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Dissertations / Theses on the topic 'Collaboration in art'

Author: Grafiati

Published: 4 June 2021

Last updated: 26 July 2025

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1

Apps, Linda K. "Collaborative art, a study of a non-verbal collaboration." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp05/MQ65021.pdf.

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2

Roberts, Teresa L. "Collaboration in Contemporary Artmaking: Practice and Pedagogy." Columbus, Ohio : Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view.cgi?acc%5Fnum=osu1248880538.

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3

Tait, Stuart. "Becoming multiple : Collaboration in Contemporary Art Practice." Thesis, Birmingham City University, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.527468.

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4

Mclaren, Beatrice Holly. "Bordering Art : Geography, collaboration and creative practices." Thesis, Queen Mary, University of London, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.510776.

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5

Clarke, Nigel. "The art of collaboration (four contrasting compositions)." Thesis, University of Salford, 2007. http://usir.salford.ac.uk/43030/.

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This Doctor of Musical Arts submission comprises of two volumes. Volume 1 is a Critical Commentary entitled The Art of Collaboration (Four Contrasting Compositions). ' Volume 2 contains four contrasting original compositions.

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6

Rothermel, Barbara Ann. "The university art museum and interdisciplinary faculty collaboration." Thesis, University of Leicester, 2013. http://hdl.handle.net/2381/28026.

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The university art museum can make a significant contribution to the academic and cultural life of the parent institution. While there are many roles of art museums within institutions of higher education, there is a common thread -- the conviction that interdisciplinary exhibitions and programs expand the relevance of the art museum within the academic community. In this study, I examine interdisciplinary collaborations between the university art museum and faculty from diverse academic disciplines at American institutions of higher education. What relationships, if any, exist between academi

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7

Harrison, Paul Liam. "Desiqns for Life : Art Science and Collaboration A practice-led study in fine art printmaking." Thesis, University of Dundee, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.521694.

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8

Miller, Erin. "The art of collaboration : creating bespoke therapy with the client." Thesis, City University London, 2011. http://openaccess.city.ac.uk/1148/.

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Introduction Living with HIV has been described as a process of constant adjustment and re-adjustment as the person attempts to create both a good quantity and quality of life (Pierret, 2000). Most of the literature from the counselling psychology community has focused on the efficacy of cognitive behavioural therapy for this client group however; some of the theory behind this model has been questioned in relation to the needs of the HIV positive community. The current study explored the process between three HIV positive clients and twelve sessions of pluralistic therapy. Method Twelve plura

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9

Phillips, Julie K. "The Art of Collaboration in the Classroom: Team Teaching Performance." VCU Scholars Compass, 2007. http://scholarscompass.vcu.edu/etd/1451.

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The Art of Collaboration in the Classroom: Team Teaching Performance is a co-written masters thesis which records our research in the field of team teaching as it relates to theatre education at the university level. It is our intent that this text be used as a tool for helping universities and teachers decide if a collaborative teaching model is right for their courses. A portion of the text is research-based, examining the scholarly writings which have preceded our work. In Chapter 1, we compiled a set of definitions, in the hopes of codifying the language used within this document as wel

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10

Neilsen, Jenna M. "The Art of Collaboration in the Classroom: Team Teaching Performance." VCU Scholars Compass, 2007. http://scholarscompass.vcu.edu/etd/912.

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The Art of Collaboration in the Classroom: Team Teaching Performance is a co-written master's thesis which records our research in the field of team teaching as it relates to theatre education at the university level. It is our intent that this text be used as a tool for helping universities and teachers decide if a collaborative teaching model is right for their courses. A portion of the text is research-based, examining the scholarly writings which have preceded our work. In Chapter 1, we compiled a set of definitions, in the hopes of codifying the language used within this document as we

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11

Tzavaras, Annette. "Transforming perceptions of Islamic culture in Australia through collaboration in contemporary art." Faculty of Creative Arts, 2008. http://ro.uow.edu.au/theses/120.

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My creative work investigates the negative space, the ‘in between space’ that leads to new knowledge about other artists and other cultures. The fundamental and distinctive elements of Islamic pattern in my paintings in the exhibition Dialogue in Diversity are based on my own experience of misinformation as well as rewarding collaboration within a culturally blended family.This research explores the continuity of the arabesque and polygon. I experiment with the hexagon and its geometric shapes, with its many repeat patterns and the interrelatedness of the negative space, or the void indicative

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12

Aguirre, Mariana G. "Artistic collaboration in Fascist Italy : Ardengo Soffici and Giorgio Morandi." View abstract/electronic edition; access limited to Brown University users, 2008. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3318288.

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13

Babic, Kristopher T. "InterDraw - An Online, Interactive, Collaborative Art Program." Digital WPI, 2000. https://digitalcommons.wpi.edu/etd-theses/825.

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InterDraw is an art program that facilitates the artistic collaboration of multiple users. The goal of this collaboration is the creation of one unique computer image that represents a combination of the ideas and images provided by each of the users. InterDraw extends the already collaborative nature of the World Wide Web through the use of the Java programming language, which provides InterDraw with its cross-platform capabilities. Previously, collaborative art-like programs have been developed for specific operating systems or environments. This limitation prohibits any collaboration wi

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14

Cormier, Jason Briggs. "Learning to listen the collaboration and art of the SITI Company /." Columbus, Ohio : Ohio State University, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1133357032.

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15

Liu, Wan-Chen. "An exploratory, descriptive study of art museum educators' attitudes in regard to art museum-elementary school collaboration." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape7/PQDD_0028/NQ38931.pdf.

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16

Harley, James John, and james@jamesharley net au. "Online collaboration in the Victorian Regional Gallery Network." RMIT University. Property Construction and Project Management, 2005. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20090714.134529.

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The research seeks to identify the opportunities online collaboration may deliver to the Victorian Regional Gallery Network (VRGN). The research further seeks to identify the Commonwealth and Victorian State Government policy context that contributes to realising these opportunities and the type of eBusiness models that could be applied to the online environment of the Victorian Regional Gallery Network. The problem statement of the research argues that in order for the Victorian Regional Gallery Network (VRGN) to remain sustainable in the long term, it must develop collaboratio

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17

McKitrick, Amanda. "Uncommon relationships : an investigation of the relationship between art as a social activity and the artist as authentic indivisible self." Thesis, University of Ulster, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.243745.

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18

Giraudo, Lucien. "Oeuvres d'art et collaboration chez Michel Butor." Paris 8, 2003. http://www.theses.fr/2003PA082239.

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Les œuvres réalisées en collaboration avec des artistes, plasticiens ou musiciens, représentent une part considérable de la production de l'écrivain Michel Butor. Ces œuvres artistiques demeurent néanmoins peu connues et difficiles d'accès. L'étude de cette démarche artistique nous a permis d'abord de montrer que les œuvres littéraires signées du seul nom de Butor constituent une préfiguration de la collaboration effective avec les artistes. Après avoir envisagé les principes essentiels de cette pratique artistique et après avoir proposé une typologie de ces œuvres spécifiques, nous avons pu s

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19

Bradshaw, R. Darden. "Visual Culture Art Integration: Fostering Student Voice." Diss., The University of Arizona, 2013. http://hdl.handle.net/10150/301706.

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Art integration research has received much attention of late, yet the focus generally examines ways integration practice and pedagogy support or enhance outcomes of high stakes testing. Serving as a counterpoint, this qualitative action research study, grounded in my experiences as a middle school arts integration specialist, addresses the value of visual culture art integration as a site of youth empowerment. Working collaboratively over a period of four months with three non-art educators to create and teach a series of social justice art integration units with sixth graders, I examined wa

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FELLER, ABBIE ALYSE. "PRESERVING DANCE: THE IMPORTANCE OF FUTURE COLLABORATION FOR AN ART FORM’S PAST." Thesis, The University of Arizona, 2016. http://hdl.handle.net/10150/612897.

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Since the very beginning of dance, finding ways to recording it for future generations has been an issue as dance is something physical and fleeting but confluent with that, many people have come up with different dance notation systems in order to try and find a way to record dance on paper. While the advent of new recording technologies as well as the creation of institutions such as choreographic trusts, the way dance is preserved has become more technologically advanced but it has not necessarily diminished the number of issues that can come from trying to preserve a dance long term.

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21

Cregg, Shannon Thacker. "Collaboration and Connection: An Action Research Study on Inclusive Art Museum Programming." The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1587412917785129.

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22

Bryant, Christopher L. "PROFESSIONAL COLLABORATION: THE VALUE OF MEANINGFUL CONVERSATION FOR THE STUDIO ART EDUCATOR." UKnowledge, 2017. http://uknowledge.uky.edu/art_etds/14.

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This thesis explores the strong support for collaboration in schools’ while synthesizing literature already conducted on the subject. The primary objectives of this thesis is to discuss possible scenarios as to why educators are not collaborating, explore characteristics and implementations of collaboration with three specific groups including colleagues, stakeholders, and practicing professionals, and identify four key benefits of collaboration which include improved health, pedagogy, autonomy, and time. Evidence supports the idea that teachers who work in isolation can hinder growth within t

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23

Liu, Xuan. "MOB2030 – a place between solitude and collaboration." VCU Scholars Compass, 2014. http://scholarscompass.vcu.edu/etd/3378.

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The design of an experimental interdisciplinary design lab–MOB 2030–within a waterfront building in Richmond, Virginia, provides an opportunity for designers to find infinite inspirations. The tools of interior design are used to manipulate a wide range of functional and formal elements to define designers’ relationship to space, work and nature. The final project provides three studios, three galleries, rooftop and waterfront landscapes, and collaboration steps connect other spaces together.

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24

Polkinghorne, Jane Patricia. "Foam Rainbow: where humour, disgust and failure mingle in contemporary art." Thesis, The University of Sydney, 2015. http://hdl.handle.net/2123/14909.

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This thesis explores the potent interconnections of humour, disgust and failure to understand their function in contemporary creative practices. Operating in shifty and nebulous terrains, the three experiences are under-researched, and rarely considered in combination. Fused together in certain creative practices, they operate on the threshold of pleasure, revulsion and fiasco. Such an intersection has the potential to produce surprisingly profound aesthetic experiences that fuse cognitive and emotional responses, momentarily disrupting the artifice in art and representation. Humour, disgust

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25

O'Saben, Margaret. "MODs: collaboration and play in design." VCU Scholars Compass, 2008. http://scholarscompass.vcu.edu/etd/1596.

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Located in Richmond, Virginia, MO Design is a small design/build company founded by Molly O’Saben. Ms. O’Saben received her bachelor’s degree in Craft & Material Studies and her master’s in Interior Environments from Virginia Commonwealth University. MO Design was founded in 2010 with a team of fellow alumni from VCU. We make objects that inspire inventiveness. Our reconfigurable components offer our clients the unique ability to adapt their environments to life’s ever-changing needs. We make MODs: Make your Own Designs. Our products are for people who appreciate efficient spaces, are open

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26

Gallegos, Jason S. "An Art Unconfined." The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1253706484.

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27

Schlaepfer-Miller, Juanita. "Defining new knowledge produced by collaborative art-science research." Thesis, University of Plymouth, 2016. http://hdl.handle.net/10026.1/6500.

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This thesis takes a theoretical framework constructed for transdisciplinary research within different natural science disciplines and investigates what kind of new knowledge is produced when this framework is applied to projects at the interface of art and natural science. The main case study is “Sauti ya Wakulima – The Voice of the Farmers”, which involves collaboration with another intervention artist, and with natural scientists and farmers. This is a collaborative knowledge project with small-scale urban as well as rural farmers in Tanzania who have created an online community archive of t

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28

Fuentes, Jessica. "Learning From Each Other: Narrative Explorations of Art Museum Self-guided Materials." Thesis, University of North Texas, 2013. https://digital.library.unt.edu/ark:/67531/metadc283845/.

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By engaging in collaborative arts-based and arts-informed narrative inquiry with my six-year-old daughter, we explored self-guided materials in art museums in the North Texas area. Though the field of art museum education is becoming increasingly participatory, most academic research related to self-guided materials has fallen short of exploring visitors' experiences with these materials. Furthermore, the perspectives of children have been long overlooked in academic and, at times, institutional research about family experiences in museums. Over the course of nine months, my daughter and I

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Trimmer, Jason. "Iron Dialogue: The Artistic Collaboration of Pablo Picasso and Julio Gonzalez." Ohio University / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1126898089.

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30

ZHU, Yi. "Collaboration between art museums and universities in Hong Kong : benefits, difficulties and methods." Digital Commons @ Lingnan University, 2016. https://commons.ln.edu.hk/vs_etd/9.

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Museums have the responsibility to meet the needs and expectations of audiences with different backgrounds, including families, students, adults and the elderly. However, the needs of higher education students can easily be overlooked in Hong Kong art museums because their age and educational background fall into different target segments. By the late twentieth century, learning opportunities for higher education students, especially those who were majoring in fine arts, art history and museum studies were inadequate in Hong Kong. In view of the increasing arts programmes offered by tertiary i

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31

Scopa, Karen. "The development of strategies for interdisciplinary collaboration from within the visual arts." Thesis, Robert Gordon University, 2003. http://hdl.handle.net/10059/469.

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The current cultural climate is stimulating an increasing interest in, and need for, collaboration throughout many fields of practice. Collaborative methods of art production are evident across a range of contemporary visual art practices and opportunities for interdisciplinary collaboration are becoming more available for artists, particularly those working beyond the gallery context. However, there is currently a lack of literature critically addressing collaborative processes in relation to visual arts practice. This research investigates strategies for interdisciplinary collaboration, whic

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32

Conor, Joyce. "Carl Einstein in the magazine Documents (1929-1930) and his collaboration with Georges Bataille." Thesis, University of Essex, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.313063.

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33

Williams, Kate Louise. "The Audience That Acts." Thesis, The University of Sydney, 2016. http://hdl.handle.net/2123/15862.

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This thesis explores an evolution of the relationship between socially-engaged artists and audiences, focusing on a number of strategies through which this connection is being renegotiated, and how these tactics have allowed a new model of artist-audience collaboration to emerge. The model that is proposed is one that positions the artist as a conduit as opposed to an originator. By this I define 'the artist' as one who conducts ideas, as copper wire conducts electrical current, and the 'active audience' as someone who makes use of the energy of those ideas to bring about an act of their own

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34

Galbicka, Evan. "Path." VCU Scholars Compass, 2018. https://scholarscompass.vcu.edu/etd/5476.

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Path is a collaborative system that developed over the course of five months of studio activity and continued through the duration of the exhibition. The system’s main collaborators were a land snail native to eastern North America (Neohelix albolabris), myself, and a digital cellular automaton. These prime agents interwove processes and exchanges between one another into a complex network of folded fractal feedback loops. Cyclic processes produced artifacts and infrastructures to support communication between the components and agents of Path. As a whole, Path spoke to the possibilities for i

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Christopher, Jason James. "Beizam Triple Hammerhead Shark: Animatronic technology and cross-cultural collaboration in the Torres Strait." Thesis, The University of Sydney, 2018. http://hdl.handle.net/2123/20360.

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Research into Beizam Triple Hammerhead Shark: Animatronic technology and cross-cultural collaboration in the Torres Strait, was to further establish and test institutional recognition of cross-collaborative inspired Indigenous/non-Indigenous art within the emergence of a multimillion-dollar Torres Strait Islander arts industry. The success of mainland Aboriginal artists paved the way for Torres Strait Islanders to develop their own contemporary art movement, largely responsible for the cultural revival in which Indigenous communities now participate. Amid this revival, there is limited inform

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36

Pitkänen, Johanna. "Metsän väki - Forest Dwellers : creating a collaborative, semi-improvised performance that combines music, visual art, dance and performance art." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2121.

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‘Metsän väki - Forest Dwellers’ was my Professional Integration Project (PIP). The project consisted of creating a performance titled ‘Metsän väki’, which was performed on May 9th 2016 in Helsinki, Finland and of writing this thesis. The performance was a collaboration between different artists and it involved music, visual art, dance and performance art. The starting point for creating the performance was my collaboration with sculptor and environmental artist Jenni Tieaho. In addition to traditional instruments, sounding objects were used in creating the music. There were both written and im

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Dunham, Amy. "Towards Collaboration: Partnership Between Indigenous and Non-Indigenous Australians in Art from 1970 to the Present." University of Cincinnati / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1306498911.

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38

Chernetska, Alla. "Art et science : nouveau langage dans l'exploration du monde." Thesis, Paris 1, 2017. http://www.theses.fr/2017PA01H001.

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L’art et la science sont des voies parallèles de connaissance du monde, même si chacun utilise ses propres moyens. Ayant des approches différentes, les deux sont en quête de l’invisible, de ce qui se trouve au-delà de la première perception de la réalité, pour aboutir à la découverte de nouveaux phénomènes dans le réel. Les collaborations actuelles entre les artistes et les scientifiques m’ont conduite à la recherche de nouvelles approches de la réalité que ces projets communs puissent apporter à l’Humanité. En découvrant le domaine Art & Science, je me suis interrogée sur des démarches et

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Hinchcliffe, Daniel. "Collaboration and partnership in Public Art in Birmingham from the 1980s to the 1990s." Thesis, University of Wolverhampton, 1998. http://hdl.handle.net/2436/88295.

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40

Woodcroft, Kate. "Catherine or Kate : the tertiary spaces of collaboration, performance and humour in contemporary art." Thesis, Queensland University of Technology, 2012. https://eprints.qut.edu.au/54664/1/Kate_Woodcroft_Thesis.pdf.

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The traditional model of visual arts practice is one that privileges highly individuated and predominantly material investigations and outcomes. This approach overlooks and devalues the formal and informal dialogues and collaborations that take place in the process of making art. This Masters research project considers how the experience of working in collaboration can generate a new model for thinking about practice-led methodologies in visual arts. It aims to do this by mapping out and elaborating on the processes and approaches to making that fellow Masters student Catherine Sagin and I hav

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Parnell, William A. "Teacher Learning: Documentation, Collaboration, and Reflection." PDXScholar, 2005. https://pdxscholar.library.pdx.edu/open_access_etds/743.

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Inspired by the Municipal preprimary schools of Reggio Emilia, Italy, two art studio teachers and a researcher have explored experiences and meaning in the atelier. When studio teachers document children's thinking through digital photographs. transcribed audio tapes, quotations of a child's verbal thoughts, and copies of their work, an indescribable moment in teacher thinking interweaves with the child's learning, As teachers capture children's representations, investigate, interpret, and share their ideas with colleagues and community-an underlying question emerges. What are studio teachers'

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42

Spears, Jessica, and Deyse Bravo. "Art in the Library: Using the Digital Commons Platform to Preserve Library Exhibits." Digital Commons @ East Tennessee State University, 2018. https://dc.etsu.edu/dcseug/2018/schedule/4.

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McKee Library has cultivated relationships with local artists as well as partnered with several departments on campus to exhibit a variety of art works in different mediums throughout the year. We have used our digital commons platform to digitally preserve these exhibits, promote the artists, and encourage future partnerships. In our presentation, we will discuss the following: developing partnerships around campus and the community, artist agreements, creation of digital exhibits, and gallery promotion.

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Pontious, Jacquelyn Rae. "Exploring the Implications of Community Mural Arts: A Case Analysis of a 'Groundswell' Mural Project." Thesis, Virginia Tech, 2014. http://hdl.handle.net/10919/48924.

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Groundswell, a New York-based nonprofit community arts organization, creates high quality public art with youth and artists throughout the five boroughs of the City. This study examines how the nonprofit utilizes mural making, a potentially democratic art form, to provide opportunities for individual and collective impact. I undertook key informant interviews and documents analysis to explore the complex model the nonprofit employs to create a collaborative and community-based art process for youth, while also developing a product that can both spark conversation and reflect resident's experi

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Jackson, Caroline Dover. "Collaboration between Art Teachers and School Counselors of the Johnson City Elementary Schools to Assist At-Risk Students: An Art Experiences Model." [Johnson City, Tenn. : East Tennessee State University], 2003. http://etd-submit.etsu.edu/etd/theses/available/etd-0328103-181729/unrestricted/JacksonC041403a.pdf.

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Thesis (Ed. D.)--East Tennessee State University, 2003.<br>Title from electronic submission form. ETSU ETD database URN: etd-0328103-181729. Includes bibliographical references. Also available via Internet at the UMI web site.

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Firth, Katherine. "The MacNeices and their circles : poets and composers in collaboration on art song, 1939-54." Thesis, Oxford Brookes University, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.501968.

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46

Neim, Sandra. "Understanding disease through a post-modern art practice, a collaboration of artistic and educational practice." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape3/PQDD_0019/MQ54343.pdf.

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47

Smith, Ruth Marie. "Encountering Practice: An Exploration of Deleuze and Collaboration in the Somali Women and Children's Alliance Summer Arts Camp." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1329568275.

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48

Haviland, Maya. "Side by side? : practices of collaborative ethnography through creative arts." Phd thesis, Canberra, ACT : The Australian National University, 2012. http://hdl.handle.net/1885/109596.

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In this thesis I investigate collaborative ethnography through creative arts as a growing global field of practice, based on common influences from anthropology and contemporary art. I seek to understand the nature of this field and to critically examine some of the assumptions that we make as collaborative ethnography/art practitioners about our work as forms of collaboration and social change. Practices of collaborative ethnography through creative arts occur in diverse settings around the world and produce different creative forms such as books, films, photography and theatre. Despite this

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Mubarak, Oussama. "Designing and Modeling Collective Co-located Interactions for Art Installations." Thesis, Paris, CNAM, 2018. http://www.theses.fr/2018CNAM1170/document.

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À l'instar d'œuvres telles que Kinoautomat de Radúz Činčera, SAM - Sound Activated Mobile d'Edward Ihnatowicz et Glowflow de Myron Krueger, des artistes ont développé, dès les années 1960, des installations artistiques engageant des situations d'interaction collective co-localisée inédites, c'est-à-dire impliquant plusieurs voire de nombreux spectateurs interagissant dans le même lieu via et avec un dispositif informatique. Le nombre de ces travaux ne cesse d'augmenter depuis le début du 21ème siècle, profitant des nouvelles opportunités offertes par les avancées dans les technologies de visio

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Ruddock, Julian. "Navigating the uncertainties of art and science collaboration : a series of projects focussed on climate change." Thesis, Aberystwyth University, 2018. http://hdl.handle.net/2160/656933ad-7ce3-4168-9f0c-c3c5f17a08ce.

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For many decades, contrasting opinions regarding the value of collaboration between the arts and sciences have been voiced. Some commentators have argued that the fundamental differences between art and science makes interdisciplinary practice untenable, while others suggest that many potential benefits are achievable through dialogue and mutual work in areas of shared interest. Against this backdrop, this thesis examines the contention that climate change, as well as being the subject of scientific research, can also be examined through art, and that by working collaboratively across art and

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