The Aesthetics of Artistic Collaboration

2020 ◽  
pp. 59-74
Author(s):  
Andy Hamilton
Keyword(s):  
Artistic Collaboration

Dialogism and the Theatre Event: Deborah Warner and Fiona Shaw's ‘Medea’, 2001

2004 ◽  
Vol 20 (3) ◽  
pp. 225-236
Author(s):  
Clara Armand
Keyword(s):  
Doctoral Student ◽  
Richard Ii ◽  
Abbey Theatre ◽  
Contemporary World ◽  
Dramatic Character ◽  
Artistic Collaboration ◽  
The University ◽  
Critical Social

The long-standing artistic collaboration between director Deborah Warner and actress Fiona Shaw has, argues Clara Armand, raised the powers of performance to a form of genuine authorship. Her article explores the distinctive qualities of their scenic writing as evident in the production of Medea which transferred from the Abbey Theatre to London's West End on 30 January 2001, and went on to play at the Queen's Theatre for over ten weeks. She makes comparisons between the production of Medea and those of the earlier Footfalls and Richard II, focusing on Warner's challenging ways of transforming pre-existing playtexts and theatrical spaces so as to enunciate statements about the contemporary world. Shaw's interpretation of Medea is explored with an emphasis on the actress's ability to maintain truthful identification with the dramatic character and make it reverberate with her own critical social stance as an artist. The discussion of Medea as seen at the Queen's Theatre is developed in the light of Bakhtin's concept of dialogism and related ideas. The article is complemented by the interview with Fiona Shaw which follows. Clara Armand teaches acting and directs at the Stratford Circus Theatre in Stratford East, and is currently a doctoral student at the University of Reading.

Menken, Marie (1910–1970)

2018 ◽  
Author(s):  
Juan A. Suárez
Keyword(s):  
New York ◽  
New York School ◽  
Industrial Arts ◽  
Art Students ◽  
Upstate New York ◽  
Main Work ◽  
Artistic Collaboration ◽  
Guggenheim Museum ◽  
The 1950S ◽  
National Film Board

Marie Menken was a New York-based experimental filmmaker who produced her main work during the 1950s and 1960s. Born in Brooklyn to an immigrant Lithuanian family, she attended the New York School of Fine and Industrial Arts and the Art Students’ League, where she was trained as a painter, her original vocation. After finishing her studies, she worked as a secretary to Hilla Rebay, first director and chief curator of the Museum for Non-Objective Painting (later renamed Salomon R. Guggenheim Museum). In 1936 she was granted a summer residency at the Yaddo artist colony in upstate New York, where she met Willard Maas (1907–1970), another resident, then a rising poet and editor. They married the following year and stayed together for the rest of their lives in a complex, at times embattled, relationship that led to fruitful artistic collaboration. By Maas’s own account, their interest in film was spurred by their friend Norman McLaren, the Scottish animator who lived in New York during the war years before moving to Canada to direct the Animation Division of the National Film Board.

Creative Collaboration and Online Social Media

2011 ◽  
Vol 1 (1) ◽  
pp. 1-11 ◽  
Author(s):  
Sophy Smith
Keyword(s):  
Social Media ◽  
Web 2.0 ◽  
Creative Work ◽  
Creative Collaboration ◽  
Online Social Media ◽  
Artistic Collaboration ◽  
The People ◽  
Practical Research ◽  
New Methodologies ◽  
Social Media Tools

Web 2.0 online social media tools have made it increasingly easy to communicate, cooperate, and collaborate with others online, and as such offer new frameworks for making creative work. Facebook claims that it helps members connect and share, but what if the people you want to connect and share with are your artistic collaborators? Can Facebook be used creatively, as a collaborative artistic environment? This article draws on a practical research project ‘Feedback’, carried out by the author in early 2010, exploring new methodologies for collaborative creation supported by online social media. The project focused on the creative use of Facebook as a tool for creative collaboration, establishing a possible working model of artistic collaboration using Facebook.

Esthetic Languages of the Book in Fin-de-Siècle France: Japonisme, Symbolism, and Art Nouveau in the Private Library of Henri Vever

Quaerendo ◽  
2018 ◽  
Vol 48 (3) ◽  
pp. 179-205 ◽  
Author(s):  
Willa Z. Silverman
Keyword(s):  
Nineteenth Century ◽  
Physical Space ◽  
Decorative Arts ◽  
Late Nineteenth Century ◽  
Art Nouveau ◽  
Sources Of Information ◽  
Book Design ◽  
Artistic Collaboration ◽  
Extensive Collection ◽  
Late Nineteenth

Abstract The private diaries written between 1898 and 1901 by the French jeweler, art collector, and bibliophile Henri Vever (1854-1942) provide fresh evidence about how important late-nineteenth century esthetic ‘languages’ (japonisme, Symbolism, Art Nouveau) were appropriated by artists committed to renewing the decorative arts; the diaries also address the meaning and status of books. For Vever, his extensive collection of Japanese pattern albums served, above all, a utilitarian function, as design primers and sources of information about printing and engraving techniques for craft modernizers. At the same time, included in the physical space of his ‘Japanese library’ and in line with Symbolist esthetics, Japanese books were, to Vever, suggestive bibelots, whose evocative powers were enhanced through inclusion in harmonious decors. Vever’s experiments in Art Nouveau book design, finally, reveal his additional conception of the book as both surface to be decorated and space of artistic collaboration underscoring the equality of all arts.

The Work of Art in the Age of Mechanical Production

2009 ◽  
pp. 2325-2336
Author(s):  
Thomas B. Cavanaugh
Keyword(s):  
General Population ◽  
Walter Benjamin ◽  
Work Of Art ◽  
Cultural Changes ◽  
Mechanical Reproduction ◽  
Artistic Collaboration ◽  
Electronic Distribution ◽  
Low Threshold

When Walter Benjamin wrote his famous essay The Work of Art in the Age of Mechanical Reproduction, he shone a light on the cultural changes inherent in technology’s ability to infinitely reproduce and distribute art. One of the important consequences of this development was the democratization of art’s availability, allowing the general population to experience artwork that they would otherwise be unable to access. Now technology has advanced to a point where not only is art’s reproduction available to anyone who wants it, its very production is now accessible to almost everyone, even if the prospective artist is utterly devoid of training, expertise, or even talent. With software-based artistic assistance and low-threshold electronic distribution mechanisms, we have achieved the promise of Benjamin’s blurred distinction between artist and audience. As a result, the process by which art is produced has now been democratized, resulting in legitimate questions regarding quality, taste, and the legitimacy of authorship in a human-technological artistic collaboration.

Performance and the philosopher’s costume: Richard Shusterman as the Man in Gold

2020 ◽  
Vol 5 (1) ◽  
pp. 13-31
Author(s):  
Eric Mullis
Keyword(s):  
Public Performance ◽  
Philosophical Inquiry ◽  
Interdisciplinary Field ◽  
Artistic Collaboration ◽  
Movement Performance

This article discusses philosopher Richard Shusterman’s artistic collaboration with Yann Toma which entails the use of costume, photography and public performance. The project advances the interdisciplinary field of somaesthetics and raises questions about conventions of professional philosophy, including what philosophers conventionally wear and how philosophical inquiry is advanced. Aspects of costume theory and contemporary movement performance are used to analyse Shusterman’s autobiographical methodology and the project’s performative aims.

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