Artistic Bedfellows

Histories, Theories and Conversations in Collaborative Art Practices
 
 
University Press of America
  • 1. Auflage
  • |
  • erschienen im Dezember 2008
  • |
  • 354 Seiten
 
E-Book | PDF mit Adobe DRM | Systemvoraussetzungen
978-0-7618-4191-3 (ISBN)
 
Artistic Bedfellows is an international interdisciplinary collection of historical essays, critical papers, case studies, interviews, and comments from scholars and practitioners that shed new light on the growing field of collaborative art. This collection examines the field of collaborative art broadly, while asking specific questions with regard to the issues of interdisciplinary and cultural difference, as well as the psychological and political complexity of collaboration. The diversity of approach is needed in the current multimedia and cross disciplinarily world of art. This reader is designed to stimulate thought and discussion for anyone interested in this growing field and practice.
  • Englisch
  • Lanham
  • |
  • USA
978-0-7618-4191-3 (9780761841913)
0761841911 (0761841911)
weitere Ausgaben werden ermittelt
  • Contents
  • Acknowledgments
  • Introduction
  • Part One. HISTORIES, THEORIES AND CONVERSATIONS
  • Chapter 01. The Decoration of the Paris Panthéon by Paul Chenavard-A Particular Brotherhood
  • Chapter 02. The Calling of Two Creatures: Depression-era Collaboration and a Theory of Camera and Pen
  • Chapter 03. Creative Occupation: Collaborative Artistic Practices in Europe 1937-1943
  • Chapter 04. Collaborative Practices in Environmental Art
  • Chapter 05. Concepts of Collaborative Art in the Divided Germany of the 1960s
  • Chapter 06. "Avant-femme" or Futuristic Frauen: Collaborative Art by Women in the German Democratic Republic
  • Chapter 07. The Second Self
  • Chapter 08. "Encompassing Unboundedness": Desire and Collaborative Authorship in Carla Harryman and Lyn Hejinian's "The Wide Road"
  • Chapter 09. An Easy Alliance: A Dialogue on Methodology
  • Chapter 10. Learning from Robert Venturi and Denise Scott Brown
  • Chapter 11. Languages of Innovation
  • Chapter 12. Working Together
  • Chapter 13. Ken Friedman: A Life in Fluxus
  • Chapter 14. Temporary Bedfellows: Claes Oldenburg, Maurice Tuchman
  • Chapter 15. The Ivory Towers Were Always Connected: Interdisciplinary Dia(b)logues as Challenge and Chance
  • Chapter 16. Socially Engaged Art, Critics, and Discontents: An Interview with Claire Bishop
  • Chapter 17. "Detrimental to the Interests of the United States": Cuban Artists (Not) in Residence
  • Chapter 18. Suzanne Lacy: Oakland Projects
  • Chapter 19. Simonides in the Machine: The Art of Virtual Memory in a Pentagon-funded Initiative
  • Chapter 20. Locating a Temporary Common Space: Cultural Exchanges in Weedpatch
  • Chapter 21. "Sometimes I'm Harvey Weinstein
  • Sometimes I'm Wes Craven. The Same Goes For My Brother." The Neistat Brothers
  • Chapter 22. Having Their Cake and Eating It Too: The Case of Christo's (and Jeanne-Claude's) Im(permanence) and Exclusivity
  • Chapter 23. The Wu-wei of the 21st Century Art of Collaboration
  • Chapter 24. What is Conversational Music or "Convers"?
  • Part Two. SHORTER COMMENTS, THOUGHTS, AND PROJECTS
  • Chapter 25. Some Thoughts on Collaboration
  • Chapter 26. The Electron Buddy System
  • Chapter 27. I Always Appreciated Teamworkand Collaborations
  • Chapter 28. The Dream of a Common Language: Thoughts on Collaboration and Protest
  • Chapter 29. Observations onCollective Cultural Action
  • Chapter 30. New Social Art School
  • Chapter 31. Complicity
  • Chapter 32. Transromantik
  • Chapter 33. Collaboration
  • Chapter 34. "This Way Up": Concept and Progress
  • Chapter 35. Online Collaboration in Genomic Art
  • Chapter 36. A Robot and Its Double
  • Chapter 37. Art.es and Collaborative Projects
  • Chapter 38. My Collaborative Art
  • Chapter 39. Collaboration between Tracey Snelling and Salvador Diaz, Chicago, March 2005
  • Chapter 40. "i-Woz" and Gina
  • Chapter 41. On Collaboration
  • Index
  • Contributors

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