Virtual Studio Practices: Visual Artists, Social Media and Creativity
Abstract
Artists’ practices are varied. Two extremes include the need for complete solitude when working and others who seek social environments such as collaborations in communal studio settings. In addition to these real life studio practices new technologies and social media have made it possible for artists to use virtual studio practices in the process of developing creative work. Working virtually offers a range of interesting benefits for creative practice. This article explores the author’s recent experiences in virtual studio practices in light of the literature on this topic and considers the implications for creativity. It highlights five specific benefits in using virtual studio practices and considers possible limitations of working in such a manner. In exploring virtual studio practices and arguing the case for such ways of working, this article contributes to research and understandings about creative practice by discussing one artist’s reflective experience of using virtual studio practices.References
Agar, M. (1996). The Professional Stranger. London: Academic Press. doi: http://dx.doi.org/10.1177/0741088308319229. Alvesson, M. & Sköldberg, K. (2009). Reflexive Methodology: New Vistas for Qualitative Research. London: Sage. Boden, M. A. (1994). ‘What is creativity?’ In M.A. Boden (Ed.), Dimensions of Creativity (pp. 75-117). Cambridge, MA: MIT Press. Boden, M. A. (2001). Creativity and knowledge, in A. Craft, B. Jeffrey, & M. Leibling. (Eds.), Creativity in Education (pp. 95-102). London: Continuum.Brown, S. A. (2012). Seeing web 2.0 in context: A study of academic perceptions, Internet and Higher Education, 15,50-57. http://dx.doi.org/10.1016/j.iheduc.2011.04.003 Budge, K. (2012). Art and design blogs: a socially- wise approach to creativity, International Journal of Art and Design Education, 31 (1), 44-52. doi: http://dx.doi.org/10.1111/j.1476-8070.2012.01713.x Cropley, A. J. (2006). Dimensions of creativity — Creativity: a social approach, Roeper Review, 12, (3), 25–30. doi:http://dx.doi.org/10.1080/02783190609554351 Farrell, M. P. (2001). Collaborative Circles: friendship dynamics and creative work. Chicago: University of Chicago Press. Gauntlett, D. (2011). Making is connecting. Cambridge, UK: Polity Press. McNiff, S. (2000). Computers as virtual studios. In C. Malchiodi. (Ed.), Art therapy and computer technology, (pp. 86-99). UK: Jessica Kingsley Publishers. Mishler, E. (1999). Storylines: craftartists’ narratives of identity. Cambridge, MA: Harvard University Press. Papacharissi, Z. (2007). Audience as media producers: Content analysis of 260 blogs. In M, Tremayne (Ed.), Blogging, citizenship, and the future of media, (pp. 21- 38). New York: Routledge. Pengelly, J., & Thompson, P. (2012). Social Networking and Affinity Spaces — The Virtual Atelier. Proceedings of the ATINER’s Conference Paper Series, No: ART2012- 0076, Athens, 1-22. Retrieved 10 April 2013 from http:// www.atiner.gr/papers/ART2012-0076.pdf. Rhodes, M. (1961). An analysis of creativity, The Phi Delta Kappan, 42, (7), 305–10. Wikipedia, Virtual Studio. Retrieved 9 April 2013 from http://en.wikipedia.org/wiki/Virtual_studio. Wikipedia, Twitter. Retrieved 13 May 2013 from http://en.wikipedia.org/wiki/Twitter. Wikipedia, Instagram. Retrieved 13 May 2013 from http://en.wikipedia.org/wiki/Instagram .
Authors who publish in the CITAR Journal agree to the following terms:
- Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution License that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.
- Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.
- Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (see The Effect of Open Access).
Copyrights to illustrations published in the journal remain with their current copyright holders.
It is the author's responsibility to obtain permission to quote from copyright sources.
Any fees required to obtain illustrations or to secure copyright permissions are the responsibility of authors.