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Journal articles on the topic 'Collaboration in art'

Author: Grafiati

Published: 4 June 2021

Last updated: 17 June 2025

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1

Schaaf, Rebecca, Julieann Worrall-Hood, and Owain Jones. "Geography and art: encountering place across disciplines." cultural geographies 24, no. 2 (2016): 319–27. http://dx.doi.org/10.1177/1474474016673068.

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This article summarises a project undertaken at the Newton Park campus of Bath Spa University over 1 week in October 2015. The project provided a space for interdisciplinary collaborations between geography and art students to explore the commonalities and differences in how they saw, interpreted and creatively re-presented the campus, using a variety of methods. This article outlines the project and reflects on the processes, outcomes, and challenges of collaboration. It highlights how this approach can enhance student learning experiences, by facilitating more interdisciplinary collaboration across the sciences, arts and humanities, and social sciences. In doing so, it explores the potential and pitfalls of collaborative cultural geography in practice across disciplines.

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2

Roberts, John, and Stephen Wright. "Art and collaboration." Third Text 18, no. 6 (2004): 531–32. http://dx.doi.org/10.1080/0952882042000284934.

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Radermecker, Anne-Sophie V. "Buy one painting, get two names. On the valuation of artist collaborations in the art market." Arts and the Market 10, no. 2 (2020): 99–121. http://dx.doi.org/10.1108/aam-10-2019-0030.

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PurposeTo analyze the market reception of multi-authored works of art through the lens of collaborative old master paintings (“formal/prestige collaboration”). This paper tests whether multi-authored attribution strategies (i.e. naming two artists as brand names) affect buyers' willingness to pay differently from single-authored works in the auction market.Design/methodology/approachThis case study focuses on collaborative paintings by Flemish masters, based on a data set comprising 11,630 single-authored and collaborative paintings auctioned between 1946 and 2015. Hedonic regressions have been employed to test whether or not co-branded artworks are differently valued by buyers and how the reputation of each artist might influence valuation.FindingsDespite the opportunity for buyers to purchase one artwork with two brand names, this study reveals that the average value of collaborative paintings is statistically lower than that of single-authored paintings. This is especially true when a reputed master was involved in the collaboration. The present findings suggest that the valuable characteristics of formal collaborations (i.e. double brand name, dual authorship and reputation, high-quality standards) are no longer perceived and valued as such by buyers, and that co-branding can affect the artist brand equity because of a contagion effect. We argue that integral authorship is more valued than partial authorship, suggesting that the myth of the artist as a lone genius is still well-anchored in purchasing habits.Research limitations/implicationsPrestige collaborations are a very particular form of early co-branding in the art world, with limited data available. Further research should consider larger samples to reiterate the analysis on other collaboration forms in order to challenge the current findings.Practical implicationsResearchers and living artists should be aware that brand building and co-branding are marketing strategies that may generate negative effects on prices in the art market. The perceived and market value of co-branded works are time-varying, and depends on both the context of reception of these works and the reputation of the artists at time t.Originality/valueThis market segment has never been considered in art market studies, although formal collaboration is one of the earliest documented forms of co-branding in the art world. This paper provides new empirical evidence from the auction market, based on buyers' willingness to pay, and it further highlights the reception of multi-authored art objects in Western art markets that particularly value individual creators.

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Millegan, Pat. "The art of collaboration." Leading Edge 24, no. 4 (2005): 380–82. http://dx.doi.org/10.1190/1.1901390.

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Rezwan, Mohammad Zaki. "Institutional Intervention as Collaboration: A Critique of the Self and Disintegration of Rickshaw Art in Rongbaaz (2020)." Journal of Bangladesh Studies 26, no. 2 (2024): 12–22. https://doi.org/10.1163/27715086-02602003.

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This research primarily focuses on the internalization of the practice of rickshaw art in the institutionalized project Rongbaaz (2020). This project was formulated by Britto Arts Trust in collaboration with rickshaw and cinema banner painters, venturing a decolonial approach to institutional art by incorporating the visual vocabulary of non-institutional practices. Despite previous exclusionary attitudes, a continuing growth of interest in rickshaw art is now noticeable through collaborations in the institutional art domain. Taking Rongbaaz as a case study, the paper intends to understand the function and outcome of such collaborations. It illustrates how artistic collaborations between mainstream and ‘traditional’ artists disintegrate rickshaw art and artists from their original contexts, eventually offering an unintentional critique of existing institutional art practices in Bangladesh. The exhibition Rongbaaz is examined with reference to the production and exhibition systems of the practice of rickshaw art. The study discusses how the collaboration in this exhibition results in differentiation, despite its intention to seek an association between two different art practices, revalidating the power dynamic between the two entities.

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Patterson, Pam. "Modelling International Collaborations in Art Education." Canadian Review of Art Education 51, no. 1 (2025): 101–4. https://doi.org/10.26443/crae.v51i1.1502.

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Book response: Modelling International Collaborations in Art Education by Peter Sramek, Giselle Mira-Diaz, and Charisse Fung, Bristol, UK, Intellect & Chicago, USA, University of Chicago Press, 2024 (Hardcover), 376 pp., ISBN 9781789389258. Keywords: Art education, online teaching, international collaboration

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7

Green, Chris, and Dominic Bilton. "Queer(ing) art, curation and collaboration." Art & the Public Sphere 12, no. 2 (2023): 125–39. http://dx.doi.org/10.1386/aps_00092_2.

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This article serves as an introduction to this Special Issue of Art & the Public Sphere on the topics of Queer(ing) art, curation and collaboration. The overall aim of this issue is to explore current trends in queer art, curatorial practice and forms of collaboration. The articles in this issue draw on international perspectives that provide the reader with global approaches to the topics in question. The following editorial is in three parts, the first explores a range of definitions or (un)definitions of queer and queering. Drawing on key theorists to provide context for their usage, we must preface that these definitions are by no means exhaustive but are illustrative of the type of writing available (although authors might also offer their own definition). The second part of the editorial explores a small selection of examples and approaches to queer art, curation and collaboration that we identify as significant. Again, this is not a full list of queer practice ongoing globally, but a small selection of case studies that act as examples that are pertinent to us. The final section of the editorial functions as a question and answer/interview between academic Dr Chris Green and project producer Dominic Bilton about Bilton’s recent curatorial project (Un)Defining Queer, an exhibition held at the Whitworth Art Gallery, Manchester throughout 2023.

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Rousell, David, and Fiona Fell. "‘Becoming a work of art’ revisited: Ecologies of collaboration in tertiary visual arts education1." International Journal of Education Through Art 20, no. 1 (2024): 27–49. http://dx.doi.org/10.1386/eta_00150_1.

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Collaboration continues to be a growing focus of teaching, learning and research in university art departments. We are also witnessing a turn towards ecological and multispecies approaches in contemporary arts practice and education across the university sector and creative industries. In this revisitation of our earlier work, we ask how the transition into ecological understandings of collaboration might disrupt and reorientate humanist ontologies of visual arts education in the university. We draw on posthumanist and new materialist theories to reconceptualize collaboration in ways that are responsive to the ecological entanglements that comprise a work of art under current climatological and biodiversity crises. From there we develop a cartographic analysis of collaborative works of art in the making, drawing on a year-long participatory study with third-year undergraduate art students. In the final section we revisit our proposition for ‘becoming a work of art’ through more-than-human collaboration and explore the implications of this concept for speculative pedagogic practice and curriculum making in arts education.

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9

Horn, Sheridan. "The Contemporary Art of Collaboration." International Journal of Art & Design Education 27, no. 2 (2008): 144–57. http://dx.doi.org/10.1111/j.1476-8070.2008.00570.x.

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10

Dunn, Robert. "Collaboration: Ants, Art, and Science." American Scientist 106, no. 3 (2018): 156. http://dx.doi.org/10.1511/2018.106.3.156.

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McNally, Danny. "Collaboration as acknowledged co-production: a site-based approach to Tribe." cultural geographies 25, no. 2 (2017): 339–59. http://dx.doi.org/10.1177/1474474017743763.

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This article offers a geographical investigation into the production of a collaborative art project called Tribe (2013). Adopting a site-based approach, it contemplates Tribe as emerging from a collection of processual and contingent relations beyond its collaborative form. This draws the understanding of its production away from just the artist and collaborating youth group, towards the situated relations that unfolded through the artwork’s spatio-temporal specificity. It does so by empirically tracing the gradual emergence of exhibition features through the workshops held by the artist with collaborators. In doing so, the article argues for a delineation between ‘collaboration’ and ‘co-production’, where co-production is the emergence of localised relations and collaboration is understood as the acknowledgement of a selection of this co-production. Such an approach advances geographical thinking by moving the understanding of collaborative artistic production away from a practice sovereign to the artist and chosen others, towards something which is supported by a broader, specific collection of co-productive relations. The article concludes by suggesting how this site-based approach could be applied to geographical research into other forms of art production.

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Pesurnay, Althien John. "DEVELOPING ARTS APPRECIATION IN THE PANDEMIC: STUDENTS EXPERIENCES OF ONLINE ARTS COLLABORATION." PRASI 16, no. 02 (2021): 82. http://dx.doi.org/10.23887/prasi.v16i02.38931.

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Arts and arts practices have been affected by the constraints of the global COVID-19 pandemic. Arts learning and teaching activities in the subject of art appreciation in Duta Wacana Christian universities have also been disrupted, necessitating online collaboration. There are not many studies being done that evaluationg arts learning and teaching during pandemics. Therefore this research is playing the role to contribute to the issue. This research spesifically focus to evaluate the learning and teaching method and also the concepts connected to arts practice in general and in the contextual arts learning and teaching activities in university setting. This result shows that during a situation where in-person classroom instruction is not possible, students were still succesfull increasing their appreciation of arts. Students were engaged by collaborative art projects where they had to develop a concept and produce a digital product to be shared and critiqued in an online forum. Data from a post-project mixed method survey, students indicated that this process of developing digital products enhanced their appreciation of arts. This project demonstrates that online collaborations in the arts assists in the development of forms of art appreciation in students from a variety of majors. Arts collaboration can be done via online technology by non-arts students. These types of collaborations are useful in encouraging students to adapt academically and artistically

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Wilson, Lori A. "An art/science collaboration benefits nanotechnology, medicine, and art." MRS Bulletin 46, no. 2 (2021): 104–6. http://dx.doi.org/10.1557/s43577-021-00033-3.

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Joohee, Kang. "Art Teachers in Collaboration between Art Museum and School." Journal of Art Education 24, no. ll (2008): 1–26. http://dx.doi.org/10.35657/jae.2008.24..001.

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Fukumoto, Kinichi. "Art Lunch Project: an international collaboration among art teachers." International Journal of Education through Art 3, no. 3 (2008): 195–209. http://dx.doi.org/10.1386/eta.3.3.195_1.

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16

Buijs, Paul, and J. C. (“Hans”) Wortmann. "Joint operational decision-making in collaborative transportation networks: the role of IT." Supply Chain Management: An International Journal 19, no. 2 (2014): 200–210. http://dx.doi.org/10.1108/scm-08-2013-0298.

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Purpose – This paper addresses horizontal supply chain collaboration among autonomous freight carriers in the less-than-truckload industry. The main purpose of the paper is to identify and explain the challenges with joint operational decision-making in this context and investigate the precise role of information technology (IT) therein. Design/methodology/approach – Empirical evidence is gathered by means of exploratory and explanatory case research, with multiple cases at the planning departments of European freight carriers operating in collaborative transportation networks. Findings – Collaborating carriers face fundamental challenges in joint operational planning and control of collaborative transportation, despite the broad availability of state-of-the-art IT. These operational supply chain challenges can be explained by technological differences of the available IT applications, which hinder integration. Research limitations/implications – Any expectations with regard to state-of-the-art XML or EDI-based IT integration for improved joint operational decision-making in collaborative transportation networks should be considered with care. In particular, the authors' research findings may encourage practitioners to consider new planning and control procedures and develop dedicated IT applications for collaborating freight carriers. Originality/value – The paper highlights the importance of horizontal supply chain collaboration for small and medium-sized freight carriers in the less-than-truckload industry and conceptualises how collaborative transportation networks are organised. Furthermore, an IT typology is introduced to explain the challenges with joint operational decision-making.

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Pearce, Celia, Sara Diamond, and Mark Beam. "BRIDGES I: Interdisciplinary Collaboration as Practice." Leonardo 36, no. 2 (2003): 123–28. http://dx.doi.org/10.1162/002409403321554189.

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Today, a worldwide community of innovators is engaged in the convergence of art, technology and science, as are a number of vital and active organizations, yet there seems to be very little discourse about the process of doing interdisciplinary work. The BRIDGES Consortium seeks to create a collaborative forum for the study and development of interdisciplinary collaboration as a practice. At the first Bridges Summit, held in June 2001, participants discussed a broad range of topics, including: preceding historical developments, the role of language, institutional hurdles to collaboration and the value of art/technology-based research. The event concluded with recommendations for aggregating, validating and strengthening the interdisciplinary community through the creation of a new form of collaborative organization.

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Luttrell, Wendy, and Emily Clark. "Replaying Our Process: Video/Art Making and Research." Qualitative Inquiry 24, no. 10 (2018): 775–85. http://dx.doi.org/10.1177/1077800418800106.

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This article charts a collaborative and multimodal inquiry practice between a professor and a doctoral student who met during a visual methods course, Doing Visual Research With Children and Youth. Our collaboration focused on blurring the border between art making and research as a means to analyze and re-represent photographs taken by children. In stepping outside our comfort zones as researchers, we shared the same preoccupation: How much creative/artistic license would we exert regarding our use of the children’s photographs? This article explores the making of a video montage in ways that created new ways of seeing and knowing that took us by surprise and helped us rethink the interplay between methodological and ethical imperatives. We hope the article invites other professors and students to fashion collaborations that support such creative experimentation and reflection.

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Bee, Lady. "The Outsider Art of Burning Man." Leonardo 36, no. 5 (2003): 343–48. http://dx.doi.org/10.1162/002409403771048137.

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The author describes art installations featured at the annual Burning Man event in Black Rock City, Nevada. Burning Man is community based, collaborative and interactive and attracts a unique community of artists, performers and free spirits. The goal of the event is to remove the artist from the world of commerce and competition, emphasizing instead collaboration, cooperation and shared experience.

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Pradinasari, Ryanda Khansa, Heri Pratikno, and Sopiah Sopiah. "From Art to Social Entrepreneurship Praxis: The Collaboration Dynamics of Warung Murakabi Minggir through Interpretative Phenomenological Analysis." Journal of Business Management and Economic Development 1, no. 02 (2023): 307–29. http://dx.doi.org/10.59653/jbmed.v1i02.148.

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In this article, we delve into the collaboration dynamics of Warung Murakabi Minggir, a social entrepreneurship praxis of collaboration that uniquely merges art, locality, and mutual cooperation to tackle social issues. The purpose of this research is to understand how the participants make sense of their collaborative experiences in Warung Murakabi Minggir. Our study employs Interpretative Phenomenological Analysis (IPA) to delve into the lived experiences and viewpoints of the individuals engaged in the collaboration. This article sheds light on the critical role of collaboration within diversity in establishing sustainable social entrepreneurship practices. The findings of our study emphasize a deep comprehension of how collaborative experiences in Warung Murakabi Minggir serve as catalysts for generating positive social impact. Moreover, the research emphasizes the pivotal role of collaboration, how the dynamics of collaboration can either facilitate or impede progress of Murakabi Minggir as social entrepreneurship praxis

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Lee, Eunea, Hyung Deok Shin, and Gun Jea Yu. "How to Select Art Collaboration Artists?" Journal of the Korea Contents Association 14, no. 8 (2014): 374–81. http://dx.doi.org/10.5392/jkca.2014.14.08.374.

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McLean, Will. "Collaboration and Friendship, Art and Architecture." Architectural Design 92, no. 5 (2022): 70–77. http://dx.doi.org/10.1002/ad.2857.

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Chu, Yoomi, and Hye Kyung Kim. "Developing Fashion Design through Art Collaboration." Korean Society of Fashion Design 22, no. 2 (2022): 73–86. http://dx.doi.org/10.18652/2022.22.2.5.

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Alexenberg, Mel, and Miriam Benjamin. "Creating Public Art through Intergenerational Collaboration." Art Education 57, no. 5 (2004): 13–18. http://dx.doi.org/10.1080/00043125.2004.11653562.

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Cohen, T. J., M. A. Cohen, S. J. K. Kermode, and Mike Leggett. "Ten Trenches: A Science-Art Collaboration." Leonardo 46, no. 1 (2013): 74–75. http://dx.doi.org/10.1162/leon_a_00488.

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Collaborative and cross-disciplinary research by a group of artists and scientists in an Australian rural setting generates data and ideas that form the basis of a wider understanding of the ramifications of global warming and cooling within the local, regional and national community. The work is viewed as an initial educational platform that will allow the public to see and understand the complexities of climate-based research.

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Zhang, Y., and L. Candy. "Investigating collaboration in art and technology." CoDesign 2, no. 4 (2006): 239–48. http://dx.doi.org/10.1080/15710880601008059.

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Edmonds, E. "New directions in interactive art collaboration." CoDesign 2, no. 4 (2006): 191–94. http://dx.doi.org/10.1080/15710880601008091.

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Perugini, Flavia, Flor Mayoral, and Daniel Godoy. "Surgery, conservation, art: An unusual collaboration." Studies in Conservation 61, sup2 (2016): 315–18. http://dx.doi.org/10.1080/00393630.2016.1191004.

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Jung-hyun JO and 임경호. "Characteristic Analysis of Graffiti Art Collaboration - Focusing on the art collaboration of graffiti artists and brands -." Journal of Korea Design Forum ll, no. 55 (2017): 87–96. http://dx.doi.org/10.21326/ksdt.2017..55.007.

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Serfas, Shawn. "Collaboration as Collage." ti< 5, no. 1 (2016): 4–5. http://dx.doi.org/10.26522/ti.v5i1.1335.

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Forlano, Laura, and Stephanie Smith. "Critique as Collaboration in Design Anthropology." Journal of Business Anthropology 7, no. 2 (2018): 279–300. http://dx.doi.org/10.22439/jba.v7i2.5607.

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Design anthropology is an emerging field at the intersection of design and anthropology with a distinct style of knowing. This paper argues that in order to create transdisciplinary practices around collaboration for design anthropology, the field must understand existing practices of critique in the field of design. Based on a two-year National Science Foundation funded study of collaboration with designers and design educators in four countries, this article describes the culture of critique that underpins the collaborative practices of designers. In particular, designers often participate in a studio-based culture of critique, which is learned in art and design schools, even when it is not explicitly taught. Finally, as the field of design anthropology matures to include global networks of scholars and practitioners, it is useful to consider the ways in which emergent practices of critique as collaboration, supported by digital platforms, might move beyond the design studio and into distributed collaborations.

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El Archi, Youssef, Brahim Benbba, Moaaz Kabil, and Lóránt Dénes Dávid. "Digital Technologies for Sustainable Tourism Destinations: State of the Art and Research Agenda." Administrative Sciences 13, no. 8 (2023): 184. http://dx.doi.org/10.3390/admsci13080184.

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This study explores the adoption of digital technology in sustainable tourism destinations and provides insights into current research. Using a bibliometric analysis approach, it comprehensively evaluates research outputs, identifies trends, and highlights key themes and collaborative networks. Employing a bibliometric analysis approach, this study utilizes the Scopus database and bibliometric software. After rigorous data cleaning, bibliographic coupling maps, collaboration networks, and keyword maps are generated using Biblioshiny and VOSviewer for comprehensive analysis. Analyzing 559 papers, the study reveals a consistent growth in publications, indicating increasing research interest in digital technology adoption in sustainable tourism destinations. Europe, Asia, and North America are the primary regions of research activity. Interdisciplinary collaboration is high, emphasizing the multidimensional nature of the field. While valuable, the bibliometric analysis is limited by data availability and quality in the Scopus database. Relevant research outputs may be excluded. The study focuses on overall trends and patterns rather than individual paper content. The study’s findings have practical implications for researchers, policymakers, and practitioners in sustainable tourism. The identification of key themes and collaborative networks can guide future research and foster interdisciplinary collaborations. This study contributes to the existing literature on technological innovations in sustainable tourism destinations through its bibliometric analysis approach. Through providing an overview of the research landscape, identifying trends and collaborative networks, it offers valuable insights into the current state of research. The findings serve as a foundation for further exploration and advancement in sustainable tourism and digital technology.

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Ki, Young Mi. "A Study on Convergence of Art and Brands, Art Collaboration of Jeff Koons." JOURNAL OF THE KOREAN SOCIETY DESIGN CULTURE 24, no. 4 (2018): 17–27. http://dx.doi.org/10.18208/ksdc.2018.24.4.17.

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Rochford, Jessie Spraggins. "Art Therapy and Art Museum Education: A Visitor-Focused Collaboration." Art Therapy 34, no. 4 (2017): 209–14. http://dx.doi.org/10.1080/07421656.2017.1383787.

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Wintner, Julia. "Rootedness: Exploring The Role Of Collaboration In Contemporary Art In India." Museological Review, no. 27 (January 24, 2025): 247–55. https://doi.org/10.29311/mr.vi27.4903.

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Collaboration is the key to the creative future of South Asian Art. Artists create a sense of belonging by transforming spaces, through representation, and by helping to nurture healthy, vibrant, and joyful communities where people feel welcome. This paper reviews my teaching experience in Fall 2024 at the Srishti Manipal Institute of Art, Design and Technology, in Bangaluru, South India titled: Collaborative Curating: Multi-Disciplinary Approaches, and its 3 group-curated exhibitions that challenge highly politicised subjects such as caste, free speech, and environmental degradation. These three exhibitions serve as case studies for three curatorial approaches: authoritarian, friendship-based, and antagonistic. All of them were most productive for rootedness and belonging. Keywords: Indian contemporary art, artistic collaboration, rootedness, curating, graduate art education.

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Nyakayo A, Omutindo. "The Intersection of Science and Art: Collaborative Approaches." NEWPORT INTERNATIONAL JOURNAL OF ENGINEERING AND PHYSICAL SCIENCES 5, no. 1 (2025): 1–6. https://doi.org/10.59298/nijep/2025/511600.

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The intersection of science and art has long been a space for creative experimentation and knowledge exchange. This paper examines the evolving relationship between these disciplines, highlighting historical collaborations, theoretical frameworks, and interdisciplinary methodologies that foster innovation. Through an analysis of case studies, we examine how artists and scientists work together to produce new insights, bridging gaps between specialized knowledge domains. The study also discusses the challenges of interdisciplinary collaboration, including institutional barriers, epistemic differences, and funding limitations. Ultimately, this paper argues that the fusion of scientific inquiry and artistic creativity not only enhances research outcomes but also enriches public engagement with complex ideas, fostering a more holistic approach to problem-solving in the 21st century. Keywords: Interdisciplinary collaboration, art-science integration, creative methodologies, scientific visualization, knowledge exchange, artistic interpretation.

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Ernest Irwandi, Setiawan Sabana, and Andryanto Rikrik Kusmara. "Ernest Irwandi EVALUASI PENDEKATAN PARTISIPATORI DALAM SENI, STUDI MURAL KOMUNITAS DI KAMPUNG KOTA." PROSIDING: SENI, TEKNOLOGI, DAN MASYARAKAT 2 (January 27, 2020): 174–78. http://dx.doi.org/10.33153/semhas.v2i0.117.

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Mural art does not only function as decoration but it is an art activity that impact social life. Decorating villageswith murals has become an art movement across Java. Creation of mural in these villages involves manystakeholders (government, universities, students, artists), which can be considered as participatory art, thatemphasize on collaboration and shared experiences. In participatory art, artists’ and facilitator role is to encouragecommunity creativity. This research focuses on art community murals using participatory action researchapproach. This research aim to analyze collaborative art creation models, and examine how art canempower a community.

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Boyd, Candice P., and Kaya Barry. "Challenges of creative collaboration in geographical research." cultural geographies 27, no. 2 (2019): 307–10. http://dx.doi.org/10.1177/1474474019886838.

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There is a long history of collaboration between artists and geographers, with creative forms of research and dissemination of findings taking shape as artworks. In addition, there has been significant push from academia for researchers to maximise their research in ways that cater to, and engage with, broader public audiences. Art and creative practices tap into this through formats such as exhibitions, performances and participatory workshops which draw upon arts-based research methodologies with which geographers are becoming increasingly engaged. However, with this enthusiasm to adopt art practices for research dissemination purposes, tensions can arise in determining the levels of collaboration and authorship between artists and geographers, especially when the artist is employed as a research assistant on the project. In this ‘In Practice’ article, we explore the tensions and challenges that creative collaborations produce with respect to copyright and authorship, specialist skills and the delicate balance of doing creative research as part of a research team. We argue that geographers and artists need to address these issues from the outset and revisit them throughout the research process, and we offer some suggestions for how art–geography research collaborations might best be negotiated.

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Yeung, Chun Wai (Wilson). "In-Between Windowscapes. A Curator’s Perspective on Collaboration as Artistic Activation in Public Spaces." Journal of Public Space, Vol. 5 n. 4 (December 1, 2020): 259–72. http://dx.doi.org/10.32891/jps.v5i4.1418.

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This paper emphasizes that curatorial practice and site-specific art are essential aspects of the transition from artistic collaboration to collaborative curatorial practice and discovers the new potential of ‘curator as collaborator’ practice to cultivate community-based, collaborative and engaging cultural projects in public spaces. By examining the curatorial residency of my participation in Public Space 50 at RMIT University, Melbourne, Australia in 2017, this portfolio investigates how I, as a curator, explore art curation locations and methods to enable students to actively work collaboratively to plan, facilitate and produce public art projects. It asks how to turn public spaces into laboratories; how can student artists work together in public space; how to empower a creative student community through artistic collaboration and how artistic activation can be developed among creative participators of different cultures and backgrounds?

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40

Scheuerle, Franziska, Ramona Thomas, and Patrick Siegfried. "Luxury Brands and Art Collaborations as a Leverage on Brand Equity and Art(Ist) Equity." International Journal of Applied Research in Business and Management 4, no. 1 (2023): 105–27. http://dx.doi.org/10.51137/ijarbm.2023.4.1.6.

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In 2020, a year of turbulence, seismic in scale and rapid in impact, luxury brands strengthen their relationship with art. While the world is still processing the effects of the last decades (digitalization, sustain- ability, diversity), luxury brands and art collaborations are used as a strategic tool in luxury brand management to create value. As the pandemic1 and broader social outrage exposed fault lines in society, even more luxury brands open flagship stores de- signed in collaboration with archistars (famous architects). Luxury brands establish foundations where art is exhibited and promoted. Culture funds become the new patrons of art. Limited art editions of iconic luxury products turn to revenue boosts. This research focuses on a case study of luxury brand and art collaborations. The ten most valuable luxury brands are used to analyze luxury brand and art collaborations as a leverage on brand equity and art(ist) equity. The bleeding of personal luxury good brands as well as contemporary visual arts are focused. The study identifies particularly positive effects de- riving from art in the creation of equity value. The core issue discussed is whether contemporary art may represent a possible strategic tool for competing and differentiating in the global luxury industry up to 2030. The research investigates two main concepts that rep- resents the theoretical framework: art and luxury. Literature research deductively links this case study with appropriate theories on brand equity and art(ist) equity. During this, a time horizon between 2019 and 2021 is chosen to address the latest insights in luxury brands and art collaborations. The topic is investigated explorative and qualitative with expert interviews. To tackle the research topic all-encompassing, the following groups of recognized stakeholders have been inter- viewed: (1) luxury brands, (2) artists, (3) art galleries, (4) trend- and market researchers, (5) luxury customers and (6) city. Finally, managerial insights on the implementation of artistic collaborations are derived and suitable strategies for luxury brands who plan to be involved in such collaboration agreements are suggested. The sticking point in former academic research has always been concrete proof that luxury brands and art collaborations lead to an increase in equity beyond a short-term social media buzz or press coverage. This is the reason why this paper develops an S-O-R equity model to show the causality effects of such collaborations.

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Bowman, Matthew. "The Work of Art Criticism: Collaboration, Communication, Community." Arts 9, no. 4 (2020): 101. http://dx.doi.org/10.3390/arts9040101.

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This essay aims to reconsider the practice of art criticism. The first part aims to clear away some misconceptions that reduce art criticism to a fundamentally negative discourse that asserts a theory/practice distinction. In the second part, the essay tries to think of art criticism as collaborative writing alongside rather than about an artist. The third part, however, highlights some problems insofar as communication and collaboration have become imbricated within post-Fordist socioeconomic frameworks. In addition, the fourth part seeks to propose another direction by suggesting why art criticism and Kantian aesthetics may discover a renewed interest in one another through rethinking the sensus communis as an alternative to post-Fordist sociality.

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Huang, Fen. "A Study on the Effect of Cosmetic Brand Design Collaboration on Consumer Purchase Intention: Focus on Inissfree Brand." Korea Industrial Technology Convergence Society 29, no. 2 (2024): 133–45. http://dx.doi.org/10.29279/jitr.2024.29.2.133.

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In recent years, brand collaboration products have become increasingly popular among young consumers. Amid fierce competition in the cosmetics market, cooperation between brands has emerged as a novel marketing model. Companies introduce sentiment-driven collaboration products to enhance consumer brand preference and stimulate purchase intentions. This study aims to define the concept, purpose, and types of multilateral collaborations for cosmetics brands, drawing on previous studies, and analyze the factors influencing consumers' purchase intention. This study selected Innisfree’s design collaboration, which is gaining popularity in China, as the focal point. Awareness and preference for brand design collaborations were identified, and their effect on consumers' purchase intentions was analyzed. In addition, the study also exploited the mediating relationship by examining the correlation between the type of cosmetic brand design collaboration, brand preference, and consumer purchase intention. The results indicated that character collaboration, art collaboration, and brand collaboration all positively impacted consumers' purchase intentions in the context of cosmetics brand design collaboration.

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Stark, Maja, Elisabeth Thielen, Christoph Holtmann, André Selmanagić, Michael Droste, and Leonid Barsht. "XR Art and Culture: Successful Collaborations in Interdisciplinary Development Processes." i-com 21, no. 1 (2022): 123–38. http://dx.doi.org/10.1515/icom-2022-0011.

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Abstract In this paper we present different approaches for interdisciplinary collaborations between art and culture professionals resp. cultural institutions and the interdisciplinary XR experts of our research group. We discuss lessons learned and best practices devised from multiple years of experience in interdisciplinary collaborations. Different project settings need different solutions: With our contribution, we hope to show exemplary ways for successful interdisciplinary collaborations at the intersection of culture and computer science – and to show the potential of such projects for the development of new ways and tools of collaboration.

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Snow, Cason. "Collaborative ART Archive (CARTA)." Charleston Advisor 25, no. 2 (2023): 28–31. http://dx.doi.org/10.5260/chara.25.2.03.

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The Collaborative ART Archive (CARTA) is a collaboration between the Internet Archive and the New York Art Resources Consortium that provides a steadily growing archive of Web-based content related to art history and art practice. This archive is designed primarily for scholars and researchers, providing access to new types of born-digital art from the twenty-first century. Quick access is provided by eight curated portals, including Art Criticism, Art Fairs and Events, Art Galleries, Art History/Scholarship, Artist Websites, Arts Education, Arts Organizations, and Auction Houses, or through a Simple Search bar. In addition to providing these materials for research and scholarship purposes, the archive seeks to ensure that these born-digital art‐related materials are available in the future.

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McComb, Camilla, Gretchen Otto, Deborah Omans, Jennifer Garvey, and Philip J. Smaldino. "Visualizing Cancer: A Transdisciplinary Art and Biology Collaborative." Journal of Teaching and Learning 11, no. 2 (2018): 1–10. http://dx.doi.org/10.22329/jtl.v11i2.4932.

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It would be safe to say that nearly every student enrolled in college knows someone who has been impacted by cancer. After all, cancer killed nearly 8.2 million people worldwide in 2012 (World Cancer Report, 2014). Using this fact as the impetus for change we decided to make cancer the focus of a “transdisciplinary” (Marshall, 2014) collaborative effort to simulate a reciprocal-learning experience between undergraduate biology and visual art students attending a university in Southeastern Michigan. The goal of the 2015 project was to create an active and authentic collaboration utilizing the university visual art and biology curricula. By engaging and connecting scientific and artistic critical thinking processes, we wanted to know: Could we design a class structure that would enable collaborative teams of art and biology students to create a visual model that represents a hallmark of cancer designed so that the model could also stand alone on artistic merit? In other words, could cancer visualization be transformed into works worthy of gallery display while maintaining scientific accuracy? In this paper we discuss the planning, implementation, results, and impact this work has had upon the way we now envision transdisciplinary collaboration.

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Ochkovskaya, Marina S., Sergey V. Mkhitaryan, and Ekaterina P. Indichekova. "Influence of collaborations with visual art on luxury brand identity: Pilot study." Vestnik of Saint Petersburg University. Management 20, no. 1 (2021): 3–29. http://dx.doi.org/10.21638/11701/spbu08.2021.101.

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The article examines the collaborations of luxury brands with visual arts and its impact on the ingredients of brand identity using the example of Louis Vuitton. The purpose of this research is to investigate the impact of collaborations with visual art on luxury brand identity and find out what elements of identity are enhanced by collaborations. An online survey was conducted among luxury brand consumers. Both closed and open questions were included in the questionnaire. Totally 443 responses were received, and 295 of them were included in a representative sample of the study. The Louis Vuitton brand which systematically uses the collaborations with visual art and is one of the leaders in the application of brand artification was selected for this study. In the paper the main attention is focused on the Louis Vuitton products from the limited collections with the designs created in collaboration with the Japanese artists Takashi Murakami and Yayoi Kusama, and the American artist Jeff Koons. The modification in the Louis Vuitton brand identity caused by the collaborations was estimated on the basis of the Kapferer’s brand identity prism elements: physique, personality, culture, relationship, self-image, reflection. In accordance with the Kapferer’s brand identity prism, six hypotheses were formulated where three of them were fully confirmed and one hypothesis is partially verified. The research has demonstrated that the art collaborations with visual art enhance the intangible elements of the luxury brand identity — personality, culture and relationships but do not augment physique and self-image. This study has shown a partial impact of visual art collaboration on the luxury brand identity, however, the authors have not estimated the influence of other forms of art, for example, music. The impact of the other forms of arts may be considered in further research.

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Bruce, Caitlin Frances. "Hemispheric Conversations: Exploring Links between Past and Present, Industrial and Post-Industrial through Site-Specific Graffitti Practice at the Carrie Furnaces." Contemporaneity: Historical Presence in Visual Culture 7 (October 30, 2018): 17–26. http://dx.doi.org/10.5195/contemp.2018.236.

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In this article, I briefly discuss a project I co-organized this year in collaboration with Oreen Cohen, Shane Pilster, Rivers of Steel, University of Pittsburgh, Pennsylvania Partners in the Arts, and the American Studies Association. Named “Hemispheric Conversations: Urban Art Project” we used international collaboration between artists in Chicago, Pittsburgh, and León Guanajuato Mexico as a platform for conversation about how to reimagine our shared urban spaces. In a political moment that might be a cause for despair, collaborative art practice in urban space can serve as one vehicle to reignite our shared sense of possibility and energy.

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Griffiths, Jonny. "Art by numbers: a collaboration between an Art and Maths Department." Journal of Mathematics and the Arts 3, no. 3 (2009): 155–70. http://dx.doi.org/10.1080/17513470902873123.

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Winn, James A. "“Confronting Art with Art”: The Dryden-Purcell Collaboration in King Arthur." Restoration: Studies in English Literary Culture, 1660-1700 34, no. 1-2 (2010): 33–53. http://dx.doi.org/10.1353/rst.2010.a404011.

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Azevedo, Diogo, Benjamim Fonseca, Hugo Paredes, Stephan Lukosch, Jordan Janeiro, and Robert Briggs. "On the Development and Usability of a Diagram-based Collaborative Brainstorming Component." JUCS - Journal of Universal Computer Science 19, no. (7) (2013): 873–93. https://doi.org/10.3217/jucs-019-07-0873.

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The need for computer-supported collaboration has grown over the last years and made collaboration an important factor within organizations. This trend has resulted in the development of a variety of tools and technologies to support the various forms of collaboration. Many collaborative processes, e.g. strategy building, scenario analysis, root cause analysis and requirements engineering, require various collaboration support tools. Data flow, fishbone and brainstorming diagrams, play an important role within these synchronous collaborative applications to create, evaluate, elaborate, discuss, and revise graphical models. Currently, the necessary tools are not integrated and flexible enough to support such processes. In this paper, a synchronous collaborative brainstorming diagram editor integrated in a flexible group support system is described. This approach goes beyond the current state of the art as it can be seamlessly integrated with other collaboration support tools such as text-based brainstorming or voting. The usability of the taken approach is evaluated within a case study on collaborative learning.

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