Relevant bibliographies by topics / Collaborative artist

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Collaborative artist'

Author: Grafiati
Published: 4 June 2021
Last updated: 18 February 2022

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Journal articles on the topic "Collaborative artist"

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Mayward, Joel. "TheoArtistry: collaborations with Sir James MacMillan and Michael Symmons Roberts." Theology 122, no. 2 (2019): 100–107. http://dx.doi.org/10.1177/0040571x18817435.

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Can the distance between the academic and the artist be overcome within the realm of theology? The TheoArtistry initiative within the Institute for Theology, Imagination and the Arts answers with a resounding ‘yes’ in its two collaborative projects partnering artists and theologians. This article looks at the composers’ scheme and sacred music from a broad view, then gives particular focus to the poets’ scheme and a specific collaboration between the author and the poet Maria Apichella. The article concludes with theological reflections and practical considerations regarding this theologian–artist collaborative effort.
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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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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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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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Romano, Donna. "In the service of artists – symbiosis and creative engagement in collection development strategy at NIVAL: National Irish Visual Arts Library." Art Libraries Journal 43, no. 3 (2018): 127–36. http://dx.doi.org/10.1017/alj.2018.17.

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This paper explores the essential and dynamic relationship between the artist and the institution in building the public record of arts activity. It examines the lifecycle of artist-generated documentation and the various methods of engagement with the library that result in material contributions to the collection.Taking the view that NIVAL is an essentially democratic project in both collection development and access strategies, the paper presents an introduction to the genesis of the library, and outlines some of the ways in which contemporary artists are supporting the role of NIVAL as ‘living archive’. The paper examines a number of recent collaborative projects with practising artists including Jennie Guy, artists’ collaborative Floating World and National College of Art & Design Communication Design students that attest to the regenerative effect of direct engagement by artists in the process of legacy building.
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Bain, Alison L., and Friederike Landau. "Artists, Temporality, and the Governance of Collaborative Place-Making." Urban Affairs Review 55, no. 2 (2017): 405–27. http://dx.doi.org/10.1177/1078087417711044.

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Place-making is a policy exercise rooted in a politics of both space and time. By examining the temporal sequencing of discursive relations and governance networks in the cultural redevelopment of Güterbahnhof Moabit in Berlin, this article demonstrates the fallacy of place-making via artist proxy. It documents the hidden expectations of artist stakeholders and the overextension of their capacities in their municipally delegated and self-assumed roles as “strategic” and “collaborative” partners with local government in place-making processes. It argues that contrary to collaborative and participatory governance ideals, artists are often singularly responsibilized by civic leaders to realize place-narratives for a community rather than with them, which creates a fundamental barrier to community engagement.
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Tsukamoto, Eri, and Eri Tsukamoto. "A Reflection on the Artists and Academics Exhibition." Exchanges: The Interdisciplinary Research Journal 4, no. 2 (2017): 227–31. http://dx.doi.org/10.31273/eirj.v4i2.159.

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On 26 November 2016, the Artists and Academics Exhibition was held at Fargo Village in Coventry. The Exhibition was a collaborative project between seventeen PhD researchers from the University of Warwick and seventeen local artists, in which each artist created a piece inspired by a research idea. The Exhibition fostered active conversation between artists, academics and the general public, thereby encouraging all participants to talk about academic works in an informal setting and to explore new ideas and perspectives. Collaborative projects like the Exhibition thus benefit all who participate, and wider participation should be encouraged. Negative perceptions of public engagement may be changed through such an active participation.
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Murray-Browne, Tim, Di Mainstone, Nick Bryan-Kinns, and Mark D. Plumbley. "The Serendiptichord: Reflections on the Collaborative Design Process between Artist and Researcher." Leonardo 46, no. 1 (2013): 86–87. http://dx.doi.org/10.1162/leon_a_00494.

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The Serendiptichord is a wearable instrument, resulting from a collaboration crossing fashion, technology, music and dance. This paper reflects on the collaborative process and how defining both creative and research roles for each party led to a successful creative partnership built on mutual respect and open communication. After a brief snapshot of the instrument in performance, the instrument is considered within the context of dance-driven interactive music systems followed by a discussion on the nature of the collaboration and its impact upon the design process and final piece.
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Baek, Yoonjee, Changmu Jung, and Heesun Joo. "Residents’ Perception of a Collaborative Approach with Artists in Culture-Led Urban Regeneration: A Case Study of the Changdong Art Village in Changwon City in Korea." Sustainability 13, no. 15 (2021): 8320. http://dx.doi.org/10.3390/su13158320.

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This study asserts that the higher the degree of artists’ and residents’ participation in a culture-led renewal project, the higher the level of residents’ satisfaction. Engaging artist groups and introducing cultural programs can facilitate building a collaborative network between artists and residents. This paper adopts an experimental study method and defines the experimental and control groups as follows: the experimental group (Changwon city) has relatively high artist participation, and the control group (Sacheon, Gimhae, Miryang cities) have relatively low artist involvement. Multiple regression analysis was conducted utilizing 192 valid survey data in R studio software. The significant variables were compared between the experimental group (Model 1) and the control group (Model 2). As a result, the relative effects of “1. experience (or amount) of residents’ participation in urban renewal programs”, “2. reflection of residents’ opinions”, and “3. neighborly trust” on “residents’ satisfaction with urban regeneration projects and expected outcomes” was shown to be greater in the experimental group. The result implies that the involvement of cultural entities and the operation of arts programs increase residents’ will to participate in renewal projects and to build neighborly trust. Further, collection and reflection of residents’ opinions about the renewal works were more smoothly completed when mediated by artist participation and using cultural content.
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Farman, Nola, Matt Barr, Angela Philp, Miranda Lawry, Warwick Belcher, and Paul Dastoor. "Model & Metaphor: A Case Study of a New Methodology for Art/Science Residencies." Leonardo 48, no. 5 (2015): 419–23. http://dx.doi.org/10.1162/leon_a_01073.

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Traditional artist-in-science-residency schemes have tended to focus on artists using scientific tools and technology as a medium for their art. What kind and quality of work might occur, however, between scientists working on cutting-edge solar energy research and a visual artist (a sculptor) when they are integrated in a truly collaborative environment? Is it good for the art? Is it good for the science? The authors describe a new methodology for art-science interactions whereby they have integrated arts practice within a scientific environment. A critical aspect of the methodology for the residency was the development of an interaction framework that ensured that both artist and scientist had equal voice in discussions involving the art and science of the project within an environment of mutual respect. The integration led to the development of outcomes that would not have occurred otherwise.
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Dissertations / Theses on the topic "Collaborative artist"

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Shackelford, Kelsey. "COLLABORATIVE ORGANIZATIONAL STRUCTURES AMONG ARTIST MEMBER AND OTHER RELATED ORGANIZATIONS." UKnowledge, 2018. https://uknowledge.uky.edu/cld_etds/44.

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Kentucky has a rich cultural and artistic tapestry that is part of the economic future of the state. An important consideration of this future is the artist-member organizations that serve Kentucky creatives and how they work together collaboratively, both internally and externally. The objective of this study was to see how ten different organizations viewed themselves and interacted with their communities in the way in which they are structure, or lack a definite structure as is the case with several different groups. Through web analysis and a series of interviews with organizations that provide benefits to Kentucky artists, we learn that there are no strict definitions to what these organizations are and that to continue, they will have to continue to become flexible and open to changes that may come their way.
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Laidler, Paul Anthony. "Collaborative digital and wide format printing : methods and considerations for the artist and master printer." Thesis, University of the West of England, Bristol, 2011. http://eprints.uwe.ac.uk/16563/.

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This thesis investigates the collaborative production of fine art digital prints for artists,a process which is used by many contemporary practitioners including Richard Hamilton and Damien Hirst. Digital print as a fine art process has emerged over the last twenty years, and as yet, there is no in depth evidence on the collaborative endeavour and production process which is central to the digital Master Printer’s role. The investigation first establishes the historical context and significance of the Master and Printer in traditional printmaking, and the more recent development of the digital print studio and the digital print pioneers of the 1990s. A series of seven artists’ case studies in the context of the collaborative digital print studio are then offered to demonstrate the working process. The analysis of these proposes a best practice model for Master Printers working with contemporary artists to produce high quality, fine art, wide format inkjet digital prints. The study also compares production methods at the cutting-edge digital facility of the Rijksakademie in The Netherlands, to assess the validity of the practices proposed through a facility closest to the study’s research base at the CFPR’s digital studio. The comparative study also explored the expanding digital production process and the role of the Master Printer. Evolving production processes are also considered in this study as a response to the advancement of digital print technology alongside a practical exploration of what actually constitutes a digital print in this rapidly expanding field of fine art printmaking. This study aims to reveal the inner workings of the digital collaborative process between the artist and Master Printer, and appraise the digital Master Printer’s role. It offers a set of best practice methods for the digital Master Printer developed from this research. The study also considers how the digital print, and the digital print studio may evolve in line with current and future developments in new technologies.
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Borders, Elizabeth Furlong. "Working in an Artist Collective in Portland Oregon: The artistic benefits of cooperation and place in an underground art world." PDXScholar, 2011. https://pdxscholar.library.pdx.edu/open_access_etds/188.

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This ethnography explores the underground art world in Portland, Oregon by showing how a Portland area artist collective, Oregon Painting Society, navigates their art world. Participant observation, in-depth interviews, and a short latent content analysis triangulate data to show the features and values of the underground art world. Using Becker's concept of art worlds, I show how artists working outside of a traditional art career in a commercial gallery system do their work by exploring how Portland's art world is structured and sustained. I find that group work, cooperation, and resource sharing in a vibrant neighborhood based social network enables artists to substitute resources usually provided by gallery representation and sustain their ability to make artwork without financial support. This is a network that rejects the competitive structure of the commercial system and runs more smoothly the more artists participate in it. I also explore the reasons for Portland's particular ability to support this kind of environment, citing geographic proximity to other art cities, DIY cultural roots, neighborhood structure, affordable city amenities, and a creative class population.
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Ross, Julie Jane. "The role of the artist in environmental change : an investigation into collaborative, interactive and participative art practice in organisational contexts." Thesis, University of Glasgow, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.366253.

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White, Sullivan Canaday. "Training the Theatre Artist." VCU Scholars Compass, 2007. http://scholarscompass.vcu.edu/etd_retro/8.

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While most undergraduate theatre programs value the concept that their students should be acquainted with all areas of theatre, (acting, directing, design, playwrighting), they implement it by asking students to take classes in each area of specialization, which can reinforce the natural division between the fields. This thesis aims to create four courses that would be a part of a larger undergraduate curriculum that focus upon training the theatre student in a holistic manner through developing knowledge and skill in all fields of the theatre simultaneously and within a single class. Significantly, this process begins with a course in collaboration that consciously draws attention to the components and abilities necessary for fruitful ensemble work. Students participate in non-hierarchical methods for creating theatre and then apply these same concepts to the elements (actor, text, light, sound, etc.) that contribute to creating theatrical moments. This type of training encourages students to view themselves not just as an actor or director or designer or playwright, but as theatre artists who have a sense of ownership of the knowledge of how these various fields work together within him or herself, but also within the theatre as a whole. My experience has been that after such courses students have an even greater sense of respect for what it means to make theatre with a group of people, and as theatre is never done in isolation, this is a step toward more empowered theatre artists.
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Lehrman, Rachel. "Communicative dynamics of artistic collaboration." Thesis, University of Roehampton, 2008. https://pure.roehampton.ac.uk/portal/en/studentthesis/communicative-dynamics-of-artistic-collaboration(d3ffcdc7-0e3c-416d-9cb4-4ced63b3bbd4).html.

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In his 2001 writings on artistic collaboration, art theorist Charles Green describes how some artistic duos and teams developed a ‘phantom’ element— a ‘third hand’ or collaborative identity independent from and yet related to the individual identities and voices of the artistic collaborators involved. This thesis examines communicative interaction characteristic of these types of collaborations in order to explore this phantom element: what it means, what it is, how it develops and its relationship to the artistic collaborators. Ultimately, it investigates how artists can develop a collaborative author through persistent dialogue and communicative interaction. Focusing on the communicative dynamics of collaborative art practices, the first part of this study illustrates how collaboration reworks conventional notions of authorship. Integrating communication theory and group studies, it then analyses different applications of the term collaboration in contemporary art theory, challenging writings that indiscriminately categorise a variety of participatory activities and roles as collaborative. In doing so, this research examines different types of collaborative relationships; it investigates the conditions necessary for collaborative communication to produce collaborative authorship, outlining various defining characteristics of collaboration. The final portion of this study focuses on collaborative situations in which all of these defining characteristics are met. Using semiotic and hermeneutic phenomenological frameworks, it traces the development of a collective consciousness, collective identity and collective voice. Incorporating research obtained through naturalistic enquiry and questionnaires, it examines how prolonged communication, shared ownership and shared decision-making contribute to the development of these collective entities, leading up to the establishment of a collaborative author. An accompanying DVD and booklet documents the practice-based portion of this investigation— Nomadics, a nine-month multi-media artistic collaboration. The DVD not only evidences the physical art installation that resulted from the collaboration, but also the collaborative practice, providing specific examples to help support claims made within the body of the thesis.
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Purnell, Paula G. "The Collaboration of Teacher/Artist Teams: A Qualitative Analysis of Selected Interpersonal Components Influencing a Partnership-Model Artist Residency." Thesis, Open access to IUP's electronic theses and dissertations, 2008. http://hdl.handle.net/2069/84.

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Recent demands for academic accountability, as evidenced through standardized test scores, have left many school arts programs understaffed and vulnerable to budgetary constraints, particularly arts programs within poor urban and rural regions. For decades arts organizations have offered artist-in-residence programs as a way to supplement existing arts education programs. Currently, every state in the nation provides funding for outreach programs designed to bring “teaching artists” (TA) into schools. The growing demand for academic accountability, however, has resulted in increased pressure on artist residency programs to justify their use of instructional time and classroom resources. Consequently, artist residence programs are experiencing an evolutionary shift from residencies based on a demonstration model--in which the artist presents an art form to the class while the teacher is a passive observer--to a partnership model which requires teacher/artist teams to collaborate in creating and teaching co-equal cognitive arts integrated lessons. The success of partnership-model artist residencies depends on positive, productive collaboration between teachers and artists; however, the conditions and factors that promote teacher/artist instructional collaborations are not yet fully understood. The purpose of this study was to provide a deeper understanding of the interpersonal components that affect the collaborative instructional processes of teachers and artists participating in partnership-model artist residency programs, and to identify and describe the experiences and resources that promote positive, productive collaborations between teacher/artist teams. Five teaching artists and five fourth grade teachers participating in a 30-day partnership model artist residency agreed to take part in this qualitative study. Data were triangulated through semi-structured individual interviews, participant journals, and focus group interviews. Typological analysis identified patterns and relationships within and across data sets and revealed five overarching themes that influence the development of positive collaborative partnerships: pre-planning, collaborative, and instructional time; the divergent professional cultures of teachers and artists; the alignment of the arts with the curriculum; professional development training; and pedagogy and individual teaching styles. The results indicate that, despite the necessity of additional planning time and training, teachers and artists alike recognize the potential benefits of collaborative arts integration and support the current movement toward partnership model artist residencies.<br>Dissertation Chair: Dr. Beatrice Fennimore Dissertation Committee: Dr. Mary R. Jalongo and Dr. Laurie Nicholson
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Green, Charles. "Thief in the attic : artistic collaborations and modified identities in international art after 1968 /." Connect to thesis, 1998. http://eprints.unimelb.edu.au/archive/00000866.

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Ernst, Erinn Kelley Thompson 1980. "A Collaborative, Site-Specific Dance Performance for Alton Baker Park in Eugene, Oregon: Focus on Community Building for Participating Artists Through the Concepts of Space and Time." Thesis, University of Oregon, 2011. http://hdl.handle.net/1794/11481.

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viii, 77 p. : ill.<br>The focus of this study was a free site-specific dance and music performance for the general public in Alton Baker Park (Eugene, Oregon), designed to enhance public engagement with the park and with dance. Collaborative processes with participating dancers, composers, and musicians fostered community building between the artists. Informing literature covers the impact of site-specific dance performances on communities, choreographic methodology, the history of site-specific artwork, the impact on, and consideration of, the audience in site-specific projects, and collaboration in the arts. Consideration of the surrounding community and the inherent political nature of site-specific work directly influenced every decision throughout the process. Themes emerged from the focus on building community, engaging the patrons with the site, and investigating process. Themes include the Culminating Performance, Common Values, Collaboration, Audience, Process, Journaling and Research, and a Final Summary. Reflection on the process reveals insights and suggestions for future endeavors.<br>Committee in charge: Dr. Jenifer P. Craig, Chairperson; Christian Cherry, Member; Walter Kennedy, Member
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Façanha, Ana Cristina Mendes. "Oceano [in]vestido: tessituras da distância (inventário de artista)." www.teses.ufc.br, 2015. http://www.repositorio.ufc.br/handle/riufc/14628.

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FAÇANHA, Ana Cristina Mendes. Oceano [in]vestido: tessituras da distância (inventário de artista). 2015. 173f. – Dissertação (Mestrado) – Universidade Federal do Ceará, Instituto de Cultura e Arte, Programa de Pós-graduação em Artes, Fortaleza (CE), 2015.<br>Submitted by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2015-12-22T13:02:43Z No. of bitstreams: 1 2015_dis_acmfacanha.pdf: 20083941 bytes, checksum: b4a1e1de4f1ddcbb9614bccee3282d70 (MD5)<br>Approved for entry into archive by Márcia Araújo(marcia_m_bezerra@yahoo.com.br) on 2015-12-22T14:45:48Z (GMT) No. of bitstreams: 1 2015_dis_acmfacanha.pdf: 20083941 bytes, checksum: b4a1e1de4f1ddcbb9614bccee3282d70 (MD5)<br>Made available in DSpace on 2015-12-22T14:45:48Z (GMT). No. of bitstreams: 1 2015_dis_acmfacanha.pdf: 20083941 bytes, checksum: b4a1e1de4f1ddcbb9614bccee3282d70 (MD5) Previous issue date: 2015<br>This dissertation speaks about an experimentation in processes, founded on distance collaboration, envolving five brazilian artists living abroad, and I, in Fortaleza. The encounter with Vilém Flusser’s text “Exile and creativity” was the inicial point of this research. Cecília Almeida Salles and Gilbert Simondon, in turn, have guided the hearing of the path and the crossing lines throughout the process. As I follow the route, attentive to the clues and the triggers, an artistic experiment emerges and is developed in the transit from mobility to immobility. The experience was registered in a poetic and biographic diary shared with the co-criators artists, while hosts of the experiment, received as a guest. This writing (inventory) was built in parallel, where, from a distance I followed the shiftings. The journey had been crossed over by diverse landscapes and passages, however, questions about exile and foreingnness dialogued with the creative process. From instabilities by metastabilities, performativives ways have been invented, by wich, I observe how they are affected by the creative impulse. I relate the research events to the transformations and outcomes revealed by the processes of individuation, as well as the perceptions lightened by them – the relation with clothing, for example, is one of them.<br>Essa dissertação fala de uma experimentação em processo, fundamentada em colaboração à distância, envolvendo cinco artistas brasileiros que moram fora do Brasil e eu, residente em Fortaleza. O encontro com o texto “Exílio e criatividade” de Vilém Flusser é o ponto inicial dessa pesquisa. Cecília Almeida Salles e Gilbert Simondon, por sua vez, norteiam a escuta do percurso e os atravessamentos ao longo do processo. No trajeto, a partir dos indícios e atenta aos disparos, um experimento artístico emerge e se desenvolve no trânsito da imobilidade para a mobilidade. A experiência é registrada em um diário biográfico e poético compartilhado com os artistas cocriadores, enquanto anfitriões do experimento, recebido como hóspede. Essa escrita (inventário) é construída em paralelo, onde de longe, acompanho os deslocamentos. A viagem vai sendo atravessada por distintas passagens e paisagens, no entanto, questões como de exílio e estrangeiridade dialogam com o processo criativo. De instabilidades em metaestabilidades, inventam-se caminhos performativos pelos quais observo como são afetados pelo gatilho da criação. Relaciono os acontecimentos dessa pesquisa às surpresas e transformações movidas pelos processos de individuação, bem como as percepções por estes acendidas - a relação com o vestuário, por exemplo, é uma delas.
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Books on the topic "Collaborative artist"

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Richardson, Sara. Artist, architect collaboration: A bibliography. Vance Bibliographies, 1987.

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Hubert, Renée Riese. Magnifying mirrors: Women, surrealism, & partnership. University of Nebraska Press, 1994.

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Brown, Robert Delford. Collaborative action gluings. Editions and Archive Francesco Conz, 2004.

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Eric Gill & David Jones at Capel-y-ffin. Seren Books, 1992.

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Shishin, M. Galina Udalova, Gennadiĭ Burkov: Zhiznʹ i tvorchestvo. "Altaĭskiĭ dom pechati", 2009.

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Partners in illusion: Alberta Binford and William J. McCloskey. Bowers Museum of Cultural Art, 1996.

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Carlos, Emerich Luis. Los inquilinos del tiempo. Noriega Editores, 1997.

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1930-, Neri Manuel, Johnson Robert Flynn, Klimenko Mary Julia, Legion of Honor (San Francisco, Calif.), and Fine Arts Museums of San Francisco., eds. Manuel Neri: Artists' books, the collaborative process. Fine Arts Museums of San Francisco, 2005.

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Christo and Jeanne-Claude: A biography. St. Martin's Press, 2002.

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Surreal people: Surrealism and collaboration. V&A Publications, 2007.

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Book chapters on the topic "Collaborative artist"

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Ní Bhriain, Orfhlaith, Tríona McCaffrey, Amanda Clifford, Joanne Shanahan, Olive Beecher, and Hilary Moss. "Collaborative knowledge sharing for mind and body." In The Artist and Academia. Routledge, 2021. http://dx.doi.org/10.4324/9780429433917-13.

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Dziomdziora, Adam, Daniel Nicolae Sin, Fraser Robertson, et al. "Artistic Robot – An EPS@ISEP 2016 Project." In Interactive Collaborative Learning. Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-50337-0_20.

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Andres, Eric, Gaelle Largeteau-Skapin, and Aurélie Mourier. "Collaborating with an Artist in Digital Geometry." In Discrete Geometry for Computer Imagery. Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-66272-5_3.

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Hamilton, Andy. "The Aesthetics of Artistic Collaboration." In Artistic Research in Performance through Collaboration. Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-38599-6_4.

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Doğantan-Dack, Mine. "Why Collaborate? Critical Reflections on Collaboration in Artistic Research in Classical Music Performance." In Artistic Research in Performance through Collaboration. Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-38599-6_3.

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Jameel, Ahmed. "Negotiating Artistic Identity in Comics Collaboration." In Cultures of Comics Work. Palgrave Macmillan US, 2016. http://dx.doi.org/10.1057/978-1-137-55090-3_12.

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Palais, Richard S. "A Mathematician and an Artist. The Story of a Collaboration." In Mathematics and Modern Art. Springer Berlin Heidelberg, 2012. http://dx.doi.org/10.1007/978-3-642-24497-1_1.

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Zad, Damon Daylamani, and Harry Agius. "Collaborative Movie Annotation." In Handbook of Multimedia for Digital Entertainment and Arts. Springer US, 2009. http://dx.doi.org/10.1007/978-0-387-89024-1_12.

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Higgs, Joy. "Our Collaborative Inquiry." In Professional Practice in Health, Education and the Creative Arts. Blackwell Science Ltd, 2008. http://dx.doi.org/10.1002/9780470690659.ch3.

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Hayford, Michelle, and Susan Kattwinkel. "Collaborative Assignments and Projects." In Performing Arts as High-Impact Practice. Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-72944-2_6.

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Conference papers on the topic "Collaborative artist"

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Liu, Ruixue, Baoyang Chen, Meng Chen, Youzheng Wu, Zhijie Qiu, and Xiaodong He. "Mappa Mundi: An Interactive Artistic Mind Map Generator with Artificial Imagination." In Twenty-Eighth International Joint Conference on Artificial Intelligence {IJCAI-19}. International Joint Conferences on Artificial Intelligence Organization, 2019. http://dx.doi.org/10.24963/ijcai.2019/951.

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We present a novel real-time, collaborative, and interactive AI painting system, Mappa Mundi, for artistic Mind Map creation. The system consists of a voice-based input interface, an automatic topic expansion module, and an image projection module. The key innovation is to inject Artificial Imagination into painting creation by considering lexical and phonological similarities of language, learning and inheriting artist’s original painting style, and applying the principles of Dadaism and impossibility of improvisation. Our system indicates that AI and artist can collaborate seamlessly to create imaginative artistic painting and Mappa Mundi has been applied in art exhibition in UCCA, Beijing.
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Nolan, Collette, and Bill O'Flynn. "From space to place; Non-hierarchical collaborative strategies of teaching and learning in the Crawford College of Art and Design." In Learning Connections 2019: Spaces, People, Practice. University College Cork||National Forum for the Enhancement of Teaching and Learning in Higher Education, 2019. http://dx.doi.org/10.33178/lc2019.38.

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What does Learning look like? What are the embodied roots of the thinking process? We have posed these questions in the process of developing our research, workshops and curricula. How do we understand, engage with and investigate the everyday teaching and learning environment? Art practice is a complex process, and successful induction into the forms of teaching and learning practiced in the studio is critical to a student’s progress through art college. For contemporary artist/researchers working at the interface of art and pedagogy, education continues to be a central concern in their research. Contemporary artists such as Annette Krauss and her long-term project Hidden Curriculum (2008), art theorists such as Claire Bishop, Artificial Hells (2012), Richard Hickman (ed.), Research in Art &amp; Design Education: Issues and Exemplars (2008), Graeme Sullivan, in his book Art Practice as Research (2005), all use and discuss arts-based approaches in educational research, and are important references to the contextual framework of this project. In a series of action research projects, conducted over the last five years with student volunteers in the Crawford College of Art and Design, we have explored phenomenological, collaborative approaches to teaching and learning, space and place, that encourage students to be active agents in their education and co-creators of their own learning environment. Our overall project aims to create an artistic, collaborative, non- hierarchical framework that encourages students and teachers to actively question and investigate the teaching and learning situation and relationships.
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Gadelha, Bruno, Thaís Castro, Rosiane De Freitas, Edna Cardoso, and Hugo Fuks. "Colaboração e Interação em Contextos Não Convencionais: aplicações e instalações artísticas e de entretenimento." In XVII Simpósio Brasileiro de Fatores Humanos em Sistemas Computacionais. Sociedade Brasileira de Computação (SBC), 2018. http://dx.doi.org/10.5753/ihc.2018.4233.

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This paper presents an investigation that has been developed at the Federal University of Amazonas through projects involving concepts of collaborative systems(CS) and humancomputer interaction (HCI) in artistic-cultural and entertainment events scenarios. In the artistic scene, there have been projects involving music and interaction through sounds. In the scenario of large entertainment events involving crowds, the projects consider issues such as engagement, interaction and collaboration. In these unconventional contexts the importance of the integration between the SC and IHC areas is observed in order to achieve relevant results to change the behavior of the audience aiming at an active, participatory and interactive attitude in the field of the arts and entertainment for the crowds.
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Topirceanu, Alexandru, Gabriel Barina, and Mihai Udrescu. "MuSeNet: Collaboration in the Music Artists Industry." In 2014 European Network Intelligence Conference (ENIC). IEEE, 2014. http://dx.doi.org/10.1109/enic.2014.10.

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Marques, Ana, and Pedro Alves da Veiga. "Digital Artivism and Collaborative Artistic Practice." In ARTECH 2019: 9th International Conference on Digital and Interactive Arts. ACM, 2019. http://dx.doi.org/10.1145/3359852.3359863.

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Chacón, José Luis. "El lugar del arte en arquitectura. Los “lieux porte-voix, porte-paroles, haut-parleurs” de Le Corbusier en su discurso del Convegno Volta, 1936." In LC2015 - Le Corbusier, 50 years later. Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.810.

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Resumen: En 1936 se celebró en Roma el Convegno Volta dedicado a la relación entre arquitectura y las artes figurativas. Entre los participantes estaba Le Corbusier quien presentó una ponencia donde claramente explica los fundamentos del lugar del arte en arquitectura, aspecto clave de su posterior Synthèse des arts. Luego de un manifiesto sobre la Arquitectura Moderna, Le Corbusier afirma que en ocasiones excepcionales puede darse la “colaboración” entre arquitectura y arte con el fin de “aumentar el placer de los hombres”. Dirige su atención a la pintura, la escultura y el diseño; y plantea como respuesta la policromía y los puntos “precisos y matemáticos” donde el artista “fuerte y digno” puede hablar y hacer sentir su discurso. Estos lugares del arte son comunicantes: “lieux porte-voix, porteparoles, haut-parleurs”; aun inexistentes entonces pero que se verán realizados años después, en la idea de la Synthèse des arts. Abstract: In 1936 the Convegno Volta took place in Rome and it was dedicated to discuss the relationship between architecture and the figurative arts. Among the participants there was Le Corbusier, who presented a speech where he clearly establishes the fundamentals of the place of art in architecture, a key point in his later Synthèse des arts. After a manifesto of Modern Architecture, Le Corbusier states that in certain exceptional cases there can be “collaboration” between architecture and art, with the scope of “increasing human pleasure”. His attention is placed upon painting, sculpture and design; and as a response he proposes polychromy and “precise and mathematic points” where a “strong and worthy” artist can speak and let his discourse be felt. These places are communicative: “lieux porte-voix, porte-paroles, haut-parleurs”. Although inexistent then, they will be materialized years later in the way of the idea of the Synthèse des arts. Palabras clave: Arte, Arquitectura, Convegno Volta, Le Corbusier, Síntesis de las artes. Keywords: Art, architecture, Convego Volta, Le Corbusier, Synthesis of the arts. DOI: http://dx.doi.org/10.4995/LC2015.2015.810
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Fernandes da Silva, Fernanda. "Le Corbusier y Lúcio Costa. Diálogos sobre la síntesis de las artes." In LC2015 - Le Corbusier, 50 years later. Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.783.

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Resumen: En la poética de Le Corbusier, el arte comparece como presencia continua y articulada propuesta en los diálogos entre pintura, escultura y arquitectura, procedimiento que confluye posteriormente en la noción de síntesis de las artes. Es en ese aspecto de su producción que nos detenemos en este trabajo con los textos del arquitecto que se refieren al tema y analizando la interlocución que establece con el teórico brasileño Lúcio Costa. Damos relieve a dos momentos importantes del análisis del tema de los dos arquitectos: primero durante la segunda visita de Le Corbusier a Brasil en 1936, cuando presenta La Arquitectura y las Bellas Artes, texto en el que incorpora a sus ya conocidos postulados arquitectónicos la noción de síntesis de las artes, considerada como forma de ofrecer a la arquitectura recursos expresivos que van más allá del lenguaje abstracto y técnico del funcionalismo. La segunda ocasión de diálogo entre Le Corbusier y Lúcio Costa tiene lugar durante el Congreso Internacional de Artistas, organizado por la UNESCO en Venecia, cuando desenvuelven consideraciones sobre la relación entre arte y arquitectura. Abstract: In the poetics of Le Corbusier, art appears as a continuous and articulate presence, as proposed in the dialogs between painting, sculpture and architecture, a process that converges, later, in the notion of the synthesis of the arts. It is on this aspect of his work that we focus exploring texts written by the architect on the theme. The proposed collaboration between the major arts—architecture, painting and sculpting—is recorded in a paper that the architect presented during his second visit to Brazil, in 1936, when he met Lúcio Costa, the Brazilian architect and theoretician, who was attuned to the poetics of Le Corbusier concerning the relationship between architecture and visual arts. The paper by Le Corbusier A Arquitetura e as Belas Artes [Architecture and Fine Arts], from 1936, emphasizes the idea of modern architecture in dialogue with the machine age, and to this well-known formula, a new topic is added: the collaboration between architecture and the major arts of painting and sculpting. In this way, Le Corbusier in 1952, participates in the International Conference of Artists, organized by Unesco in Venice, this conference was another opportunity for dialog between Lúcio Costa and Le Corbusier, emphasizing the poetic dimension of the architecture. Palabras clave: síntesis de las artes; Le Corbusier; Lúcio Costa; arquitectura moderna. Keywords: synthesis of the arts; Le Corbusier; Lúcio Costa; modern architecture. DOI: http://dx.doi.org/10.4995/LC2015.2015.783
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Kraal, Erin, and Amy Pfeiler-Wunder. "PARTNERS IN PROCESS: A CONTEMPORARY COLLABORATION BETWEEN A SCIENTIST AND ARTIST." In GSA Annual Meeting in Seattle, Washington, USA - 2017. Geological Society of America, 2017. http://dx.doi.org/10.1130/abs/2017am-301430.

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Sporton, Gregory. "Creative identity theft: issues for artists in collaborative online environments." In Electronic Visualisation and the Arts (EVA 2010). BCS Learning & Development, 2010. http://dx.doi.org/10.14236/ewic/eva2010.26.

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Martinez, Swann, and Chu-Yin Chen. "A Framework Enabling Real-time Multi-user Collaborative Workflow in 3D Digital Content Creation Software." In WSCG'2021 - 29. International Conference in Central Europe on Computer Graphics, Visualization and Computer Vision'2021. Západočeská univerzita, 2021. http://dx.doi.org/10.24132/csrn.2021.3002.10.

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This paper reports on a graph-based approach to enable real-time update of 3D shared elements over the networkbetween multiple artists working simultaneously on the same 3D scene. It presents an experimental framework forexploring real-time collaboration in Digital Content Creation such as animation. The framework combines a push-pull network architecture and data translation protocol with hybrid command/data replication mechanisms. Thisenables the synchronization of object components and hierarchy between multiple instances of the same DigitalContent Creation application in a non-destructive way. Conflicts between users are prevented with a strong rightmanagement system. We demonstrate the interest of such an approach by means of an application example inBlender and discuss collaborative experimental sessions outcomes over a Local Area Network and through theInternet.
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Reports on the topic "Collaborative artist"

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Zhang, Ling, Brent Holland, and Eulanda A. Sanders. Collaborative Wearable Art Design Process for Wearable Art Designers, Artists, and Industrial Designers. Iowa State University, Digital Repository, 2017. http://dx.doi.org/10.31274/itaa_proceedings-180814-1756.

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Kurzweil, Martin, and Daniel Rossman. Faculty Collaboration and Technology in the Liberal Arts: Lessons from a Teagle Grant Program. Ithaka S+R, 2018. http://dx.doi.org/10.18665/sr.306354.

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Atkinson, Dan, and Alex Hale, eds. From Source to Sea: ScARF Marine and Maritime Panel Report. Society of Antiquaries of Scotland, 2012. http://dx.doi.org/10.9750/scarf.09.2012.126.

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The main recommendations of the panel report can be summarised under four headings: 1. From Source to Sea: River systems, from their source to the sea and beyond, should form the focus for research projects, allowing the integration of all archaeological work carried out along their course. Future research should take a holistic view of the marine and maritime historic environment, from inland lakes that feed freshwater river routes, to tidal estuaries and out to the open sea. This view of the landscape/seascape encompasses a very broad range of archaeology and enables connections to be made without the restrictions of geographical or political boundaries. Research strategies, programmes From Source to Sea: ScARF Marine and Maritime Panel Report iii and projects can adopt this approach at multiple levels; from national to site-specific, with the aim of remaining holistic and cross-cutting. 2. Submerged Landscapes: The rising research profile of submerged landscapes has recently been embodied into a European Cooperation in Science and Technology (COST) Action; Submerged Prehistoric Archaeology and Landscapes of the Continental Shelf (SPLASHCOS), with exciting proposals for future research. Future work needs to be integrated with wider initiatives such as this on an international scale. Recent projects have begun to demonstrate the research potential for submerged landscapes in and beyond Scotland, as well as the need to collaborate with industrial partners, in order that commercially-created datasets can be accessed and used. More data is required in order to fully model the changing coastline around Scotland and develop predictive models of site survival. Such work is crucial to understanding life in early prehistoric Scotland, and how the earliest communities responded to a changing environment. 3. Marine &amp; Maritime Historic Landscapes: Scotland’s coastal and intertidal zones and maritime hinterland encompass in-shore islands, trans-continental shipping lanes, ports and harbours, and transport infrastructure to intertidal fish-traps, and define understanding and conceptualisation of the liminal zone between the land and the sea. Due to the pervasive nature of the Marine and Maritime historic landscape, a holistic approach should be taken that incorporates evidence from a variety of sources including commercial and research archaeology, local and national societies, off-shore and onshore commercial development; and including studies derived from, but not limited to history, ethnology, cultural studies, folklore and architecture and involving a wide range of recording techniques ranging from photography, laser imaging, and sonar survey through to more orthodox drawn survey and excavation. 4. Collaboration: As is implicit in all the above, multi-disciplinary, collaborative, and cross-sector approaches are essential in order to ensure the capacity to meet the research challenges of the marine and maritime historic environment. There is a need for collaboration across the heritage sector and beyond, into specific areas of industry, science and the arts. Methods of communication amongst the constituent research individuals, institutions and networks should be developed, and dissemination of research results promoted. The formation of research communities, especially virtual centres of excellence, should be encouraged in order to build capacity.
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