In recent years different art and design institutions around the world are increasingly looking at developing programs that are research intensive. Along with this trend, doctoral programs that are art and design practice based are becoming progressively common. There are several debates around the nature and significance of art and design practice as research (Sullivan 2005 Borgdorff, 2010, Eriksson 2010). Many have doubts about the exact nature of knowledge contribution made by these PhD theses. One distinct aspect common to all these programs is that these consider creation of art or design artefacts a part of the research process. This paper will discuss some theoretical view-points and philosophical speculations such as discourse on material of art, performance embodiment, cultural-scientific knowledge behind creation of artefact. The aim is to show that the process oriented and performative aspects of art-practice can come into a meaningful dialogue with traditional humanities. In the present article the author/artist has drawn from the writings of art-historian James Elkins (2000) and philosopher Merleau-Ponty (1964,1993,2008) to analyze her own work and devise a methodology of artistic research. The proposed methodology consists of two theoretical lens that are used to contextualize artist’s work: phenomenology (Merleau-Ponty 1964, 1993, 2008) and elements of auto-ethnography (Alvesson 2003). Thus, this paper develops a methodology that contextualizes artist’s intensely personal process of creation and critically evaluate this process. The result is a methodology of artistic research that can be a bridge between creative performance and critical research.

中文翻译：

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通过绘画实践寻求人文与美术的理论与实践关系

近年来，世界各地的不同艺术和设计机构越来越多地关注开发研究密集型项目。随着这一趋势，以艺术和设计实践为基础的博士课程正变得越来越普遍。围绕艺术和设计实践作为研究的性质和意义存在一些争论（Sullivan 2005 Borgdorff, 2010, Eriksson 2010）。许多人对这些博士论文所做的知识贡献的确切性质表示怀疑。所有这些项目的一个共同点是，它们将艺术或设计人工制品的创作视为研究过程的一部分。本文将讨论一些理论观点和哲学思辨，如艺术材料的话语、表演的体现、人工制品创作背后的文化科学知识。目的是表明艺术实践的过程导向和表演方面可以与传统人文学科进行有意义的对话。在本文中，作者/艺术家借鉴了艺术史学家 James Elkins (2000) 和哲学家 Merleau-Ponty (1964,1993,2008) 的著作，分析了她自己的作品并设计了一种艺术研究方法。所提出的方法包括两个用于将艺术家作品语境化的理论镜头：现象学 (Merleau-Ponty 1964, 1993, 2008) 和自我民族志的元素 (Alvesson 2003)。因此，本文开发了一种方法论，将艺术家强烈的个人创作过程置于语境中，并对这一过程进行批判性评估。其结果是一种艺术研究的方法论，它可以成为创造性表演和批判性研究之间的桥梁。