The Theoretical Approach

VOLUME 1 ISSUE Nº3 THE PHENOMENON OF FINE ART AND THE HUMAN ELEMENT PERIODICAL PINKIE MAE PUBLICATIONS, UK DECEMBER 2021

Editor, Author, Publisher Dr Valerie Mae Oliver

Pinkie Mae Publications, UK Copyright © 2021 by Valerie Mae Oliver

Welcome Editor’s Note: Welcome to the first volume of The Phenomenon of Fine Art and the Human Element Quarterly by Pinkie Mae Publications, UK. This periodical is derived from work being conducted post-PhD.

I started working in a new educational environment and getting to know students and staff. I am happy to present the third issue of this periodical. In this issue, discourse will be centered around theoretical approaches.

Now, I am offering this periodical without charge. Additionally, please respect that all work presented in this periodical written and visual (unless otherwise indicated) is the copyright of Dr Valerie Oliver. All rights reserved and must not be reproduced or quoted in any form without the express permission of the publisher and editor. Please contact me with any inquiries at valerie.oliver@btinternet.com.

Dr Valérie Oliver Artist/Researcher/Contemporary Art Practice Specialist

ISSUE Nº3

THE THEORETICAL APPROACH

Written by Dr Valerie Oliver

THE THEORETICAL APPROACH

Introduction In the last issue, I mentioned discussing theoretical approaches. I have always been interested in philosophy. It was not until I allowed myself to delve deeper into my art practice that I changed the way I approached my work. From there I developed my theoretical context within my practice. My practice supports and interlinks my research interest which stays within the field of fine art and the framework of the theory of ‘the self’, transcendence, responsibility, and self-efficacy.

This article is a brief discourse on the theoretical approach with further suggested reading.

Fine Art Practice I practice conceptual art, producing work for installations using video amongst mixed media materials which are significant to an idea. The use of photography becomes part of the documented work. My process encompasses a variety of subjects, in which displacement and space are key elements. The intention behind the work allows the viewer to engage in private thoughts in public places. Enabling the viewers to think of their existence and question their actions within their social structure.

My art career also consists of combining my practice with working in various educational and community institutions.

This included managing and leading socially inclusion community partnership-funded projects with diverse groups.

The experience of working out in the community has introduced me to challenging situations in which I have been able to use my range of skills as a conceptual artist including my teaching skills that continue to evolve. Just before and since the pandemic, life’s journey has allowed me to work in alternative education where I have been able to develop my methodologies further.

My thesis for my doctorate explored how and if using contemporary art education and practices can help to reintegrate marginalized youth and raise their sense of self-efficacy. The framework of theory involving Sartre (2003), Foucault (1977), and Bandura (1994) informed the research activity in the action research undertaken. The research design involved selected methods incorporating contemporary ‘art-based’ practices and case studies. In the next section, entitled ‘The Theoretical Approach’, I will discuss the reasons behind the choices made encompassing the theories used and how they shape and inform my practice today.

The Theoretical Approach My interest is in social exclusion and how it has an impact on individuals’ displacement within society including the emotional impact. As a practicing fine artist and through my experience of working out in the community to support marginalised individuals, I experienced gaps in people’s understanding of the way fine arts are used in interventions within various institutions such as education, the penal system, and our community. There is importance in the way art practices are used, but not enough evidence that could give structure or substance to social policy. Hence, why I focused my research on this area to support closing the gap and bring forth more evidence that can bring structure and substance to social policy.

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ISSUE Nº3 I needed to establish an understanding of fine art and I began with ‘the social and cultural transition beginning with Kant’s concept of the aesthetic and aesthetic ‘value’ in the Enlightenment period’. ‘Kant’s concept of Enlightenment was chosen over other influential thinkers because Kant’s approach relates to new ideas of art in developing constructs of individualism and responsibility’ (Oliver, 2015: 3).1 This enabled the argument to move towards Foucault, Sartre, and Bandura. Foucault for his poststructuralist viewpoint, his work contributes to power structures, the concept of Heterotopia and his position on power and changes within the penal system, where I identified the success of the arts in the Special Unit at Barlinnie Prison.

Sartre for his concept of existentialism which focuses on responsibility, freedom, and the understanding of the ‘self’ as an individual. I placed Bandara alongside Sartre for his concept of self-efficacy, which ‘enables individuals to see the capability of having a source of in-depth intellect that is shared within all individuals’ (Oliver (2015: 3).

Furthermore, I discussed these theoretical approaches along with strategies in the development of rehabilitation and secondary interventions in the penal system. I focused on two models that are The Risk Need Responsivity Model (RNR) and the Good Lives Model (GLM). The RNR was developed in the 1980’s in Canada and based on three principles: risk, need, responsiveness and treatment. GLM was developed in 2003 and is modelled on Maslow’s pyramid ‘hierarchy of needs’ based on human needs.

I would like to take the opportunity to guide you further on reading two articles that give more detailed information about the methodologies I have discussed above. These articles are listed below: Oliver. V. (2017) Understanding Historical Changes in Social and Penal Art Programmes. Journal of Offender Rehabilitation [online] 56 (8) pp 511-533. Available from: http://www.tandfonline.com/doi/full/10.1080/10509674.20 17.1363115 Oliver, V. (2017) Empirical Findings that Establish Researchable Context Using Visual Art to Prepare Marginalised Youth for a Positive Future Using Mixed Human Inquiry Methodologies. Journal of Arts & Communities 9 (2) pp.69-87. Intellect Limited. Available now 2019 from: https://doi.org/10.1386/jaac.9.2.69_1

1Oliver,VM. (2015) An exploration of how visual art can be used to prepare marginalised youth for a positive future using mixed human methodologies.Buckinghamshire New University, Brunel University.

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THE THEORETICAL APPROACH

Conclusion After receiving my doctorate, I wanted to remain independent to make a change. I decided to go out into the community instead of trying to stay within higher education. This has proved to be an enlightening experience. I have been working to put methodology into practice and I have grown within the practice and knowledge. The practice and methodology approach has taken another type of shape and form. This is due to the cohort of young people I have had the pleasure of working with since my experience of working in two different alternative educational. institutes. This has taken my work beyond when I first embarked on my research.

Moreover, one of the challenges that I face is how the methodology approach fits into the institutions. It is displaced amongst the space of language and power structures. However, individuals acknowledge the worth of the work but do not know how to place it amongst the space of language and power structures.

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AUTUMN 2021