Lou Baker, 'Critical knitting: knitting as a research method', Presentation, Dec 2019

Critical knitting: knitting as a research method

Lou Baker MA Fine art 230482 9.12.19

Baker, L. (2019) Red is the colour of‌, knitting performance and installation, at B-Wing, Shepton Mallet Prison

Lou Baker, 2019, Critical knitting: knitting as a research method, research poster

Aim: To explore how and why knitting can be used as a research method

Objectives: • To discover how other artists use textile processes as a research method • To analyse the different meanings associated with knitting and textiles • To underpin these findings with appropriate critical theories • To explore ways to use knitting more rigorously as a research method in my practice

Lou Baker, 2013, Shroud, detail, installed at ‘Unravelling’, Bow Arts Ice House studio, London, Oct 2016

Knitting

& thinking‌

Lou Baker, I knit therefore I am, 2019, knitting in the morgue, Duran Sanatorium, Costa Rica, July

Anni Albers and the Bauhaus weaving theories Anni Albers in her weaving studio at Black Mountain College, 1937

…and critical reflective writing … including ‘thick description’ (Geertz, 1973)

Betsan Corkhill Stitchlinks

Corkhill, B. (2014) Knit for health and wellness. Bath: Flatbear Publishing

Knitting as a ‘stream of consciousness’

Lou Baker, 2012, All the babies I might have had I, installed at ‘Pattern’, Fringe Arts Bath, 2016

Janine Antoni

Janine Antoni, (1993) Slumber, performance with loom, yarn, bed, nightgown, EEG Machine and artist’s REM reading

Knitting by hand

Rosemarie Trockel Rosemarie Trockel, 1986, Untitled (hammer and sickle), machine knitted wool

Knitting and performance

Lou Baker, 2018/19, I knit therefore I am, performance stills

Casey Jenkins, 2013, Casting off my womb, knitting performance

Adrienne Sloane, 2019, The unraveling

Lou Baker, 2012 and ongoing, Wearing the unwearable, performance stills

Knitting and time

Rachel Gomme

Hour (for Penelope), 2012, 24 hour durational knitting performance

Knitting and visualising data

Halfangel, 2005, The Knitting Map a year long community knitting project, Cork

Knitting and social engagement

Lou Baker, 2012 & ongoing, Social network, performance still

Knitting and participation Amy Twigger Holroyd & ‘Stitching together’ www.stitchingtogether.net/ The Knitting Circle, 2012, participatory knitting research project

‘Knitting together’ Lou Baker, Safety net, 2017, participatory installation at ‘Refuge: in search of safety’, Fringe Arts Bath

Day 1

Day 12

Day 15

Day 17

Knitting and interaction

Lou Baker, 2018, Living sculptures, installed at ‘disquiet’ exhibition, Walcot Chapel, Bath, Sept.

Knitting and context

Lou Baker and Scott Sandford, 2019, IN.BRS.2019.39, hand knitted shadow sacks over dark pool, installed at ‘B-Wing’ exhibition, Shepton Mallet Prison, 21.9. - 6.10.

Knitting and site responsiveness Chiharu Shiota, 2019, Drifting, installed at ‘Line of Thought’ exhibition, Museum SinclairHaus, Bad Homburg, Germany

Richard Tuttle, 2015, I don’t know. The weave of textile language at Tate Modern, 14 October 2014 – 6 April

Christo and Jeanne-Claude, 1971-95, Wrapped Reichstag, Berlin

Knitting and construction Richard Tuttle, 2013, The Place In The Window, II, #2

Anni Albers, 1962, Code, cotton, hemp, metallic thread, and wool

Andrea Zittel, 1998-2001, A-Z Single Strand Uniforms

Lou Baker, Social network, knitted fishing line

Lou Baker, 2012, knitted plastic tubing, red liquid, pump

Knitting and unexpected materials Lou Baker, 2012, knitted fairy lights

Lou Baker, 2019, knitted plastic bags

Baby Blanket, 2002, hand knitted ceramic textile

Dave Cole The Money Dress, 2006, United States currency ($1124), hand-cut and hand-knitted

The Knitting Machine, 2005 functional installation with acrylic felt and excavators.

Knitting and documentation

‘If no established methodologies exist then

invent them!’ (Gray and Malins, 2016, p. 18)

Lou Baker, 2019, Pillars of rage, installed at Ashton Court, Bristol

Knitting and my future plans Using practice-led research, I will adopt a ‘pluralist, constructivist methodology with multi-method techniques, using multiple media, integrating visual, tactile, kinaesthetic and experiential data and analysis.’ (Gray and Malins, 2014, p19)

Knitting research methods • • • • • • • • • •

Knitting, thinking and reflective writing Knitting as a stream of consciousness Knitting and performance Knitting and visualising data Knitting and social engagement Knitting and participation Knitting and interaction Knitting and context Knitting and construction Knitting and unexpected materials

Other research methods • • • • • • • • • •

Documentation (photography, video, audio, notes) Observation Mindmapping Interviews Drawing Sketchbook ‘Thick description’ (Geertz, 1973) Visiting exhibitions Analysis Researching other artists

Timeline of research Jan 2020- Sept 2021

Research method

New module

Assessment MA shows Analyse data Exhibition/ Residency Documentation Drawing Studio file Research other artists / visit exhibitions Critical reflective writing/ ’thick description’ Knitting and thinking Other processes

Jan 202 0

Feb

Mar

Apr

May

Jun

July

Aug

Sept

Oct

Nov

Dec

Jan 2021

Feb

Mar

Apr

May

Jun

July

Aug

Sept

Reference list: Albers, A. (2017) On weaving Princeton: Princeton University Press Baker, L. (2019) Works Available at: https://loubakerartist.co.uk/ (Accessed 10 October 2019) Bourriaurd, N. (2002) Relational aesthetics Paris: Les Presses du Reel Camhi, L. (2018) ‘Some of the Most Provocative Political Art is Made With Fibers’ New York Times March 14 Available at: https://www.nytimes.com/2018/03/14/t-magazine/art/fiber-knitting-weaving-politics.html (Accessed: 25 November 2019) Cole, D. (no date) Portfolio, Available at: http://davecoledavecole.com/ (Accessed: 4 December 2019) Corkhill, B. (2005) Where are we now? Available at: http://www.stitchlinks.com/research.html (Accessed 17 November 2019) Dillon, B. & Whitechapel Art Gallery (2011), Ruins, London: Whitechapel Gallery Douglas, M. (1966) Purity and Danger. London and New York: Routledge Geertz, C. (1973) Thick description: towards an interpretive theory of culture Available at: https://philpapers.org/archive/GEETTD.pdf (Accessed: 27 November 2019) Gilson, J. and Moffatt, N. (2019) Textiles, community and controversy- The knitting map. London: Bloomsbury Gomme, R. (2016) Hour (for Penelope) Available at: https://vimeo.com/161197966 (Accessed: 24 November 2019) Gray C. and Malins, J, (2016) Visualizing research 3 rev. edn. Farnham: Ashgate Halfangel (2005) The Knitting Map, Available from: http://www.halfangel.info/knitting-ie/gallery.html (Accessed: 4 December 2019) Jenkins, C. (2013) Casting off my womb Available at: https://casey-jenkins.com/works/casting-off-my-womb/ (Accessed: 24 November 2019) Koch, P (ed) (2005) Andrea Zittel: Critical Space. Exhibition held at Contemporary Arts Museum Houston, Oct 2005 –Jan 2006, New Museum of Contemporary Art, New York, Jan –April 2006, Albright-Knox Art Gallery, Buffalo, NY., Oct 2006- Jan 2007, The Museum of Contemporary Art, Los Angeles, March –May 2007 and Vancouver Art Gallery British Columbia, June – Sept 2007 [Exhibition catalogue] Krauss, R. (1979) ‘Sculpture in the Expanded Field’ in October, Vol. 8. Spring pp. 30-44 Available at: http://www.onedaysculpture.org.nz/assets/images/reading/Krauss.pdf (Accessed: 5 December 2019) Kristeva, J. (1982) Powers of Horror, Available at: http://users.clas.ufl.edu/burt/touchyfeelingsmaliciousobjects/Kristevapowersofhorrorabjection.pdf (Accessed: 9 November 2019) Kwon, M. (2002) One place after another: site-specific art and locational identity, Cambridge, Mass: MIT Press Leavy, P. (2015) Method meets art 2 rev.edn New York: Guilford Press Mundy, J. (no date) Lost Art: Christo and Jeanne-Claude Available at: https://www.tate.org.uk/art/artists/christo-905/lost-art-christo-and-jeanne-claude (Accessed: 5 December 2019) Oppland, M. (2019) 8 Ways To Create Flow According to Mihaly Csikszentmihalyi Available at: https://positivepsychology.com/mihaly-csikszentmihalyi-father-of-flow/ (Accessed: 1 December 2019) Parker, R. (2010) The Subversive Stitch. London and New York: Tauris Ponterotto, J. (2006) ‘Brief Note on the Origins, Evolution, and Meaning of the Qualitative Research Concept “Thick Description”’ in The Qualitative Report Volume 11 Number 3 September pp538-549 Available at: http://nsuworks.nova.edu/cgi/viewcontent.cgi?article=1666&context=tqr/ (Accessed: 27 November 2019) Stitching together (no date) Stitching Together Available at: https://stitchingtogether.net/ (Accessed: 9 November 2019) Shiota, Chiharu, (2019) Works, Available at: https://www.chiharu-shiota.com/works (Accessed: 5 December 2019) Sloane, A. (2019) Free speech Available at: https://www.adriennesloane.com/free-speech.html (Accessed: 5 December 2019) Smith, T (2014) Bauhaus weaving theory: from feminine craft to mode of design Minnesota: University of Minnesota Press Tuttle, R. (ed.) (2014) I don’t know. The weave of textile language Exhibition held at Tate Modern 14 October 2014 - 6 April 2015 and Whitechapel Gallery, London 14 October – 14 December 2014 [Exhibition catalogue] Zittel, A. (2014) Works Available at: http://www.zittel.org/works (Accessed: 27 November 2019)

Thank you for listening

Lou Baker, 2018, with Part of me, felted hand knitting