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Artistic Research in Performance through Collaboration
This volume explores the issue of collaboration: an issue at the centre of Performance Arts Research. It is explored here through the different practices in music, dance, drama, fine art, installation art, digital media or other performance arts. Collaborative processes are seen to develop as it occurs between academic researchers in the creative arts and professional practitioners in commercial organisations in the creative arts industries (and beyond), as well as focusing attention and understanding on the tacit/implicit dimensions of working across different media.
Co-Art
Twenty-five leading artist duos and collectives give insight into how and why to work collaboratively Art history is traditionally presented as the individual's struggle for self-expression, yet over the past fifty years, the number of artists working collaboratively has grown exponentially. Co-Art: Artists on Creative Collaboration explores this phenomenon through conversations with twenty-five leading art-world pairs and groups, who offer insight that is relevant beyond the art world, making this book vital for all who seek to work creatively and effectively with others. Artists featured: Allora & Calzadilla, Assemble, Auguste Orts, ayr, Biggs & Collings, Broomberg & Chanarin, ChimPom, Claire Fontaine, DAS INSTITUT, DIS, Elmgreen & Dragset, Eva & Franco Mattes, GCC, Gelitin, Guerrilla Girls, Iain Forsyth and Jane Pollard, Jane and Louise Wilson, John Wood and Paul Harrison, LaBeouf, Rönkkö & Turner, Lizzie Fitch/Ryan Trecartin, Los Carpinteros, Pauline Boudry/Renate Lorenz, Raqs Media Collective, SUPERFLEX
Creative Collaboration in Art Practice, Research, and Pedagogy
This collection reflects current and nuanced discussions of the ways collaboration and participation meaningfully inform the production, study, and teaching of art with innovative and unexpected results. It illustrates how the shifting boundaries of power, position, and identity, between domains of knowledge and collaborative participants, result in new relationships. The chapters in this book share stories applicable or relevant to readers own classrooms, art practice, or scholarship. As such, it directly appeals to college professors of studio art and design, art history, and art education, as well as to artists, scholars, and teachers who work collaboratively. It may also draw readership from business professionals seeking critical thinkers and creative problem solvers to energize their industries. The volume will inspire conversations about the ways relationships become crucial for construction, reception and display; meaning and power; design, content, and action.
The One and the Many
DIVExamines questions of agency, artisanship, and identity in relation to collaborative art practice./div
The Third Hand
The lone artist is a worn cliche of art history but one that still defines how we think about the production of art. Since the 1960s, however, a number of artists have challenged this image by embarking on long-term collaborations that dramatically altered the terms of artistic identity. In The Third Hand, Charles Green offers a sustained critical examination of collaboration in international contemporary art, tracing its origins from the evolution of conceptual art in the 1960s into such stylistic labels as Earth Art, Systems Art, Body Art, and Performance Art. During this critical period, artists around the world began testing the limits of what art could be, how it might be produced, and ...
Artistic Collaboration Today
Most artists work alone, but some find a creative partner and team up for their entire careers. Artistic collaborators often testify that their work done jointly is better than what each person could create on his or her own. They say this collaboration is like marriage in the way that both partners benefit from a commitment to shared goals, excellent communication and trust. Based on studio visits and in-depth interviews, this book reports on more than forty collaborating sculptors, painters, printmakers, photographers, architechs and performers who have worked in tandem with other artists.
Conversations from the Print Studio
Over his thirty years as a master printer, Craig Zammiello has established himself as a foremost specialist of intaglio printmaking in the United States. Through lively discussions between Zammiello, Elisabeth Hodermarsky, and ten contemporary artists--Mel Bochner, Carroll Dunham, Ellen Gallagher, Jane Hammond, Suzanne McClelland, Chris Ofili, Elizabeth Peyton, Matthew Ritchie, Kiki Smith, and Terry Winters--Conversations from the Print Studio offers an intimate look at the relationship between printer and artist, as well as insight into the technical challenges of intaglio printmaking. The conversations follow ten unique projects from inception to completion, tracing each artist's initial vision, the artist's and printer's creative strategies, and reactions to the final product. By documenting the dual perspectives of artist and printer, the book reveals recent innovations in the field of printmaking as well as the collaborative nature of art-making itself. The result is a rare behind-the-scenes excursion into the workings of the contemporary print studio. Distributed for the Yale University Art Gallery
Art, Design and Technology: Collaboration and Implementation
This book examines how digital technology is being used to assist the artists and designers. The computer is able to store data and reproduce designs, thus facilitating the speed-up of the iterative process towards a final design which meets the objectives of the designer and the requirements of the user. Collaborative design enables the sharing of information across digital networks to produce designed objects in virtual spaces. Augmented and virtual reality techniques can be used to preview designs before they are finalized and implemented. Art and design have shaped the values, social structures, communications, and the culture of communities and civilisations. The direct involvement of a...
Creating ArtScience Collaboration
How can artist-scientist collaboration be of value to science and technology organizations? This innovative book is one of the first to address this question and the emerging field of art-science collaboration through an organizational and managerial lens. With extensive experience collaborating with and advising institutions to develop artist in residency programs, the author highlights how art-science collaboration is such a powerful opportunity for forward-thinking consultants, managers and institutions. Using real-life examples alongside cutting edge research, this book presents a number of cases where these interactions have fostered creativity and led to heightened innovation and value for organizations. As well as creating a blueprint for successful partnerships it provides insights into the managerial and practical issues when creating art-science programs. Invaluable to scholars and practitioners interested in the potential of art-science collaboration, the reader will be shown how to take an innovative approach to creativity in their organization or research, and the ways in which art-science collaborations can mutually benefit artists, scientists and companies alike.
Magic Moments
Magic Moments Collaborations between Artists and Young People is a remarkable collection of texts and images documenting insights of artists and institutions working on innovative creative projects with young people. Tracing their motives, working processes and achievements Magic Moments represents the first critical anthology on the subject of artists working with children. Including broader discussions on educational and social reform, environmentalism, vandalism, streetwork and citizenship this book works as a primary resource bringing together significant case studies and informed commentary. Magic Moments includes projects from the 1960s to the present day, from Stockholm to New York via London, and features case studies and analyses of exemplary programmes based on interviews and contextual essays. It demonstrates how work with young people has often been central for many artists and is becoming increasingly popular as a field of practice.
