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Open AccessArticle

The Gallery as a Location for Research-Informed Practice and Critical Reflection

School of Art and Design, Nottingham Trent University, Nottingham NG1 4FQ, UK
Arts 2019, 8(4), 126; https://doi.org/10.3390/arts8040126
Received: 26 July 2019 / Revised: 8 September 2019 / Accepted: 23 September 2019 / Published: 27 September 2019
(This article belongs to the Special Issue Holography—A Critical Debate within Contemporary Visual Culture)
Creative holography could still be considered a fringe medium or methodology, compared to mainstream art activities. Unsurprisingly, work using this technology continues to be shown together with other holographic works. This paper examines the merits of exhibiting such works alongside other media. It also explores how this can contribute to the development of a personal critical framework and a broader analytical discourse about creative holography. The perceived limitations of showing holograms in a “gallery ghetto” are explored using early critical art reviews about these group exhibitions. An international exhibition, which toured the United Kingdom (UK) and Australia, is used as a framework to expand the discussion. These exhibitions include examples of the author’s holographic work and those of artists working with other (non-holographic) media and approaches. The touring exhibition as a transient, research-informed process is investigated, as is its impact on the critical development of work using holography as a valid medium, approach, and methodology in the creative arts. View Full-Text
Keywords: holography; hologram; drawing in space; cross-media; criticality; critical frameworks; projection; installation; sculpture; ephemeral holography; hologram; drawing in space; cross-media; criticality; critical frameworks; projection; installation; sculpture; ephemeral
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Pepper, A. The Gallery as a Location for Research-Informed Practice and Critical Reflection. Arts 2019, 8, 126.

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