By Way of Conclusion

Several decades ago, Stephen Daniels observed that between geography and art, there was common ground that was scarcely surveyed.¹ This territory has become increasingly occupied in recent years with geographers embracing a cross-section of artistic mediums in the development of a range of different disciplinary questions, as well as exploring the possibilities of creative practice-based research. Further, arts’ own expanded field has seen the movement of artists and art theorists towards practices and concepts normally understood as geographical. In the place of extending these studies, this text has sought to press pause, temporarily, on the proliferation of geography-art relations and spend some time instead marshalling thoughts on the form and import of these relations. This is, of course, not to say I am not interested in thematic development, and each of these chapters has accomplished some work in this respect, whether this be about urban space or landscape. It seemed, however, an appropriate moment, amidst the growing pace of geography-art exchanges, to spend some time parsing the relations between geography and art, and thinking through a geographical approach to arts practices.