparked an entire artistic movement and is now considered one of his greatest works.

This highlights how subjective art appreciation can be. What seems controversial or devoid of merit today could very well become tomorrow’s invaluable cultural treasure. As such, it’s clear that controversy in art isn’t necessarily indicative of its lasting worth.

Follow us on  Pinterest  for more tips, tutorials, and artist reviews! 

Outmane is the founder of Proactive Creative. He is an artist/designer.

You may also like these articles

• 50 Strawberry Drawings to Fuel Your Creativity

• 39+ Simple Colored Pencil Art Ideas for Beginners

• Creative Colored Pencil Drawings with Simple Techniques

Leave a Comment Cancel reply

This site uses Akismet to reduce spam. Learn how your comment data is processed .

Welcome to Proactive Creative. We recommend carefully selected items and tools, as well as original resources with a focus on art, design, and creativity.

The Latest Articles

• Simple Colored Pencil Art | 34 Easy Ideas for Beginners
• Easy Colored Pencil Art for Novice Artists
• Easy Colored Pencil Art Projects | Fun Creations for Beginners
• Exploring Colored Pencil Art for Beginners | 44+ Ideas
• 20+ Simple Colored Pencil Ideas Inspired by the Outdoors
• Exploring Easy Art Ideas with Colored Pencils
• Minimalist Colored Pencil Art Inspirations for Beginners

Affiliate Disclosure We may receive commissions when you click certain links to products & services on this site and make purchases. There is no additional cost to you. As an Amazon Associate, We earn from qualifying purchases.

Navigation About Contact PrivacyPolicy Disclaimer

Copyright © 2024 Proactive Creative

An official website of the United States government

The .gov means it’s official. Federal government websites often end in .gov or .mil. Before sharing sensitive information, make sure you’re on a federal government site.

The site is secure. The https:// ensures that you are connecting to the official website and that any information you provide is encrypted and transmitted securely.

• Publications
• Account settings

Preview improvements coming to the PMC website in October 2024. Learn More or Try it out now .

• Advanced Search
• Journal List
• Front Psychol

Effectiveness of Art Therapy With Adult Clients in 2018—What Progress Has Been Made?

In the year 2000, an important art therapy literature review addressed an essential question—does art therapy work? It discussed 17 articles dealing with the issue of the effectiveness of art therapy. Two decades later, this research field has extended its scope and is flourishing. Several current reviews of research work have described the broad range of methods implemented today, which includes qualitative and quantitative studies; other reviews have focused on art therapy with specific populations, or by age group. The aim of this systematic literature review is to contribute to the ongoing discussion in the field by exploring the latest studies dealing with the effectiveness of art therapy with a broad scope of adult clients. We conducted a comprehensive search in four databases and review of every quantitative article that has addressed outcome measures in the art therapy field from 2000 to 2017. This paper presents the latest 27 studies in the field that examine the effectiveness of art therapy with adult clients and divides them into seven clinical categories: cancer patients, clients coping with a variety of medical conditions, mental health clients, clients coping with trauma, prison inmates, the elderly, and clients who have not been diagnosed with specific issues but face ongoing daily challenges. It underscores the potential effects of art therapy on these seven clinical populations, and recommends the necessary expansions for future research in the field, to enable art therapy research to take further strides forward.

In 1999, nearly two decades ago, the American Art Therapy Association (AATA) ( 1999 ) issued a mission statement that outlined the organization's commitment to research, defined the preferential topics for this research, and suggested future research directions in the field. One year later, Reynolds et al. ( 2000 ) published a review of studies that addressed the therapeutic effectiveness of art therapy. They included studies that differed in terms of research quality and standards. In eight studies by different authors, there was a single group with no control group; in four studies, there was a control group, but no randomization of the participants between the experimental group and the control group; and in only five studies was there randomization of the experimental group and the control group (RCT - Randomized Control Trial). They concluded that there was a substantial need to expand research in the field of art therapy to better determine the most appropriate interventions for different populations.

Two decades later, the field of research in art therapy has developed considerably. There are several reviews in the field that describe the expanding body of research work. Some of these reviews present studies that have examined the effectiveness of art therapy, without distinguishing between different populations. For example, as an extension of the work and review by Reynolds et al. ( 2000 ), Slayton et al. ( 2010 ) reviewed articles published between 1999 and 2007 that measured the outcome of art therapy sessions with different populations. Their review included qualitative studies, studies based on a single client in therapy, studies with no control groups, studies with a control group but with no randomization, and a small number of studies with a control group and randomization. They concluded that there has been progress in the field, but further research is needed. Four years later, Maujean et al. ( 2014 ) summarized high-quality studies that implemented RCT that focused on art therapy with adults. They found eight such studies that were conducted between 2008 and 2013. Seven reported beneficial effects of art therapy for adult clients, but they also concluded that more reliable controlled studies were needed to draw conclusions.

Together with these comprehensive reviews, many literature reviews have appeared in recent years discussing specific populations and a range of research methods. For example, in the field of art therapy for adults, Holmqvist and Persson ( 2012 ) overviewed art therapy studies on clients with psychosomatic disorders, eating disorders, or facing crises, based on case studies and intervention techniques. They concluded that there were not enough studies to prove that art therapy is effective for these specific disorders. Similarly, Geue et al. ( 2010 ) and a year later, Wood et al. ( 2011 ) examined art therapy with cancer patients. They assessed quantitative and qualitative studies and found that most studies have dealt with women suffering from breast cancer. They also documented the intervention techniques that were specifically used with this population, and reported that overall, the quantitative studies reported an improvement in a number of emotional domains faced by these clients. Another article by Huet ( 2015 ) reviewed articles dealing with ways to reduce stress in the workplace through art therapy intervention techniques. In this article, a total of 11 articles were discussed that employed different research methods. The authors focused on describing different ways to use art therapy in this context and argued that there has been a gradual emergence of a vast body of knowledge that reinforces the benefits of art therapy for people working in stressful work environments.

In the past three years, a number of literature reviews of controlled quantitative studies have dealt more specifically with the issue of the effectiveness of art therapy in treating specific populations. Schouten et al. ( 2015 ) overviewed quantitative studies in art therapy with adult trauma victims. They found that only six studies included a control group (only one of which included randomization) in this field. Half reported a significant reduction in trauma symptoms and another study found a decrease in the levels of depression in clients treated with art therapy. They pointed out that it is difficult to produce quantitative meta-analyses in art therapy given the limited size of the groups and because the evaluation is often based on several therapeutic methods that are used simultaneously. Further Uttley et al. ( 2015a , b ) reviewed all the studies dealing with art therapy for adult clients with non-psychotic psychiatric disorders (anxiety, depression, and phobias). They found 15 randomized controlled quantitative studies of which 10 indicated that the therapeutic process was effective (positive changes following therapy in comparison to the control group). They were unable to conduct a meta-analysis due to the clinical heterogeneity and lack of sufficient information in the studies. In addition, they reviewed 12 qualitative studies that provided data on 188 clients and 16 therapists.

This article deals with research that focuses on measuring the effectiveness of art therapy. It addresses two major challenges. The first is the definition of the term “effectiveness.” We adopted the definition suggested in Hill et al. ( 1979 ); namely, “the attribute of an intervention or maneuver that results in more good than harm to those to whom it is offered” (p. 1203). The current review takes a positivist perspective (Holton, 1993 ) and relates to the measurement of effectiveness reported in quantitative studies that have been conducted in the field. Since the field of art therapy is still young, the scope of research is limited and the quality of research is diverse, which makes it difficult to create a comparative review that presents the knowledge in the field and draws thorough conclusions. Therefore, our review is based on the systematic review framework proposed in Case-Smith ( 2013 ) who divided the studies she reviewed into three levels of evidence. Level 1 refers to randomized controlled trials (RCT's), level 2 refers to nonrandomized two-group studies, and level 3 refers to nonrandomized one-group studies.

The second challenge has to do with the definition art therapy. We applied the standard definition provided by the American Art Therapy Association:

• Art therapy, facilitated by a professional art therapist, effectively supports personal and relational treatment goals, as well as community concerns. Art therapy is used to improve cognitive and sensorimotor functions, foster self-esteem and self-awareness, cultivate emotional resilience, promote insight, enhance social skills, reduce and resolve conflicts and distress, and advance societal and ecological change (American Art Therapy Association, 2018 ).

This definition makes it clear that art therapy is a process that takes place in the presence of a certified art therapist, and indicates different areas where an effect or outcome in therapy can be expected as a result of this form of treatment.

Thus, the research question was formulated according to “PICOS” components (The PRISMA Group et al., 2009 ): Is art therapy effective for adult clients as measured in results published from 2000 to 2017, in various quantitative studies corresponding to Levels 1, 2, 3 (Case-Smith, 2013 )? These studies assessed the effectiveness of art therapy on variety of indices including symptoms and physical measures, health or mental health assessments, quality of life assessment, or coping resources. These indices were typically evaluated through questionnaires and occasionally by projective drawings or physiological indices.

By posing this question, this systematic review joins the ongoing discussion in the field on the level of effectiveness of art therapy with adult clients. This forms part of the academization process in the field of art therapy, which involves attempting to relate intervention techniques in the field with their significance for theoretical research.

The search for relevant articles was carried out during the month of January 2017. Four major electronic databases were searched: Medline, PsycInfo, Scopus, and Web of Science. We searched for the term “art therapy” in the databases combined with the terms “Effectiveness,” “Efficacy,” “Outcome,” “Measurement,” “Treatment,” and “Intervention.” We restricted the search in the databases to articles published in English since the year 2000 for reasons of recency and the continued relevancy of the findings. In addition, all the literature reviews in the field (such as those reviewed above) were examined to locate additional articles that were pertinent to this study.

During the initial screening stage, the abstracts were read by both authors (who are certified art therapists) to exclude those that were irrelevant to the purposes of the study. At this point 151 articles remained (see Figure ​ Figure1 1 ).

Search process.

In the next stage, the remaining articles were read and selected if they met the following inclusion criteria (see Figure ​ Figure1 1 ):

• - Reported a quantitative assessment of the effectiveness of art therapy on a sample of clients. Hence case studies, method descriptions, qualitative analyses, and literature reviews that did not meet these criteria were omitted. A total of 80 articles were removed at this stage.
• - Enabled the assessment of the unique impact of art therapy. We thus omitted articles that described the use of a combination of therapeutic intervention techniques with a variety of art mediums simultaneously, not only visual art. A total of 14 articles were omitted at this stage.
• - The art therapy was conducted in an ongoing manner in the presence of a certified art therapist. We thus omitted articles that described art intervention techniques that were not used in the context of therapy or were used in one-off art therapy interventions or therapy sessions with a non-certified art therapist. A total of 17 articles were removed at this stage.

Articles that met these inclusion criteria were defined as articles that examined the “effectiveness” of Art Therapy, and that quantified the impact of art therapy in a measurable way. A total of 37 studies were located in 40 articles (three studies were published in two different articles each). Of the 40 articles, 27 dealt with adult populations and are covered in this systematic review. This article categorizes mentioned articles in terms of the levels of evidence proposed by Case-Smith ( 2013 ).

The findings derive from the 27 studies that we considered to have met the inclusion criteria. The choice to present the studies as a review rather than as a meta-analysis is due to the emergent nature of the field of art therapy. There is insufficient research in the field and the differences between studies and the indices measured are so great that it was impossible to produce a meta-analysis that would yield meaningful results (much like Uttley et al.'s conclusion, 2015a,b ). In addition, the authors discussed the issue of the clinical categorization until full agreement was reached, to enable the reader to access the knowledge in the field in a way that will allow and encourage researchers to continue to conduct research. For samples where there has been more research (for example, art therapy with cancer patients), this area could have been separate and examined in and of itself, and relevant conclusions specific to this population could have been drawn. However, for other populations there was often a scarcity of studies which led us to group and categorize populations with similar characteristics (for example, medical conditions).

The next section presents the findings categorized into seven clinical categories. Different research methods were used: 17 of the articles (15 studies) used a comparison group with randomization (Level 1), five articles (four studies) used a comparison group without randomization (Level 2), and five articles used a single group without a comparison group (Level 3). In addition, there was a notable gender trend in that nine of the articles only examined women whereas only two of the articles exclusively referred to men. Sixteen did not define the research population by gender.

Category 1: cancer patients

The first category consisted of art therapy with cancer patients (see Table ​ Table1). 1 ). Six studies that examined effectiveness have been conducted with this specific population since 2006 and have been described in seven different articles (Monti et al., 2006 , 2012 ; Oster et al., 2006 ; Öster et al., 2007 ; Bar-Sela et al., 2007 ; Svensk et al., 2009 ; Thyme et al., 2009 ). Five of the six studies were randomized (Level 1) and five dealt with women, most of whom had breast cancer. The total sample size ranged from 18 to 111 clients, most of whom were treated individually. Most of the therapeutic processes were short-term and ranged from five to eight sessions.

Cancer patients.

Some of the studies utilized different streams of art therapy. For example, the largest study of 111 participants, (Monti et al., 2006 ) included a mindfulness-based art therapy intervention—a combination of art therapy with mindfulness exercises. The measurement indices were very different for these studies and included questionnaires that examined physical symptoms, coping resources, quality of life, depression, anxiety, and fatigue. One specific study (Monti et al., 2012 ) also dealt with fMRI measurements. The findings of this category suggest that through relatively short-term interventions in art therapy (primarily individual therapy), it is possible to significantly improve the emotional state and perceived symptoms of these clients.

Category 2: medical conditions

The second category consisted of art therapy with clients coping with a variety of medical conditions that were not cancer-related (see Table ​ Table2). 2 ). Three studies examining the effectiveness of art therapy have been conducted since 2011, each of which deals with a completely different medical condition and employs a different research method. The earliest study dealt with art therapy with clients with advanced heart failure (Sela et al., 2011 ). This study had a sample size of 20 clients who were randomly divided into two groups (level 1). The clients participated in group art therapy for 6 weeks. A 2013 study addressed art therapy with clients coping with obesity (Sudres et al., 2013 ). This study examined 170 clients who were randomly divided into two groups (level 1). One group consisted of 96 clients who received art therapy for 2 weeks. A 2014 study addressed art therapy with 25 clients with HIV/AIDS (Feldman et al., 2014 ), who received art therapy in individual or group settings and did not include control groups (level 3). The duration of the therapeutic process was one or more sessions. Despite the considerable differences between the populations and the indices measured, these preliminary studies present an introductory description that points to the potential of art therapy to assist these populations.

Medical conditions.

Category 3: mental health

The third category covered art therapy with mental health clients (see Table ​ Table3). 3 ). Four studies have been conducted since 2007 (two articles written on the same study—Crawford et al., 2012 ; Leurent et al., 2014 , see Table ​ Table3). 3 ). Research in this category falls into two main diagnostic areas. The first covers two studies on individuals with schizophrenia (Richardson et al., 2007 ; Crawford et al., 2012 ; Leurent et al., 2014 ) that involved randomization (level 1) with large samples (90-159 clients). The therapeutic process ranged from 12 sessions to a full year of therapy and included group therapy. The variety of indices that were used in these studies include measures of function, relationships and symptoms. Despite the attempt to use different types of research indices, in both studies, little or no effect was found to be associated with art therapy. Two studies were classified into the second diagnostic area: one addressing clients with psychiatric symptoms (Chandraiah et al., 2012 ) (level 3) and the other addressing women coping with depression (Thyme et al., 2007 ) (level 1). The therapeutic process ranged from 8 to 15 weeks. The findings reported in both studies suggested a change occurred in the duration of the therapeutic process. However, since neither study compared clients who received art therapy with those who received no therapy, it is difficult to evaluate the effectiveness of art therapy. Hence, the accumulated results of the studies in this category suggest that further research is needed to assess the effectiveness of interventions in art therapy for clients dealing with mental health issues.

Mental health.

Category 4: trauma victims

The fourth category included art therapy with clients coping with trauma (see Table ​ Table4). 4 ). In this category, two studies have been conducted since 2004, both with randomization (level 1). The first study (Pizarro, 2004 ) was composed of a sample of 45 students who participated in two art therapy sessions. These students had dealt with a traumatic event, which could occur at different levels of intensity and at various stages in their lives. In addition, the comparison was made between an art-therapy group and two comparison groups where one underwent writing therapy and the other experimented with artwork, regardless of the traumatic event. Despite the attempt to use a wide range of indices, including symptom reporting and emotional and health assessments, and perhaps because of the short duration of therapy, this study failed to find significant results.

Trauma victims.

The second study (Kopytin and Lebedev, 2013 ) examined a sample of 112 war veterans who participated in 12–14 art therapy sessions. In this study, in which the definition of the traumatic event was more specific and defined by involvement in war, an attempt was also made to measure the level of improvement through a wide range of research indices, including reports of symptoms, emotional state, and quality of life. For some of the indices, there was a significant improvement compared to the control group.

These two articles thus present an inconsistent picture of the beneficial effects of this intervention, which may depend on the indices measured, the duration of therapy, and possibly the type of traumatic event.

Category 5: prison inmates

The fifth category deals exclusively with David Gussak's extensive research on art therapy with prison inmates (Gussak, 2004 , 2006 , 2009a , b ) (see Table ​ Table5). 5 ). In this area three effectiveness studies have been conducted since 2004 (two articles were written on the same study; see Table ​ Table5). 5 ). The first examined an intervention group without a control group (level 3), in contrast to the other two studies which did include control groups (level 2); the sample sizes ranged from 48 to 247 participants in the 2009 study. The art therapy intervention was carried out in a group setting and lasted 4 weeks in the first study to 15 weeks in the most recent study. Initially, Gussak used measurements solely from drawings (FEATS), but in later and more comprehensive research, depression and locus of control were also assessed. In the three studies, there was a reported improvement attributed to the art therapy intervention, as seen in the emotional state of the prison inmates.

Prison inmates.

Category 6: the elderly

The sixth category covered art therapy with the elderly (see Table ​ Table6). 6 ). Three effectiveness studies have been conducted since 2006: one study was conducted with healthy Korean American older individuals (Kim, 2013 ), the second study involved older individuals coping with depression (McCaffrey et al., 2011 ), and the third dealt with older individuals with moderate to severe dementia (Rusted et al., 2006 ). In all three studies, the participants were randomly divided into groups (level 1), in a group therapy setting, with a sample size of 39–50 clients. The number of sessions ranged from 6 to 40. The authors of these studies were interested in a variety of indices. In both the study of elderly Koreans and the elderly coping with depression, various aspects of the emotional state of the clients were measured. Art therapy was considered to have led to an improvement on these measures. In a study of older people with dementia, many observational measures were used to assess emotional states, behavior, and abilities, but change was found only in some of them.

The Elderly.

The findings suggest that art therapy seems to have a beneficial effect on older individuals who are coping with a variety of challenges in their lives, as reflected in the changes in the indices in these studies.

Category 7: clients who face ongoing daily challenges

The seventh category consisted of art therapy with clients who face ongoing daily challenges that do not fall into one diagnostic category (see Table ​ Table7). 7 ). Three studies have been conducted since 2008, two of which address issues such as stress, distress, and burnout of individuals working in various health professions (Italia et al., 2008 ; Visnola et al., 2010 ). These studies were carried out without randomization; in one study (Visnola et al., 2010 ) there was a control group (level 2), whereas in the other (Italia et al., 2008 ) there was not (level 3). The sample size ranged from 20 to 60 participants. The therapeutic process lasted 9–13 sessions in a group art therapy setting. These studies suggest that art therapy can help healthcare professionals reduce levels of stress, anxiety, and burnout connected to their work.

Clients who face ongoing daily challenges.

The third article addresses art therapy for women undergoing fertility treatment (Hughes and da Silva, 2011 ). The sample only included an intervention group (level 3) consisting of 21 women in a group art therapy setting. This study reported a reduction in anxiety and in feelings of hopelessness. The samples in the studies in this category were relatively small and usually did not include a control group. However, there is potential for further research in this area.

Discussion and conclusion

The purpose of this review was to assess whether art therapy is effective for adult clients as measured in quantitative studies published from 2000 to 2017. Notably, since the Reynolds et al. ( 2000 ) review, the body of knowledge in this field has grown and established itself significantly, and a growing number of RCT studies (level 1) have been conducted with larger sample sizes. The advantage of such studies lies in the lesser likelihood of Type I errors as opposed to other studies with no control group or studies that have a control group but no randomization. Nevertheless, there are still only a small number of studies addressing each population, and these studies differ considerably in terms of the course of the therapeutic process, the proposed interventions and the indices that were examined, hence making a meaningful meta-analysis impossible. The findings however are largely encouraging and show a growing trend toward conducting more carefully designed studies that lend themselves to validation and replication; yet—there is a long road ahead. In the past, the effectiveness of art therapy was noticeable to those involved in the field, but less to other professionals. Today, by contrast, there are impressive published findings in a variety of areas. These studies can help expand the contribution of art therapists in other areas and with other populations.

During our search, we were struck by the large number of articles which appear to present interventions in the field of art therapy, but in fact were conducted by non-certified art therapists or were restricted to a therapeutic intervention of a single session in a manner that would not be considered therapy. The existence of such studies emphasizes the continued need to define, clarify and specify what art therapy is and what it is not, and specifically to clarify that this type of therapy must be composed of ongoing sessions and be conducted by a certified art therapist who meets the criteria defined for the profession (American Art Therapy Association, 2018 ).

The first two clinical categories dealt with clients who are coping with a variety of medical conditions. In this section, we were surprised by the vast amount of research in the field of art therapy with cancer patients, most of which were categorized as level 1. Art therapy emerges strongly as a way to enhance their quality of life and their ability to cope with a variety of psychological symptoms. Our review supplements previous reviews in the field (Geue et al., 2010 ; Wood et al., 2011 ) and shows that the findings on art therapy with cancer patients are primarily based on higher levels of evidence studies with randomization and relatively large samples.

The second category, which dealt with clients with a range of medical problems, was intended primarily to list the preliminary research in this field, due to the wide variability between the different populations. The differences in the populations treated suggests that, the measurement tools should be adapted to each type of medical issue. The only instrument that could possibly be applied to all these populations in future research is one that measures improvement in quality of life. It is surprising to note that unlike research on cancer patients, which has been considerable, there have been few studies on individuals with other medical conditions.

The third category dealt with clients with mental health issues. In this category we focused solely on adult clients (as opposed to children which will be reviewed in a separate article) and differentiated from the elderly (category 6). In addition, they were separated from clients coping with trauma (category 4). As a result, a relatively small number of studies met the strict criteria of this review regarding what could be defined as art therapy for clients with mental health issues, although some of the studies had large sample sizes and showed a higher level of evidence. For clients coping with schizophrenia, the reviewed findings are not optimistic. These data are congruent with the many articles on psychotherapy that have addressed this population and have emphasized the complexity of treating such individuals (Pfammatter et al., 2006 ). Studies have shown that the most effective therapeutic approach for this population appears to be cognitive-behavioral (Turner et al., 2014 ). Thus, future work should examine the effectiveness of the cognitive-behavioral approach in art therapy for this population. More research is also needed to better understand how art therapy can be effective with clients experiencing other mental health issues.

The fourth category addressed clients coping with trauma. While there have been few studies in this field, all of them are in a higher level of evidence. It is important to note that these studies did not assess post-traumatic stress disorder (PTSD), but rather individuals who have dealt with traumatic events. Even though the first study (Pizarro, 2004 ) did not confirm the effectiveness of art therapy, the limited number of sessions with each client may have been a major factor. When dealing with trauma, there is a need for thorough processing of the experience, and it is quite possible that two sessions were insufficient. The second study (Kopytin and Lebedev, 2013 ) reported that art therapy was beneficial when the intervention lasted longer. These data are consistent with the Schouten et al. ( 2015 ) review. Certain studies reviewed by Schouten et al. ( 2015 ) were not mentioned in our review because some were not published as articles, and others included single session interventions that were not led by a certified art therapist.

The fifth category addressed prison inmates. In this field, it is worth mentioning the work of Gussak, a researcher who has studied the field and conducted several studies with an increasing number of participants. His findings undoubtedly point to the potential of art therapy for inmates particularly in long term interventions.

The sixth category addressed the elderly. The field of geriatric art therapy has been gaining momentum in recent years (Im and Lee, 2014 ; Wang and Li, 2016 ). It is clear from the articles that group therapy sessions are particularly suitable for these clients and that it is important to continue conducting research to target effective intervention methods for this population. The research findings certainly indicate the potential of this field.

The seventh and final category dealt with clients who are facing daily challenges in their lives. The findings suggest that art therapy can be a suitable form of treatment and a way to mitigate issues such as stress and burnout at work.

Overall, this review documents the extensive research conducted in recent years; although qualitative studies were not included in this article, there is no doubt that using a variety of research methods can help expand knowledge in the field. As concerns quantitative studies, the review examined the effectiveness of art therapy for adult clients from research in the field from recent years and with reference to seven clinical categories.

The current review has several limitations. First, due to the small number of studies in the field, it includes various levels of quantitative studies. Some lack comparison groups and others include comparison groups with other treatment methods (for example verbal therapy). This variability makes it difficult to generalize across findings, but not mentioning these studies would have led to the inclusion of an even smaller number of studies. Second, in many studies there are several indices of varying types (questionnaires, drawings, physiological indices). Occasionally, only some of these indices led to demonstrable indications of the effectiveness of art therapy. Due to the complexity of the findings, we were not always able to detail these subtleties and challenges in the current review, and future researchers interested in the field should examine these specific studies closely before conducting further research on the same population. In addition, due to the limited number of studies in this field, we needed to combine various subjects in certain cases, make decisions, and create artificial categories based on our professional knowledge and judgment. For example, the article on female infertility (Hughes and da Silva, 2011 ) was placed in the seventh category of ongoing and daily challenges, and not in the second category of medical problems, due to the feasibility of this condition for various reasons, which are not necessarily medical.

Research in the field can be expanded in several ways. First, art therapy is a very broad domain that covers diverse populations, some of which have not yet been studied at all in the context of treatment effectiveness. Second, based on the conclusions derived from this review future studies should be planned so that they are performed by a certified art therapist, over a continuous period of time and on large enough samples. In so doing, within approximately a decade, it should be possible to produce a meaningful meta-analysis based on significant and comparable findings from the field, which could lead to more advanced and specific conclusions. Third, in order to raise the level of research in our field, it is important for researchers to devote time and thought to planning studies at the highest level (level 1). Large samples are not enough; one should also consider well-controlled studies (RCT), the blindness of the experiment, the blindness of the participants and the experimenters to the purpose of the research, the division of research groups and so on (Liebherz et al., 2016 ; Munder and Barth, 2018 ). Finally, it is of great importance that researchers will select valid and reliable research tools that have been used extensively.

This documentation of the numerous studies on the effectiveness of art therapy was long and complex, but also filled us with hope. We are optimistic that this article will take the field one step further in this direction.

Author contributions

All authors listed have made a substantial, direct and intellectual contribution to the work, and approved it for publication.

Conflict of interest statement

The authors declare that the research was conducted in the absence of any commercial or financial relationships that could be construed as a potential conflict of interest.

• American Art Therapy Association (2018). About Art Therapy . Available online at: https://arttherapy.org/about-art-therapy/ (Accessed June 18, 2018).
• American Art Therapy Association (AATA) (1999). Art Therapy Research Initiative [Brochure] . Mundelein, IL: The American Art Therapy Association. [ Google Scholar ]
• Bar-Sela G., Atid L., Danos S., Gabay N., Epelbaum R. (2007). Art therapy improved depression and influenced fatigue levels in cancer patients on chemotherapy . Psychooncology 16 , 980–984. 10.1002/pon.1175 [ PubMed ] [ CrossRef ] [ Google Scholar ]
• Case-Smith J. (2013). Systematic review of interventions to promote social–emotional development in young children with or at risk for disability . Am. J. Occup. Ther. 67 , 395–404. 10.5014/ajot.2013.004713 [ PubMed ] [ CrossRef ] [ Google Scholar ]
• Chandraiah S., Anand A. S., Avent L. C. (2012). Efficacy of group art therapy on depressive symptoms in adult heterogeneous psychiatric outpatients . Art Ther. 29 , 80–86. 10.1080/07421656.2012.683739 [ CrossRef ] [ Google Scholar ]
• Crawford M. J., Killaspy H., Barnes T. R., Barrett B., Byford S., Clayton K., et al.. (2012). Group art therapy as an adjunctive treatment for people with schizophrenia: a randomised controlled trial (MATISSE) . Health Technol. Assess. 16 , 1–76. 10.3310/hta16080 [ PubMed ] [ CrossRef ] [ Google Scholar ]
• Feldman M. B., Betts D. J., Blausey D. (2014). Process and outcome evaluation of an art therapy program for people living with HIV/AIDS . Art Ther. 31 , 102–109. 10.1080/07421656.2014.935593 [ CrossRef ] [ Google Scholar ]
• Geue K., Goetze H., Buttstaedt M., Kleinert E., Richter D., Singer S. (2010). An overview of art therapy interventions for cancer patients and the results of research . Compl. Ther. Med. 18 , 160–170. 10.1016/j.ctim.2010.04.001 [ PubMed ] [ CrossRef ] [ Google Scholar ]
• Gussak D. (2004). Art therapy with prison inmates: a pilot study . Arts Psychother . 31 , 245–259. 10.1016/j.aip.2004.06.001 [ CrossRef ] [ Google Scholar ]
• Gussak D. (2006). Effects of art therapy with prison inmates: a follow-up study . Arts Psychother. 33 , 188–198. 10.1016/j.aip.2005.11.003 [ CrossRef ] [ Google Scholar ]
• Gussak D. (2009a). The effects of art therapy on male and female inmates: advancing the research base . Arts Psychother. 36 , 5–12. 10.1016/j.aip.2008.10.002 [ CrossRef ] [ Google Scholar ]
• Gussak D. (2009b). Comparing the effectiveness of art therapy on depression and locus of control of male and female inmates . Arts Psychother. 36 , 202–207. 10.1016/j.aip.2009.02.004 [ CrossRef ] [ Google Scholar ]
• Hill N., Frappier-Davignon L., Morrison B. (1979). The periodic health examination . Can Med. Assoc. J. 121 , 1193–1254. [ Google Scholar ]
• Holmqvist G., Persson C. L. (2012). Is there evidence for the use of art therapy in treatment of psychosomatic disorders, eating disorders and crisis? A comparative study of two different systems for evaluation . Scandinavian J.Psychol. 53 , 47–53. 10.1111/j.1467-9450.2011.00923.x [ PubMed ] [ CrossRef ] [ Google Scholar ]
• Holton G. J. (1993). Science and Anti-Science . Cambridge, MA: Harvard University Press. [ Google Scholar ]
• Huet V. (2015). Literature review of art therapy-based interventions for work-related stress . Int. J. Art Ther. 20 , 66–76. 10.1080/17454832.2015.1023323 [ CrossRef ] [ Google Scholar ]
• Hughes E. G., da Silva A. M. (2011). A pilot study assessing art therapy as a mental health intervention for subfertile women . Hum. Reprod. 26 , 611–615. 10.1093/humrep/deq385 [ PubMed ] [ CrossRef ] [ Google Scholar ]
• Im M. L., Lee J. I. (2014). Effects of art and music therapy on depression and cognitive function of the elderly . Technol. Health Care 22 , 453–458. 10.3233/THC-140803 [ PubMed ] [ CrossRef ] [ Google Scholar ]
• Italia S., Favara-Scacco C., Di Cataldo A., Russo G. (2008). Evaluation and art therapy treatment of the burnout syndrome in oncology units . Psychooncology 17 , 676–680. 10.1002/pon.1293 [ PubMed ] [ CrossRef ] [ Google Scholar ]
• Kim S. K. (2013). A randomized, controlled study of the effects of art therapy on older Korean-Americans' healthy aging . Arts Psychother. 40 , 158–164. 10.1016/j.aip.2012.11.002 [ CrossRef ] [ Google Scholar ]
• Kopytin A., Lebedev A. (2013). Humor, self-attitude, emotions, and cognitions in group art therapy with war veterans . Art Ther. 30 , 20–29. 10.1080/07421656.2013.757758 [ CrossRef ] [ Google Scholar ]
• Leurent B., Killaspy H., Osborn D. P., Crawford M. J., Hoadley A., Waller D., et al. (2014). Moderating factors for the effectiveness of group art therapy for schizophrenia: secondary analysis of data from the MATISSE randomized controlled trial . Soc. Psychiatry Psychiatr. Epidemiol. 49 , 1703–1710. 10.1007/s00127-014-0876-2 [ PMC free article ] [ PubMed ] [ CrossRef ] [ Google Scholar ]
• Liebherz S., Schmidt N., Rabung S. (2016). How to assess the quality of psychotherapy outcome studies: a systematic review of quality assessment criteria . Psychother. Res. 26 , 573–589. 10.1080/10503307.2015.1044763 [ PubMed ] [ CrossRef ] [ Google Scholar ]
• Maujean A., Pepping C. A., Kendall E. (2014). A systematic review of randomized controlled studies of art therapy . Art Therapy 31 , 37–44. 10.1080/07421656.2014.873696 [ CrossRef ] [ Google Scholar ]
• McCaffrey R., Liehr P., Gregersen T., Nishioka R. (2011). Garden walking and art therapy for depression in older adults: a pilot study . Res. Gerontol. Nurs. 4 , 237–242. 10.3928/19404921-20110201-01 [ PubMed ] [ CrossRef ] [ Google Scholar ]
• Monti D. A., Kash K. M., Kunkel E. J., Brainard G., Wintering N., Moss A. S., et al.. (2012). Changes in cerebral blood flow and anxiety associated with an 8-week mindfulness programme in women with breast cancer . Stress Health 28 , 397–407. 10.1002/smi.2470 [ PubMed ] [ CrossRef ] [ Google Scholar ]
• Monti D. A., Peterson C., Kunkel E. J. S., Hauck W. W., Pequignot E., Rhodes L., et al.. (2006). A randomized, controlled trial of mindfulness-based art therapy (MBAT) for women with cancer . Psychooncology 15 , 363–373. 10.1002/pon.988 [ PubMed ] [ CrossRef ] [ Google Scholar ]
• Munder T., Barth J. (2018). Cochrane's risk of bias tool in the context of psychotherapy outcome research . Psychother. Res. 28 , 347–355. 10.1080/10503307.2017.1411628 [ PubMed ] [ CrossRef ] [ Google Scholar ]
• Nucho A. O. (2003). The Psychocybernetic Model of Art Therapy . Springfield, IL: Charles C Thomas Publisher. [ Google Scholar ]
• Öster I., Magnusson E., Thyme K. E., Lindh J., Åström S. (2007). Art therapy for women with breast cancer: the therapeutic consequences of boundary strengthening . Arts Psychother. 34 , 277–288. 10.1016/j.aip.2007.04.003 [ CrossRef ] [ Google Scholar ]
• Oster I., Svensk A. C., Magnusson E., Thyme K. E., Sjõdin M., Åström S., Lindh J. (2006). Art therapy improves coping resources: a randomized, controlled study among women with breast cancer . Palliat. Support. Care 4 , 57–64. 10.1017/S147895150606007X [ PubMed ] [ CrossRef ] [ Google Scholar ]
• Pfammatter M., Junghan U. M., Brenner H. D. (2006). Efficacy of psychological therapy in schizophrenia: conclusions from meta-analyses . Schizophr. Bull. 32 , S64–S80. 10.1093/schbul/sbl030 [ PMC free article ] [ PubMed ] [ CrossRef ] [ Google Scholar ]
• Pizarro J. (2004). The efficacy of art and writing therapy: increasing positive mental health outcomes and participant retention after exposure to traumatic experience . Art Ther. 21 , 5–12. 10.1080/07421656.2004.10129327 [ CrossRef ] [ Google Scholar ]
• Reynolds M. W., Nabors L., Quinlan A. (2000). The effectiveness of art therapy: does it work? Art Ther. 17 , 207–213. 10.1080/07421656.2000.10129706 [ CrossRef ] [ Google Scholar ]
• Richardson P., Jones K., Evans C., Stevens P., Rowe A. (2007). Exploratory RCT of art therapy as an adjunctive treatment in schizophrenia . J. Ment. Health 16 , 483–491. 10.1080/09638230701483111 [ CrossRef ] [ Google Scholar ]
• Rusted J., Sheppard L., Waller D. (2006). A multi-centre randomized control group trial on the use of art therapy for older people with dementia . Group Anal. 39 , 517–536. 10.1177/0533316406071447 [ CrossRef ] [ Google Scholar ]
• Schouten K. A., de Niet G. J., Knipscheer J. W., Kleber R. J., Hutschemaekers G. J. (2015). The effectiveness of art therapy in the treatment of traumatized adults: a systematic review on art therapy and trauma . Trauma Violence Abuse 16 , 220–228. 10.1177/1524838014555032 [ PubMed ] [ CrossRef ] [ Google Scholar ]
• Sela N., Baruch N., Assali A., Vaturi M., Battler A., Ben G. T. (2011). The influence of medical art therapy on quality of life and compliance of medical treatment of patients with advanced heart failure . Harefuah 150 , 79–83. [ PubMed ] [ Google Scholar ]
• Slayton S. C., D'Archer J., Kaplan F. (2010). Outcome studies on the efficacy of art therapy: a review of findings . Art Ther. 27 , 108–118. 10.1080/07421656.2010.10129660 [ CrossRef ] [ Google Scholar ]
• Sudres J. L., Anzules C., Sanguignol F., Pataky Z., Brandibas G., Golay A. (2013). Therapeutic patient education with art therapy: effectiveness among obese patients . Educ. Thérapeutique Du Patient Therapeutic Patient Educ. 5 , 213–218. 10.1051/tpe/2013032 [ CrossRef ] [ Google Scholar ]
• Svensk A. C., Öster I., Thyme K. E., Magnusson E., Sjödin M., Eisemann M., et al.. (2009). Art therapy improves experienced quality of life among women undergoing treatment for breast cancer: a randomized controlled study . Eur. J. Cancer Care 18 , 69–77. 10.1111/j.1365-2354.2008.00952.x [ PubMed ] [ CrossRef ] [ Google Scholar ]
• The PRISMA Group. Moher D., Liberati A., Tetzlaff J., Altman D. G. (2009). Preferred reporting items for systematic reviews and meta-analyses : the PRISMA statement . PLoS Med. 6 :e1000097 10.1371/journal.pmed1000097 [ PMC free article ] [ PubMed ] [ CrossRef ] [ Google Scholar ]
• Thyme K. E., Sundin E. C., Stahlberg G., Lindstrom B., Eklof H., Wiberg B. (2007). The outcome of short-term psychodynamic art therapy compared to short-term psychodynamic verbal therapy for depressed women . Psychoanal. Psychother. 21 , 250–264. 10.1080/02668730701535610 [ CrossRef ] [ Google Scholar ]
• Thyme K. E., Sundin E. C., Wiberg B., Öster I., Åström S., Lindh J. (2009). Individual brief art therapy can be helpful for women with breast cancer: a randomized controlled clinical study . Palliat. Support. Care 7 , 87–95. 10.1017/S147895150900011X [ PubMed ] [ CrossRef ] [ Google Scholar ]
• Turner D. T., van der Gaag M., Karyotaki E., Cuijpers P. (2014). Psychological interventions for psychosis: a meta-analysis of comparative outcome studies . Am. J. Psychiatry 171 , 523–538. 10.1176/appi.ajp.2013.13081159 [ PubMed ] [ CrossRef ] [ Google Scholar ]
• Uttley L., Scope A., Stevenson M., Rawdin A., Buck E. T., Sutton A., et al.. (2015a). Systematic review and economic modelling of the clinical effectiveness and cost-effectiveness of art therapy among people with non-psychotic mental health disorders . Health Technol. Assess. 19 , 1–120. 10.3310/hta19180 [ PMC free article ] [ PubMed ] [ CrossRef ] [ Google Scholar ]
• Uttley L., Stevenson M., Scope A., Rawdin A., Sutton A. (2015b). The clinical and cost effectiveness of group art therapy for people with non-psychotic mental health disorders: a systematic review and cost-effectiveness analysis . BMC Psychiatry 15 :151 10.1186/s12888-015-0528-4 [ PMC free article ] [ PubMed ] [ CrossRef ] [ Google Scholar ]
• Visnola D. (2009). Mâkslas Terapijas Ietekme uz Stresu un Trauksmi Organizâcijas Darbiniekiem. Maĺistra darbs [The effect of art therapy on stress and anxiety of employees. Master thesis] . Rîga: RSU, 99 lpp (in Latvian). [ Google Scholar ]
• Visnola D., SprudŽa D., Ārija Bake M., Pike A. (2010). Effects of art therapy on stress and anxiety of employees . Proc. Latvian Acad. Sci. Sect. B Nat. Exact Appl. Sci. 64 , 85–91. 10.2478/v10046-010-0020-y [ CrossRef ] [ Google Scholar ]
• Wang Q. Y., Li D. M. (2016). Advances in art therapy for patients with dementia . Chin. Nurs. Res. 3 , 105–108. 10.1016/j.cnre.2016.06.011 [ CrossRef ] [ Google Scholar ]
• Wood M. J., Molassiotis A., Payne S. (2011). What research evidence is there for the use of art therapy in the management of symptoms in adults with cancer? A systematic review . Psychooncology 20 , 135–145. 10.1002/pon.1722 [ PubMed ] [ CrossRef ] [ Google Scholar ]

We use cookies to enhance our website for you. Proceed if you agree to this policy or learn more about it.

• Essay Database >
• Essays Samples >
• Essay Types >
• Case Study Example

Art Case Studies Samples For Students

108 samples of this type

WowEssays.com paper writer service proudly presents to you an open-access collection of Art Case Studies meant to help struggling students deal with their writing challenges. In a practical sense, each Art Case Study sample presented here may be a pilot that walks you through the critical stages of the writing procedure and showcases how to compose an academic work that hits the mark. Besides, if you require more visionary help, these examples could give you a nudge toward a fresh Art Case Study topic or encourage a novice approach to a threadbare issue.

In case this is not enough to quench the thirst for effective writing help, you can request customized assistance in the form of a model Case Study on Art crafted by an expert from scratch and tailored to your specific requirements. Be it a plain 2-page paper or a profound, lengthy piece, our writers specialized in Art and related topics will deliver it within the stated period. Buy cheap essays or research papers now!

Example Of Case Study On Glazed Fritware Bottle Iznik, Turkey Mid-16th Century

Introduction:, art and architecture case study, turkish vase, good case study about history of photography, introduction.

Don't waste your time searching for a sample.

Get your case study done by professional writers!

Just from $10/page

Free Case Study About Contract Law

Good example of role of the performer in the work of gob squad the kitchen case study.

Gob Squad is a group of German and British artists. Gob Squad was formed in the Nottingham and now mainly operates from Germany. This group performs in the area of theatres, films, real life incidents, videos and other visual mediums of entertainment. Gob Squad performs in urban various centers including theaters, clubs, car parking, hotels, shops and houses. Gob Squad’s realistic and vivid performance is highly acclaimed by acclaimed by audiences, as well as, critics. This paper intends to discuss the Gob Squad’s performance and their show on “Kitchen”.

Historical Styles Case Studies Examples

Good example of modernism case study, case study on the rubell family art collection, good example of case study on theoretical arguments on syrian use of chemical weapons, example of art, games and tech discussion case study, example of case study on name, ‘instructor’s name’, case study on baroque, analysis of four works of art, example of case study on dreaming, art and architecture case study example, mozart vs. stravinsky, board of education v. amy rowley case study examples.

The Individuals with Disabilities Education Act (IDEA) is a Clause statute. Its main aim is to guarantee that all children with a disability access free and appropriate public education. Each district is given the mandate to create a specialised education program for each child with a disability. An individual and a county have to satisfy certain requirements to obtain funds from the Education for all Handicapped Children board. The petitioner Amy Rowley demanded this hearing after being denied a sign interpreter in her regular classrooms in Furnace Woods. Keywords: Individuals with Disabilities Education Act, special education, disability, individualised education program

The Background of the Case

Free case study on freds technique, case study on what type of event is white night, rogier van der weyden, the crucifixion in the philadelphia museum of art case study, case study on art analysis paper, how employers should deal with self-expression. case study examples, example of laboratory technician case study.

The numerous small round objects found in the urine sample could be glucose and ketones. In urine, no or little glucose is found. However, in conditions of kidney damage and uncontrolled diabetes, glucose is evidenced in urine. Ketones develop in urine in cases where there is incomplete breakdown of fats. Ketones may also develop in cases where vomiting or diarrhea causes starvation. These small round objects may also be crystals from components such as calcium oxalate.

Entrepreneurship - Mamma Mia Case Study Examples

Free case study on romanticism and neoclassical art, case study on cross cutting definition and related issues, a-level case study on comparison and analysis of two cases for free use, comparison and analysis of the case of the exhibition of andres serrano and andres serrano’s winning piece (piss christ, 1987), proper case study example about comparative analysis, video in opera stage, leadership – between conventional and alternative methods: a sample case study for inspiration & mimicking, good case study about awards:, expertly written case study on project management to follow, is project management more of a science or more of an art form, good case study about country of origin effects on sagatiba’s marketing strategy, free case study on cirque du soleil, good ethical analysis case study example, case study on court ruling.

EEOC v. Watkins Motor Line Inc.,

Political Science Case Study Sample

Chevron U. S. A. Inc. v. Natural Resources Defense Council, Inc., 467 U.S. 837 (1984)

A New Cold War Erupts Scenario: Exemplar Case Study To Follow

Where in the world we might be headed next, sample case study on management and leadership, marbury vs. madison case study sample, example of auto fleet discount case study, free case study on reciprocity expressed throughout australian aboriginal society, in the economic, social, spiritual and political spheres of aboriginal life, administrative law case studies examples, example of who is telling the story case study.

Questions to consider

Heritage Planning Case Study

The name of the class (course), good example of case study on red-figured kylix with athleteattributed to the antiphon painter, euphronios workshopattica, sample case study on red-figured kylix with athleteattributed to the antiphon painter, euphronios workshopattica, erie railroad v tompkins case study examples.

Erie Railroad v Tompkins was a fairly simple case in which the Supreme Court was called upon to give an interpretation as to the application of state common law over federal common law in cases of diversity jurisdiction. In addition, the case is celebrated for its empowerment of the state common law as it clearly denied Congress the power to set federal common law, an action it perceived as unconstitutional.

Federal Court’s obligation to state court decisions prior to Erie Railroad v Tompkins

Auto fleet discount case case study, systems and design perspective, gothic sub-culture case study examples, case study on religious studies, first modern muslim writers, inspiring case study about de-gendering media, ideology, hegemony, and representation, free case study on sid:, psychological report, some of the pictures of the activities at vancouver includes the following: case study sample, good case study on rim’s intellectual property battle, good case study on madonna: case analysis, tourism destination: venice case study sample, free harvard case study sample, the indus hospital: delivering free health care in pakistan.

Position Statement: The efforts by The Indus Hospital to deliver free health care in Pakistan threaten the effectives of service delivery in health care centers and the general health of the society.

Problem Definition

Free japan taxes on alcoholic beverages case study example.

Japan, in the implementation of the Japanese Liquor Taxes Law, sought to impose higher taxes on the foreign manufactured spirits and alcoholic products as opposed to the lower taxes on the locally produced shochu. The complainants who included the European Union, Canada and the United States of America sought an interpretation of the General Agreement on Tariffs and Trade (GATT) and in particular four provisions on the issues of taxation of products.

Procedural History

The case was first heard by the Disputes Settlement Body of the World Trade Organization and appealed against at the Appellate Body of the same institution.

Erie Railroad vs. Tompkins Supreme Court Ruling Case Study Examples

Hr law case study example, case study on greening : how does deutsche bank addresses the ecological imperative, environmental studies, war and culture in world history case study examples.

Password recovery email has been sent to [email protected]

Use your new password to log in

You are not register!

By clicking Register, you agree to our Terms of Service and that you have read our Privacy Policy .

Now you can download documents directly to your device!

Check your email! An email with your password has already been sent to you! Now you can download documents directly to your device.

or Use the QR code to Save this Paper to Your Phone

The sample is NOT original!

Short on a deadline?

Don't waste time. Get help with 11% off using code - GETWOWED

No, thanks! I'm fine with missing my deadline

In This Section:

• Marine & Maritime
• Archaeological Science
• Frontiers of the Roman Empire World Heritage Site: The Antonine Wall
• Acknowledgements
• Carved Stones Executive Summary
• Dedication to John Higgitt
• Listen to the Stones Downloads
• 1. Introduction Carved Stones
• 2. Current state of knowledge
• 3. Creating Knowledge and Understanding
• 4. Understanding value
• 5. Securing for the future
• 6. Engaging and Experiencing
• 7. Looking forward
• 8. Carved Stone Workshop Documentation
• 9. Bibliography
• 10. Published Sources
• List of Abbreviations
• Case Study 1: Making a difference: the Govan stones
• Case Study 2: Bullauns and taxonomy
• Case Study 3: Graveyard recording
• Case Study 4: Canmore Early Medieval Sculpture Upgrade Project: example
• Case Study 5: The tomb of Robert the Bruce
• Case Study 6: The ACCORD project, community co-production
• Case Study 7: Imaging techniques: the 'Making a Mark' project
• Case Study 8: Materiality, Authenticity and Value: the wider implications of science-based conservation of carved stone
• Case Study 9: Magnetic susceptibility: a non-destructive geological technique used in provenancing carved stones

Case Study 10: STONE Project, Edinburgh College of Art

• Case Study 11: Donside: early medieval carved stones in a landscape context
• Case Study 12: Faith in Cowal: a pilgrimage project and an early medieval cross
• Case Study 13: The craft of carved stone replicas
• Case Study 14: Early medieval sculptured stone and the production of social value
• Case Study 15: Celtic Revival gravemarkers in Scotland
• Case Study 16: The Hilton of Cadboll cross-slab: a complex and fragmented biography
• Case Study 17: Glazed monument shelters
• Case Study 18: Strength in disciplinary collaboration: early medieval examples
• Case Study 19: Cradle of Scotland exhibition
• Case Study 20: Edinburgh Graveyards Scoping Report
• Case Study 21: Elgin Cathedral Redisplay Project
• Case Study 22: Crail Kirkyard, Fife
• Case Study 23: Rhynie Woman and community engagement
• Case Study 24: Creative archaeological visualization of the rock art at Ballochmyle
• Case Study 25: The Kelsae Stane
• Case Study 26: Iona Abbey and Kirkmadrine
• Case Study 27: Investigating our carved stone heritage: resources to support learning and engagement
• Case Study 29: Community engagement with rock art - the Northumberland and Durham Rock Art Project
• Case Study 28: Information management and online discovery
• Case Study 30: HES Canmore Early Medieval Sculpture Upgrade Project
• Case Study 31: The value of metric drawing
• Case Study 32: The Stone of Scone
• Case Study 33: Rodney’s Stone, Brodie Castle: weaving together conservation, art and education
• Case Study 34: Graffiti: meaning and value in the context of carved stones
• Case Study 35: Buried tombstones
• Case Study 36: Wemyss Caves
• Case Study 37: Condition monitoring at the rock art at Ormaig
• Case Study 38: The Picts: a learning resource- an inclusive approach to integrating archaeology and the Curriculum for Excellence
• Case Study 39: Auchnaha cairn in Cowal, and its cross-carved stone
• Case Study 40: The Cochno Stone: the contemporary archaeology of rock-art
• Case Study 41: Reading the unreadable: use of photogrammetry on a 16th-century inscription at Kirkmichael, Black Isle
• Boyne to Brodgar: Making Monuments, Creating Communities
• Scottish Network for Nineteenth-Century European Cultures

Katherine Forsyth

Figure 1: Versaillesque Sheep by Gerard Mas, one of the artists involved in the STONE project. © Gerard Mas

STONE project was a three-year project (2007–2011) based at Edinburgh College of Art (ECA) and funded by the AHRC. It sought to re-appraise the use of stone in art and the contemporary environment and to gather together ‘the many perspectives, attitudes and processes that we have observed in those who work directly, or share a conscious connection, with stone’. Specifically the project sought to document endangered stone working techniques and craft skills in order to conserve them and transfer them to future generations. The project placed particular emphasis on the distinctive modes of thought associated with stone-working, including ‘haptic thought’ (thinking through touching) and ‘reductive’ or ‘subtractive thinking’ (in contrast with the more frequently encountered additive mode of thinking, i.e. modelling up).

The stated aims of STONE project were:

• to collect information about stone through the eyes of artists, masons, quarry-workers, anthropologists, and cultural and literary thinkers
• to discover differences in how stone is understood and worked throughout the world
• to understand both the ‘physical processes’ and the ‘thinking approaches’ when working with stone
• to show these modes of understanding in ways that are broadly applicable and transferable

Lead by Jake Harvey, Professor of Sculpture, the project also involved film-maker Professor Noe Mendelle, and the sculptor Joel Fisher, plus research assistant Laura Black and PhD student Jessica Harrison.

Members of the team visited stone-working locations worldwide (including India, China, Japan, USA, Mexico, Brazil and a number of European countries) to document traditional stone-craft skills and attitudes. They interviewed craftsmen and artists and generated a research archive which consists of over 14,000 individual images and 150 hours of film footage. A collection of stone-working tools and samples of stones was created and this is available via the ECA .

In 2009 ten artist-sculptors from around the world participated in a multi-disciplinary colloquy and subsequently in ‘MILESTONE’, a live carving event and exhibition as part of the 2009 Edinburgh International Arts Festival. This event/performance enabled carvers to work alongside each other and allowed the public to see, not just the final product, but also the stages of the process. The finished sculptures were subsequently exhibited at Yorkshire Sculpture Park, the Pier Arts Centre, Kirkwall, Orkney, and the CASS Foundation, Sussex. Another major output was the richly illustrated book about stone and stone-carving by Harvey, Fisher and Harrison, Stone: A Legacy and Inspiration for Art (2011).

Although the focus of the project was solely on contemporary stone-working it nonetheless constitutes a rich resource for those investigating historic carved stones. The traditional nature of many of the practices documented makes it of direct relevance to the study of Scotland’s historic carved stones, especially for material or biographical approaches. The extensive interviews give insight, not only into practical matters and techniques, but also into thought-processes and attitudes, for instance, to carving as religious devotion, a carver’s sense of belonging to a lineage of carvers, the nature of the creative process, and the feeling of intimate connection with a material that can seem almost animate. The theoretical perspectives deriving from contemporary art practice offer engaging and thought-provoking meditations on the fundamentals of human responses to and interactions with stone.

Return to Section 3.2.2: Theoretical perspectives

Elon Musk’s reputation is falling — and it’s taking Tesla with it

The case for separating ‘art from artist’ is becoming increasingly difficult for prospective tesla customers..

By Jess Weatherbed , a news writer focused on creative industries, computing, and internet culture. Jess started her career at TechRadar, covering news and hardware reviews.

Share this story

Elon Musk’s controversial behavior in recent years is “very likely” to be a contributing factor in Tesla’s declining sales, according to corporate reputation tracking firm Caliber.

Survey data reported by Reuters found that Tesla’s “consideration score” — a metric used by Caliber to track consumer interest in brands, based on how they respond to the prompt “I would buy, or continue buying, products and services from Tesla, if given the chance” — has fallen to 31 percent from its 70 percent high in November 2021, tumbling by 8 percent alone this January. Caliber’s consideration scores for rival EV-producing manufacturers Audi, BMW, and Mercedes, meanwhile, increased slightly during the same period, reaching between 44–47 percent.

A separate study from analytics firm CivicScience tracking Musk’s approval among US consumers found that 42 percent of respondents viewed him unfavorably, compared to 34 percent when his stake in Twitter was announced in April 2022. The Tesla CEO’s conduct has been repeatedly scrutinized since that point, with mounting controversies ranging from changing operations at X — the site formerly known as Twitter — to his frequent promotion of conspiracy theories and other harmful rhetoric .

Caliber claims 83 percent of Americans it surveyed associated Tesla with Musk, with Caliber CEO Shahar Silbershatz telling Reuters that it’s “very likely that Musk himself is contributing to the reputational downfall.” Additional data supplied to Reuters by brand valuation consultancy Brand Finance show a similar decline in Tesla’s reputation among consumers in the Netherlands, US, UK, France, and Australia between 2023 and 2024.

If Musk’s polarizing behavior is impacting Tesla sales, it’ll be one of several factors at play — the company warned back in January that its growth in 2024 “may be notably lower” than last year as it prepares its vehicle lineup for 2025. Tesla also faces increasing competition from rival EV providers like Rivian and China’s BYD and attributed declining sales to manufacturing delays and shipping disruptions in its Q1 production report.

Bloomberg made similar connections between Musk’s dwindling reputation and Tesla’s volatile stock price over a year ago. He hasn’t exactly made his persona any more palatable since then.

Who is Apple’s rumored OLED iPad Pro for?

Openai transcribed over a million hours of youtube videos to train gpt-4, iphones can have emulators now so here are some great ios controllers, ai is taking over your web browser, the playstation vita still rules.

More from this stream The entire story of Twitter / X under Elon Musk

Xai claims grok’s first update will make it much better at doing math., elon musk has a new pay-to-play x premium gambit., judge tosses elon musk’s x lawsuit against anti-hate group, is this what x will look like on a smart tv.

• Kindle Store
• Kindle eBooks
• Science & Math

Promotions apply when you purchase

These promotions will be applied to this item:

Some promotions may be combined; others are not eligible to be combined with other offers. For details, please see the Terms & Conditions associated with these promotions.

Buy for others

Buying and sending ebooks to others.

• Select quantity
• Buy and send eBooks
• Recipients can read on any device

These ebooks can only be redeemed by recipients in the US. Redemption links and eBooks cannot be resold.

Download the free Kindle app and start reading Kindle books instantly on your smartphone, tablet, or computer - no Kindle device required .

Read instantly on your browser with Kindle for Web.

Using your mobile phone camera - scan the code below and download the Kindle app.

Image Unavailable

• To view this video download Flash Player

Follow the author

The Art of Case Study Research Kindle Edition

• Print length 192 pages
• Language English
• Sticky notes On Kindle Scribe
• Publication date February 9, 2024
• File size 11491 KB
• Page Flip Enabled
• Word Wise Not Enabled
• Enhanced typesetting Enabled
• See all details

Customers who bought this item also bought

Product details

• ASIN ‏ : ‎ B0CVF33T9M
• Publication date ‏ : ‎ February 9, 2024
• Language ‏ : ‎ English
• File size ‏ : ‎ 11491 KB
• Simultaneous device usage ‏ : ‎ Unlimited
• Text-to-Speech ‏ : ‎ Enabled
• Screen Reader ‏ : ‎ Supported
• Enhanced typesetting ‏ : ‎ Enabled
• X-Ray ‏ : ‎ Not Enabled
• Word Wise ‏ : ‎ Not Enabled
• Sticky notes ‏ : ‎ On Kindle Scribe
• Print length ‏ : ‎ 192 pages
• #4 in Matrices
• #8 in Mathematical Matrices
• #685 in Schools & Teaching (Kindle Store)

About the author

Robert e. stake.

Discover more of the author’s books, see similar authors, read author blogs and more

Customer reviews

Customer Reviews, including Product Star Ratings help customers to learn more about the product and decide whether it is the right product for them.

To calculate the overall star rating and percentage breakdown by star, we don’t use a simple average. Instead, our system considers things like how recent a review is and if the reviewer bought the item on Amazon. It also analyzed reviews to verify trustworthiness.

• Sort reviews by Top reviews Most recent Top reviews

Top reviews from the United States

There was a problem filtering reviews right now. please try again later..

Top reviews from other countries

• Amazon Newsletter
• About Amazon
• Accessibility
• Sustainability
• Press Center
• Investor Relations
• Amazon Devices
• Amazon Science
• Start Selling with Amazon
• Sell apps on Amazon
• Supply to Amazon
• Protect & Build Your Brand
• Become an Affiliate
• Become a Delivery Driver
• Start a Package Delivery Business
• Advertise Your Products
• Self-Publish with Us
• Host an Amazon Hub
• › See More Ways to Make Money
• Amazon Visa
• Amazon Store Card
• Amazon Secured Card
• Amazon Business Card
• Shop with Points
• Credit Card Marketplace
• Reload Your Balance
• Amazon Currency Converter
• Your Account
• Your Orders
• Shipping Rates & Policies
• Amazon Prime
• Returns & Replacements
• Manage Your Content and Devices
• Recalls and Product Safety Alerts
• Conditions of Use
• Privacy Notice
• Consumer Health Data Privacy Disclosure
• Your Ads Privacy Choices