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Dissertations / Theses on the topic 'African arts and artists'

Author: Grafiati

Published: 13 December 2022

Last updated: 27 January 2023

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1

Malloy, Erma Meadows. "African-American visual artists and the Harmon Foundation /." Access Digital Full Text version, 1991. http://pocketknowledge.tc.columbia.edu/home.php/bybib/11041882.

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Thesis (Ed. D.)--Teachers College, Columbia University, 1991.<br>Typescript; issued also on microfilm. Dissertation Committee: Ellen Condliffe Lagemann, Labros Comitas. Includes bibliographical references (leaves 118-123).

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Fenton, Rebecca C. "Contributions/Souvenirs: Contemporary Art and Artists in Mali, West Africa." Miami University Honors Theses / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=muhonors1209573114.

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3

Knight, Christina Anne. "Performing Passage: Contemporary Artists Stage the Slave Trade." Thesis, Harvard University, 2013. http://dissertations.umi.com/gsas.harvard:11178.

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My dissertation examines the work of George C. Wolfe, August Wilson, Lorna Simpson and Glenn Ligon, theater and visual artists working in the 1980s and 1990s who feature representations of the Middle Passage in their work. Despite their different mediums--Wolfe and Wilson created plays for the proscenium stage and Simpson and Ligon crafted art installations--all four critiqued the racialized social retrenchment of their historical moment by linking it to the slave trade, and each did so through an engagement with black performance traditions.<br>African and African American Studies

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4

Nolting, Jonathan R. "The Julius Rosenwald Fellowship Program for African American Visual Artists, 1929-1948." University of Cincinnati / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1342104160.

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5

Erenrich, Susan J. "Rhythms of Rebellion: Artists Creating Dangerously for Social Change." Antioch University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=antioch1286560130.

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6

Van, der Merwe Leana. "Sacrificial and hunted bodies : ritualistic death and violence in the work of selected South African female artists." Diss., University of Pretoria, 2014. http://hdl.handle.net/2263/46213.

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This study investigates the multiple occurrence of violent sacrificial imagery associated with animalistic and hunted bodies in the work of selected South African female artists as an articulation of the society in which the art was created. The theoretical framework of corporeal feminism is applied with reference to the postulations of George Bataille (1962), René Girard (1972) as well as Deleuze and Guattari (1984,1987), specifically with regard to the notion of becoming animal. This study shows how such imagery is used to act as a catalyst for social change by challenging Cartesian d

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Franklin, Serena. "Ill beats : black women rap artists and the representations of women in hip hop culture." Honors in the Major Thesis, University of Central Florida, 2004. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/336.

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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.<br>Bachelors<br>Arts and Sciences<br>Anthropology

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8

Herrmann, Laura Renee. "African Costume for Artists: The Woodcuts in Book X of Habiti antichi et moderni di tutto il mondo, 1598." [Tampa, Fla.] : University of South Florida, 2004. http://purl.fcla.edu/fcla/etd/SFE0000573.

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9

Graves, Valerie. "A CULTURAL LENS INTO THE STORY UNDERNEATH: A RESOURCE GUIDE OF AFRICAN AMERICAN ART, ARTISTS AND CULTURE FOR ART EDUCATION." VCU Scholars Compass, 2014. http://scholarscompass.vcu.edu/etd/3595.

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The goal of this study is to create a qualitative resource guide of African American culture, art, and artists for an art education curriculum. This project encompasses four main themes to reflect an area of African American culture via a work of art created by an African American artist. These themes are, Family with the sub themes African American Male, Matriarch, and Children; Spirit with the sub themes Faith, Spirituality, and Inspiration; Identity with the sub themes Artist’s Voice, Triumph, and Hope and Vision; Community with the sub themes Ancestors, Social Issues, and Cultural Voice. T

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10

Kgokong, Arthur. "South African black artists : in the permanent collection of the Pretoria Art Museum (1964 –1994)." Diss., University of Pretoria, 2020. http://hdl.handle.net/2263/78619.

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The Pretoria Art Museum opened its doors to the public on May 20, 1964. At that time the Johannesburg Art Gallery had already been established in 1910 and the South African National Gallery in Cape Town in 1895. The realization of the Pretoria Art Museum was an accomplishment of the City’s clerk’s push for the city to have a museum of its own that would enable it to showcase works that the city owned which until then had been confined to its administrative offices and the City Hall. This nucleus collection which had been inaccessible to the general public, consisted of

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11

Wood, Susan M. "Seeing into the mirror the reality of fiction in the work of Carrie Mae Weems /." Diss., Columbia, Mo. : University of Missouri-Columbia, 2007. http://hdl.handle.net/10355/4900.

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Thesis (M.A.)--University of Missouri-Columbia, 2007.<br>The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on November 6, 2007) Includes bibliographical references.

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12

Nour, A. I. "Developing African art : innovation and tradition seen through the work of two artists; Lamidi Fakeye and Ahmed Shibrain." Thesis, University of St Andrews, 2006. http://hdl.handle.net/10023/2620.

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The dissertation explores the work of two African artists: Lamidi O. Fakeye a Yoruba wood carver, and Ahmed M. Shibrain a Sudanese painter, as an exemplary development within African art during the second half of the 20th century. It examines their works through the sense of "tradition" as it is seen within the context of their cultures and their histories. It considers their works to be a reflection of their time, a hybrid art and a new tradition emerging within their respective cultures as a result of change in their societies. It argues against the notion that separates their art from their

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Bowles, John Parish. "Bodies of work autobiography and identity in Adrian Piper's conceptual and performance art /." [S.l. : s.n.], 2002. http://catalog.hathitrust.org/api/volumes/oclc/53916455.html.

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Thesis (Ph.D.)--University of California, Los Angeles, 2002.<br>Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (p. 238-256).

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14

Brundrit, Jean. "Photographic representation of lesbian identity with special reference to the Southern African context." Thesis, Stellenbosch : Stellenbosch University, 2000. http://hdl.handle.net/10019.1/51873.

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Thesis (MA)--Stellenbosch University, 2000.<br>ENGLISH ABSTRACT: This thesis presents a discussion of a photographic representation of lesbian identity in Southern Africa. Two photographic series, Does your lifestyle depress your mother? and the Dyke Career Series (collectively referred to/exhibited as Lavender Menace) produced during the period 1997 to 1999 form the practical component of this MA submission. Lavender Menace is considered in relation to lesbian identity, lesbian social visibility, stereotypes and the relationship between photography and 'reality'. The various readings t

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Josephy, Svea Valeska. "The development of a critical practice in post-apartheid South African photography." Thesis, Stellenbosch : Stellenbosch University, 2001. http://hdl.handle.net/10019.1/52508.

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Thesis (MA)--Stellenbosch University, 2001.<br>ENGLISH ABSTRACT: South African photography in the 20th century was dominated by the documentary genre. This genre has its roots in 19th century Modernist and colonialist belief in the accuracy of the camera as a tool of representation, and faith in the camera's objectivity and ability to present empirical evidence and 'truth'. These positivist notions were carried into South African documentary practice during the apartheid era. Apartheid-era South African documentary photography was particularly focused on exposing the socio-political ills

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16

Greyvenstein, Lisa. "An investigation of excess as symptomatic of Neo-Baroque identified in the work of selected South African artists." Diss., University of Pretoria, 2012. http://hdl.handle.net/2263/27466.

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This research investigates the Neo-Baroque aesthetic of excess in contemporary South African art, and explores reasons for the emergence of this style. It investigates artists who use their bodies as a site of resistance, to contest or reconstruct the dominant social values which establish differences between bodies to place them within the marginal position of ‘Other’. This investigation relates to post-colonial concerns. The artists’ exploitation of the Neo-Baroque aesthetic of excess as a comment on social concerns reveals a sense of crisis within South African society, similar to the condi

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17

Gipson, Leah R. "Do you see what I see? : a visual artist's exploration of African American women and obsessions with visual appearance." Honors in the Major Thesis, University of Central Florida, 2007. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/1029.

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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.<br>Bachelors<br>Arts and Humanities<br>Art

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18

Osner, Heather. "An investigation of the history and works of the Keiskamma Art Project." Thesis, Nelson Mandela Metropolitan University, 2016. http://hdl.handle.net/10948/13038.

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This research study focusses on how and why Carol Hofmeyr began the Keiskamma Art Project in Hamburg, Eastern Cape, as well as the development of the project’s infrastructure, history and detailed business practices and how it has evolved. A chronological detailed pictorial record has been drawn up of the major/monumental works it has produced, its achievements, awards and the accolades it has won. The recurrent narrative themes of HIV/AIDS, Nguni cattle, the Nongquawuse story, local birds, plants and fish which are also discussed. A comparable study, comparing the business practices of the Ke

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19

Nicol, Tracy-Lee. "Aspects of memory in the sculptural work of Jane Alexander 1982-2009." Thesis, Rhodes University, 2009. http://hdl.handle.net/10962/d1002213.

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Over three decades of research has shown that memories have significant effect on the behaviour, attitudes, beliefs, and identities of individuals and collectives, revealing also how experiences of trauma and acts of narrativisation have pertinence to the ways in which memories are stored and reconstructed. In this thesis a link is developed between memory, trauma, narrativisation processes and the interpretation of works by Jane Alexander, a contemporary artist whose work is informed by observations about South African life. Alexander’s sculptures are revealed to be not only important vessels

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20

Adendorff, Delaida Adéle. "The princess in the veld : curating liminality in contemporary South African female art production." Diss., University of Pretoria, 2017. http://hdl.handle.net/2263/63007.

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I aim to showcase post-African female identity through the exhibition, The princess in the veld. The exhibition displays selected works produced by South African women artists, underpinned by the proposed curatorial framework. This curatorial approach is feminist, and may allow for a liminal reading of local female identity. I premise my theorised curatorial framework liminally, in-between binary oppositions. This position allows for a feminist position and/or reading of female identities that simultaneously allude to, and reject a so-called local (essentialised) women’s art production w

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21

Glenn, Kimberly Laurren. "Chicago and the visual art of the "New Negro Movement," 1925-1940." Diss., University of Iowa, 2013. https://ir.uiowa.edu/etd/6582.

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The New Negro Movement, also referred to as the New Negro Renaissance or Harlem Renaissance, was a blossoming of literature, music, and visual art that took place in northern urban African American communities circa 1925 through the mid-1930s. To date, scholars examining this historical period have largely focused on the Harlem area in New York, hence the popular catchphrase used to describe the times, "the Harlem Renaissance." Certainly, Harlem artists were prolific and the work they produced was significant in the ways in which it conveyed to the public the message of racial uplift and pride

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22

Getty, Karen Berisford. "Searching for the Transatlantic Freedom: The Art of Valerie Maynard." VCU Scholars Compass, 2005. http://scholarscompass.vcu.edu/etd/847.

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This thesis focuses on an African-American female artist, Valerie Maynard, examining how she synthesizes African and American elements in her works. It provides detailed formal and iconographical analyses, revealing concealed meanings and paying special attention to those works with which the artist mirrors the Black experience in the United States and Africa on the other side of the Atlantic. In the process, the thesis sheds new light on the significance of Valerie Maynard's work and how she has used some of them to embody the Black quest for freedom and social justice during the Civil Rights

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23

Redd, Tina. "The struggle for administrative and artistic control of the Federal Theatre Negro units /." Thesis, Connect to this title online; UW restricted, 1996. http://hdl.handle.net/1773/10222.

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24

Borràs, Pàmies Maria Teresa. "El primitivismo en Antonio Saura: El artista y el coleccionista." Doctoral thesis, Universitat Pompeu Fabra, 2019. http://hdl.handle.net/10803/668917.

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La obra de Antonio Saura ha sido ampliamente difundida a través de numerosas publicaciones y exposiciones de ámbito internacional. Sin embargo, aunque él mismo se declaró coleccionista de arte primitivo y manifestó la influencia de este en su creación artística, permanece inédita una mirada a su producción desde la perspectiva del primitivismo. Este trabajo da a conocer su colección para reencontrarla después en su obra, a partir de la cual se descubre una más amplia influencia del universo primitivo que se pone en evidencia también en sus escritos, dando cuenta así de las relaciones tejidas

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25

Smith, Sandra A. "Uli metamorphosis of a tradition into contemporary aesthetics /." [Kent, Ohio] : Kent State University, 2010. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=kent1267478083.

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Thesis (M.A.)--Kent State University, 2010.<br>Title from PDF t.p. (viewed Apr. 28, 2010). Advisor: Fred Smith. Keywords: Uli; Igbo; Nigeria; body painting; wall painting; Nsukka; traditional women painters. Includes bibliographical references (p.101-105).

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26

Macdonald, James. "Tracing the passion of a black Christ: critical reflections on the iconographic revision and symbolic redeployment of the Stations of the Cross and Passion cycle by South African artists Sydney Kumalo, Sokhaya Charles Nkosi and Azaria Mbatha." Master's thesis, University of Cape Town, 2016. http://hdl.handle.net/11427/23452.

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In this research I consider ways in which black South African artists working during and after apartheid have both revised and symbolically redeployed the Stations of the Cross - and more broadly, the iconographic tradition of the Passion cycle. In so doing, I demonstrate the strategic application of Christ's episodic sufferings as a means of both analogously chronicling situations of historical trauma, as well as articulating more aspirant narratives of political resistance, selfliberation and reconciliation. Concentrating initially on church-commissioned projects realised in the late 1950s a

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27

Dees, Janet. "Rewriting the body Carl and Karen Pope's 'Palimpsest' /." Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file 0.49Mb, 73 p, 2005. http://wwwlib.umi.com/dissertations/fullcit/1428201.

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28

Leung, Lo-ming. "Artists village-place (space) for artists in Yau Tong Bay, Yau Tong." Hong Kong : University of Hong Kong, 1999. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25947084.

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29

Alkhudair, Maha. "Unveiling Artists: Saudi Female Artists Life Stories." Thesis, Université d'Ottawa / University of Ottawa, 2018. http://hdl.handle.net/10393/37502.

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This study tells the life stories of four Saudi female artists. Using life story narrative approach, I focused on the following research questions: How are Saudi female artists fulfilling their aspirations as artists in the conservative Saudi society? What are the common and divergent themes in the life stories of the Saudi women artists, namely Safeya Binzagr, Maha Almalluh, Tagreed Albagshi, and Fida Alhussan? The artists were interviewed using open-ended questions and asked to discuss their artwork. The postmodern feminism and social construction theories were used to understand their life

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Peete, Ireanna Aleya. "A Historical Study on the Implications of Brown v. The Board of Education on Black Art Educators." The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1592239705805405.

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31

Padgett, Keith Wagner. "Sufferation, Han, and the Blues: Collective Oppression in Artistic and Theological Expression." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1276627655.

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32

Leung, Lo-ming, and 梁路明. "Artists village-place (space) for artists in Yau Tong Bay, Yau Tong." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1999. http://hub.hku.hk/bib/B31985300.

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33

Brooks, Queen E. "The ties that bind : art of an African American artist." The Ohio State University, 1992. http://rave.ohiolink.edu/etdc/view?acc_num=osu1144433506.

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34

Gumbi, Bandile. "What do the videos of Thando Mama Communicate? - As a Black Contemporary Artist in South Africa." Thesis, Malmö högskola, Fakulteten för kultur och samhälle (KS), 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-23348.

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This paper aims to discuss the video art work of Thando Mama as an example of a black South African video artist. It takes in mind the reality that video art in South Africa has high entrance barriers due to the technological knowledge resources needed to practice thus becomes an elite art. The paper also contextualises video art within its historical practice as an avant garde art as well as its social development usage. Mama's videos are a tool to communicate identity issues as represented in contemporary art with a particular focus on the South African experience.

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35

Prior, Robert A. "The imperative education of theater artists." Thesis, California State University, Long Beach, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1527577.

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<p> David Mamet's book of essays <i>True and False: Heresy and Common Sense for the Actor</i> boldly claims that formal training, particularly of the academic variety, is of no use to aspiring theater artists. This thesis argues for the importance and validity of such training. It is a defense of both formal training and ofStanislavski--the father of almost all contemporary training systems and a figure particularly irksome to Mamet. The thesis is supported by examples gleaned from my own formal education in theater and from insights gained directing student actors on my final project for my M

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jones, vanessa michelle. "Art as Method: Complicating Tales of Visual Stenography and Implications for Urban Education and Research." Cleveland State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=csu1369737270.

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37

Foss, Brian Frederick. "British artists and the Second World War, with particular reference to the War Artists' Advisory Committee of the Ministry of Information." Thesis, University College London (University of London), 1991. http://discovery.ucl.ac.uk/1317736/.

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The War Artists' Advisory Committee, under the chairmanship of Kenneth Clark, was established in November 1939 by the Ministry of Information 'to draw up a list of artists qualified to record the [Second World] war at home and abroad ..., to advise on the selection of artists from the list for War purposes and [to] advise on such questions as copyright, disposal and exhibition of works and the publication of reproductions.' It ceased operation at the end of 1945, after which time two other committees supervised the final acquisitions, and the distribution of the WAAC collection to museums and

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38

Schupbach, Jason. "Artists downtown : capitalizing on arts districts in New England." Thesis, Massachusetts Institute of Technology, 2003. http://hdl.handle.net/1721.1/31109.

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Thesis (M.C.P.)--Massachusetts Institute of Technology, Dept. of Urban Studies and Planning, 2003.<br>Includes bibliographical references (p. 165-168).<br>From the construction of the Bilbao Guggenheim to the support of grassroots artist housing campaigns, urban planners increasingly look to artists and cultural activity as forces of urban regeneration. In New England, the most visible of these redevelopment efforts are so-called "arts districts." Arts districts seek to promote the revitalization of downtowns or blighted neighborhoods by capitalizing on the development of arts activity and the

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39

Bateman, Genevieve. "Creative misreadings: allegory in Tracey Rose's Ciao Bella." Thesis, Rhodes University, 2007. http://hdl.handle.net/10962/d1009506.

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This thesis will aim to investigate the extent to which Tracey Rose's Ciao Bella can be said to allegorically perform a dialectical enfolding of the dichotomous categories of meaning/nonmeaning; image/text; past/present and original/translation. The dual concepts of performance and performativity will be utilized as a means to explore the notion of interpretation as a meaning-making process and as an engagement between artist, artwork and viewer that is necessarily open-ended and in a state of constant change and flux. Rose's performance of Ciao Bella will be read as one that questions the ill

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40

Benjamin-Fuller, Kameelah Nicole. "Playing Miami : Afrocuban performance artists negotiating cubanidad." FIU Digital Commons, 2003. http://digitalcommons.fiu.edu/etd/1605.

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The social scripts that are deeply involved in cultural production by AfroCuban identified artists in Miami, during the late nineties to the present, participate in a climate that is informed by and feeds from the so-called Latin Explosion of this time period. More specifically, varying historical, socioeconomic, and geopolitical trajectories have placed Africa and African-based religion and cultural production (via music and theatre) at the center of Cuban national identity. The purpose of this study is to facilitate a discussion of the experiences of AfroCuban performance artists and the cli

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Cook, Robyn. "The new institutions : artist-run participative platforms and initiatives in South Africa." Thesis, University of Pretoria, 2016. http://hdl.handle.net/2263/58466.

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In a contemporary South African context of artistic production and exhibition, there are few spaces or arenas dedicated to the development and presentation of experimental and/or non-commercial practices – a void that has become increasingly evident amidst the growing interest in participatory art and social aesthetics. However, and as the central thesis of this study suggests, in response to the lack of infrastructure for open-ended, idea-rich and socially focused praxis, artists have adopted a do-it-yourself approach to ‘filling the void’. That is, artists have taken it upon themselves to ad

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Collins, Kate Ann. "Cultivating Citizen Artists: Interdisciplinary Dialogic Artmaking." The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1408661362.

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43

Emslie, Anne. "Art and book : a commentary on artists' books." Thesis, Stellenbosch : Stellenbosch University, 2007. http://hdl.handle.net/10019.1/50684.

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The thesis spans two volumes ... Volume two is an artist's book and although it is part of the project I have set myself, it is not being submitted with the theoretical component of the MA dissertation, but as part of the practical component.' -- Abstract.<br>Thesis (MA)--Stellenbosch University, 2007.<br>ENGLISH ABSTRACT: The thesis investigates the contemporary practice of book art, examining in particular the manner in which it fits both into the tradition of the book and the tradition of art making. The thesis spans two volumes. Volume One discusses the phenomenon of the artist's book

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44

Tyran, Monica. "National Performance Network/Visual Artists Network: An Internship Academic Report." ScholarWorks@UNO, 2015. http://scholarworks.uno.edu/aa_rpts/198.

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This comprehensive report was written upon the culmination of an internship with the National Performance Network/Visual Artist Network (NPN/VAN) at which the author worked 20 hours for 38 weeks (September 2014-May 2015). This report describes NPN/VAN, including its mission, structure, and operations. It also includes a SWOT analysis, review of best practices, and recommendations on how NPN/VAN can improve its current operations and programs in order to grow and prepare for the future.

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van, der Walt Jonathan Petra. "Craftsmanship in contemporary art: an exposition of selected artists’ practical non-involvement." Thesis, Nelson Mandela Metropolitan University, 2017. http://hdl.handle.net/10948/21285.

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Craftsmanship in contemporary art production is the main area of focus for this visual arts based research. An exploration into the artistic production processes of selected contemporary artists’ work, reveals a tendency of physical non-involvement on the part of the artist, who takes up the role of art director. The research enquiry attempts to provide an answer as to whether credit should be given to the craftsman as well as to the artist in this artist/craftsman relationship. The use of a practice-led research strategy allows the researcher’s art-making practice to become an integral part o

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46

Adendorff, Adele. "Nomadic figurations of identity on the work of Berni Searle." Diss., Pretoria : [s.n.], 2005. http://upetd.up.ac.za/thesis/available/etd-12072005-161121.

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47

Klaiber, Julia Beth. "Affordable live/work housing for artists in urban economic development planning." The Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=osu1413371285.

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48

Hild, Suzanne. "Current trends and future directions of regional support for local visual artists in the changing cultural environment /." Philadelphia, Pa. : Drexel University, 2001. http://dspace.library.drexel.edu/handle/1860/397.

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Twa, Lindsay Jean. "Troubling island : the imagining and imaging of Haiti by African-American artists, 1915-1940 /." 2006. http://dc.lib.unc.edu/u?/etd,82.

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Bingham, Niall B. "The role of artistic collaborations: selected comparisons from South African print studios and 'double act' artist collaborations." Thesis, 2016. http://hdl.handle.net/10539/20779.

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A dissertation presented to the Faculty of Humanities of the University of the Witwatersrand in partial fulfilment of the requirements for the degree of Master of Arts in Fine Arts. Johannesburg, 2016<br>Collaboration in South African printmaking studios, both between artists and printmakers, and between artists working together in print studios are examined in this study. How South African artists have used the conventions of collaborative printmaking practices to complement their own practice; and what kind of dynamics can emerge from such collaborations is the primary concern of this

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