Editorial for Unlikely issue 2 (2016) (http://unlikely.net.au/), which focused on the theme of artistic fieldwork: This issue of Unlikely explores creative practice beyond the studio. What opportunities for the creation of new knowledge are “out there, in the field”? What new methods for artmaking are born when artists venture outside the art world - or indeed, take the artworld itself as field? How do documentation, reportage, and writing help make field work visible and intelligible? How do artworks define their own fields?

Editorials by Brogan Bunt and Lucas Ihlein for UNLIKELY Journal Issue 2, 2016. Theme "Field Work". - - - Announcing - Unlikely Journal - Issue 2 - Field Work http://unlikely.net.au/​ Unlikely is a transdisciplinary journal, which opens unexpected spaces for artistic exchange and scholarly conversations across mediums, disciplines and continents. Unlikely supports the research community of practitioners, makers, and scholars working in the creative arts. This international, peer-reviewed publication presents the opportunity for artists working in practice-led research to engage in conversation with a range of arts scholars on contemporary concerns. Unlikely is an open online journal which accommodates diverse modes of scholarly and creative work. Unlikely issue 2: “Field Work” Guest editors: Brogan Bunt and Lucas Ihlein (University of Wollongong). (Read editorials here) Contributors: Adva Weinstein; Campbell Drake and Jock Gilbert; Marnie Badham, Kate Hill, Ted Purves, Susanne Cockrell, and Amy Spiers; Becky Nevin Berger; David Brazier and Kelda Free; Dominic Redfern; Vanessa Berry; Maria Miranda; Catherine Clover, Johanna Hällsten and Shauna Laurel Jones; Laura Fisher; Nancy Mauro Flude; Sean Lowry; Alinta Krauth; Meghan Moe Beitiks. About the theme: “Fields”... arenas for action; social discourses; professional areas of practice; knowledge disciplines. Field Trips: tours, excursions, forays. Research trips, adventures, residencies. Working in the forest, in old mining towns, in local suburbs, on farms. Artists placed in corporations, government departments, schools. Ethnographic models, educational models, activist models, scientific models. “The artist as…” Field as field. Going for a walk. Site specific work. Community as site. Placemaking. Field Work. Contributions to this special edition were invited to address some of the following concerns: What opportunities for the creation of new knowledge are “out there, in the field”? What new methods for artmaking are born when artists venture outside the art world - or indeed, take the artworld itself as field? How do documentation, reportage, and writing help make field work visible and intelligible? How do artworks define their own fields? How does creative fieldwork relate to other traditions of research fieldwork? How is fieldwork relevant to conceiving art practice as a form of research? How is fieldwork formalised, mediated, communicated, aestheticised? http://unlikely.net.au/

This magazine was assembled by Wintec Media Arts third year students in journalism, photography and graphic design under the supervision of the corresponding staff. The Fieldays Exhibitor magazine is a daily magazine which stretches over the four days of the Waikato Fieldays to document the goings on and excitement of the current affairs going on daily at Mystery Creek.

Interview with Mareike Dittmer, co-publisher of frieze d/e about the specificity of her magazine and challenges of contemporary art criticism

Art Style | Art & Culture International Magazine is an open access, biannual, and peer–reviewed online magazine that aims to bundle cultural diversity. All values of cultures are shown in their varieties of art. Beyond the importance of the medium, form, and context in which art takes its characteristics, we also consider the significance of socio-cultural, historical, and market influence. Thus, there are different forms of visual expression and perception through the media and environment. The images relate to the cultural changes and their time-space significance—the spirit of the time. Hence, it is not only about the image itself and its description but rather its effects on culture, in which reciprocity is involved. For example, a variety of visual narratives—like movies, TV shows, videos, performances, media, digital arts, visual technologies and video game as part of the video's story, communications design, and also, drawing, painting, photography, dance, theater, litera...