Tom McGuirk
Dr Tom McGuirk is a painter, printmaker and academic. Tom is currently Senior Lecturer in Art Theory/Critical Theory at the University of Chester, UK. He received his education at the National College of Art and Design, Dublin, where he also lectured for many years. He has practiced and exhibited extensively. He has worked in higher and further education in Ireland, Denmark and laterally Britain, in a number of roles including those of lecturer, course coordinator, and as Research Fellow in Fine Art (practice and teaching) in the School of Art and Design, Nottingham Trent University, UK.
He has received a number of awards and scholarships including an Italian Government Scholarship to study drawing and printmaking at the Academia Della Belli Arti – Pietro Vanucci, Perugia, Italy (1986), and the Don Niccolo D’Ardia Caracciolo – Royal Hibernian Academy, Gold Medal for painting (1998).
Tom has been chair of two boards of artist led organizations including: Black Church Print Studio, 2000– Oct 2003 (see www.print.ie). For an account of his role as Chair see: http://www.print.ie/media/12535615309_Exh%20Catalogue.pdf He was founding Chair of Independent Studio Artists Ltd. Temple Bar. Dublin 1997–2001 (see: www.independentstudioartistsltd.com).
He holds a PhD by thesis in art and design education from the National University of Ireland (2003) through research while he was Lecturer in Painting at the National College of Art and Design, (NCAD) see: ncad.ie His doctoral thesis was titled: "Drawing Things: The Role and Status of Drawing in the Fine Art Curriculum".
He was Academic and Administrative Coordinator for the postgraduate course, the Higher Diploma In Community Arts Education, Faculty of Education, NCAD, Dublin, Ireland (2002-2003). He was also coordinator for the e-Designer course in graphic design on the Danish Baltic Island of Bornholm, while working for KEA – Copenhagen School of Design and Technology (formerly BEC–Design – 2005-2008).
Tom’s research interests are in the epistemology of drawing and in questions regarding the status of practice-based and practice-led research in art and design disciplines in HE. In the past two years Tom has presented papers addressing these issues at conferences at the University of Helsinki and the University of Art and Design, – Helsinki, Finland, the University of Technology and Economics – Budapest, Hungary, IADE – Creative University – Lisbon, Portugal, the University of Gothenburg – Sweden and the Research into Practice International Conference at the Royal Society of Arts – London. In April Tom presented his paper "The Rift that is the Drawn Line" (abstract available in the paper's section here) at the Drawing Out, conference at RMIT Melbourne. In July 2010 he presented a series of papers and “A Drawing Laboratory” workshop at the Nordic Summer University’s, Conference 2010: Study Circle 7”: Theme: "Artistic Research: Strategies for Embodiment", in Majvik, Finland.
He has published the following recent peer reviewed articles and book chapters:
McGuirk T. (in press: Nov. 2012) “When Art Turns its Back on the Body” in the forthcoming book, Elkins James (ed.), What Do Artists Know? Penn State University Press. University Park, PA; (Vol. 3 of: “The Stone Theory Institute Series”). 216 pages. See: http://www.psupress.org/books/titles/978-0-271-05454-4.html
McGuirk, T. (2012) “From Disegno to ‘Epistemic Action’: Drawing as Knowledge Generation”. Granville G. (Ed.) (2012) Art Education in Contemporary Culture: Irish Experiences and International Perspectives, Bristol: Intellect, pp. 11-28 (Distributed in the US by University of Chicargo Press). See: http://www.press.uchicago.edu/ucp/books/book/distributed/A/bo13171661.html
McGuirk, T. (2011). A nomos for art and design. Journal of Research Practice, 7(1), Article M1. Retrieved [pending Nov. 2011], from: http://jrp.icaap.org/index.php/jrp/article/view/261/237
McGuirk T. (2010). “Heidegger’s Rift: The Epistemological Significance of Drawing”, in: De Freitas, N.(Ed.) (2010) Studies in Material Thinking 2010 – ISSN 1177-6234: http://www.materialthinking.org/papers/14
and
McGuirk, T. (2009), “Beyond Prejudice: method and
interpretation in research in the visual arts”, Journal: Working Papers in Art and Design 5 2008,– ISSN 1466-4917 : http://sitem.herts.ac.uk/artdes_research/papers/wpades/vol5/tmabs.html
Other papers are available for download or by link to the original on this page.
Tom is fluent in Danish and is a member of NSU (the Nordic Summer University), “Study Circle 7 into Artistic Research”. “Since 1950, NSU has actively supported the cultivation of new ideas and growing research networks in the Nordic countries. Particular attention has been paid to cross-disciplinary areas not yet targeted by larger research institutions. NSU is an independent think tank for the development of new research areas and emerging researchers. Participation takes place across academic borderlines... NSU i
Phone: + 44 1 244 51 58 49
Address: Department of Art and Design
Faculty of Arts and Media
University of Chester
Kingsway Buildings
Chester CH2 2LB
United Kingdom
He has received a number of awards and scholarships including an Italian Government Scholarship to study drawing and printmaking at the Academia Della Belli Arti – Pietro Vanucci, Perugia, Italy (1986), and the Don Niccolo D’Ardia Caracciolo – Royal Hibernian Academy, Gold Medal for painting (1998).
Tom has been chair of two boards of artist led organizations including: Black Church Print Studio, 2000– Oct 2003 (see www.print.ie). For an account of his role as Chair see: http://www.print.ie/media/12535615309_Exh%20Catalogue.pdf He was founding Chair of Independent Studio Artists Ltd. Temple Bar. Dublin 1997–2001 (see: www.independentstudioartistsltd.com).
He holds a PhD by thesis in art and design education from the National University of Ireland (2003) through research while he was Lecturer in Painting at the National College of Art and Design, (NCAD) see: ncad.ie His doctoral thesis was titled: "Drawing Things: The Role and Status of Drawing in the Fine Art Curriculum".
He was Academic and Administrative Coordinator for the postgraduate course, the Higher Diploma In Community Arts Education, Faculty of Education, NCAD, Dublin, Ireland (2002-2003). He was also coordinator for the e-Designer course in graphic design on the Danish Baltic Island of Bornholm, while working for KEA – Copenhagen School of Design and Technology (formerly BEC–Design – 2005-2008).
Tom’s research interests are in the epistemology of drawing and in questions regarding the status of practice-based and practice-led research in art and design disciplines in HE. In the past two years Tom has presented papers addressing these issues at conferences at the University of Helsinki and the University of Art and Design, – Helsinki, Finland, the University of Technology and Economics – Budapest, Hungary, IADE – Creative University – Lisbon, Portugal, the University of Gothenburg – Sweden and the Research into Practice International Conference at the Royal Society of Arts – London. In April Tom presented his paper "The Rift that is the Drawn Line" (abstract available in the paper's section here) at the Drawing Out, conference at RMIT Melbourne. In July 2010 he presented a series of papers and “A Drawing Laboratory” workshop at the Nordic Summer University’s, Conference 2010: Study Circle 7”: Theme: "Artistic Research: Strategies for Embodiment", in Majvik, Finland.
He has published the following recent peer reviewed articles and book chapters:
McGuirk T. (in press: Nov. 2012) “When Art Turns its Back on the Body” in the forthcoming book, Elkins James (ed.), What Do Artists Know? Penn State University Press. University Park, PA; (Vol. 3 of: “The Stone Theory Institute Series”). 216 pages. See: http://www.psupress.org/books/titles/978-0-271-05454-4.html
McGuirk, T. (2012) “From Disegno to ‘Epistemic Action’: Drawing as Knowledge Generation”. Granville G. (Ed.) (2012) Art Education in Contemporary Culture: Irish Experiences and International Perspectives, Bristol: Intellect, pp. 11-28 (Distributed in the US by University of Chicargo Press). See: http://www.press.uchicago.edu/ucp/books/book/distributed/A/bo13171661.html
McGuirk, T. (2011). A nomos for art and design. Journal of Research Practice, 7(1), Article M1. Retrieved [pending Nov. 2011], from: http://jrp.icaap.org/index.php/jrp/article/view/261/237
McGuirk T. (2010). “Heidegger’s Rift: The Epistemological Significance of Drawing”, in: De Freitas, N.(Ed.) (2010) Studies in Material Thinking 2010 – ISSN 1177-6234: http://www.materialthinking.org/papers/14
and
McGuirk, T. (2009), “Beyond Prejudice: method and
interpretation in research in the visual arts”, Journal: Working Papers in Art and Design 5 2008,– ISSN 1466-4917 : http://sitem.herts.ac.uk/artdes_research/papers/wpades/vol5/tmabs.html
Other papers are available for download or by link to the original on this page.
Tom is fluent in Danish and is a member of NSU (the Nordic Summer University), “Study Circle 7 into Artistic Research”. “Since 1950, NSU has actively supported the cultivation of new ideas and growing research networks in the Nordic countries. Particular attention has been paid to cross-disciplinary areas not yet targeted by larger research institutions. NSU is an independent think tank for the development of new research areas and emerging researchers. Participation takes place across academic borderlines... NSU i
Phone: + 44 1 244 51 58 49
Address: Department of Art and Design
Faculty of Arts and Media
University of Chester
Kingsway Buildings
Chester CH2 2LB
United Kingdom
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Books by Tom McGuirk
It is available to purchase online at: https://nsuweb.org/w2014/product/new-books-2015
Papers by Tom McGuirk
It is available to purchase online at: https://nsuweb.org/w2014/product/new-books-2015
The Riss encompasses a “strife” by which the artist “wrests” art from nature. However, within this unity of opposites Heidegger diagnoses a dynamic also recognised by Heraclitus in a fragment passed down to us by Aristotle, and translated variously, including as follows: ‘cleaving apart bears together, and from bearings apart [comes], the most beautiful harmony.’ The article also examines Michael Robertson’s suggestion that this is a source for Heidegger’s conception, which in turn also represents “the correlative of Derrida’s différance”.
For elucidation, the article initially looks to the early history of education in our fields and to Pierre Bourdieu’s account of the “early moments of the autonomization of the artistic field,” in his critique of the “scholastic disposition.” Bourdieu recognises “a repression of the material determinations of symbolic practices” within those early developments: in effect, a repression of those embodied, situated, and practical aspects of art and design production. He regards such repression as a trait of the broader academy, both then and in subsequent and recent periods. The article argues that this attitude still provides the impetus for what James Elkins refers to as “the incommensurability of studio art production and university life.”
The article further argues that a parity of esteem between reflecting and making is vital not only for the sake of the stability of the fields of art and design but for the ongoing development of the broader university. In this argument the article looks to the work of John Dewey, Martin Heidegger, and Hans-Georg Gadamer.
The paper questions the premise that these forms of knowledge are best understood as belonging to a completely separate epistemological category to that of conceptual/propositional knowledge. The lack of parity of esteem afforded multi-modal formats of dissemination is, it is argued, ultimately rooted in these disparities, something that underpins what James Elkins has described as “the incommensurability of studio art production and university life” (Elkins, 2009: 128).
The paper presents a number of theories that posit a sub-structural relationship of practical and tacit knowledge to conceptual/propositional knowledge. These include the work of Michael Polanyi as well as recent work by Alva Noë, Mark Johnson and George Lakoff and Vittorio Gallese. The paper focuses on the legitimacy of descriptive drawing as a knowledge producing activity with particular reference to Noë’s work.
nature; he who can wrest it from her, has it”.
Taking Dürer’s insight and his use of the word “wrest” as a starting point, Heidegger analyses the meaning of the act of drawing. In taking issue with Dürer’s account, he focuses on the German word Riß, which can mean, rift, tear, cleft or breach, but also, in seemingly paradoxical terms, sketch, design or outline. Heidegger identifies and teases out a deep-seated dynamic within the
word Riß that reflects a profound complexity within the act of drawing.
The paper also examines Heidegger’s opposition to the ‘truth as correspondence’ model or mainstream Western epistemology. Finally it asserts that Heidegger’s treatment of the Riß provides the basis for a reassertion within art and design at HE level, of the epistemological significance of drawing.
See: http://www.materialthinking.org/volumes/volume-04
Available: http://www.materialthinking.org/papers/14