Conclusion: Collaborative Art Praxis and Contemporary Art Experiments

2020 ◽  
pp. 203-220
Author(s):  
Atteqa Ali
Keyword(s):  
Contemporary Art ◽  
Collaborative Art

Building school community through cross-grade collaborations in art

2020 ◽  
Vol 16 (3) ◽  
pp. 351-370 ◽  
Author(s):  
Kristin Vanderlip Taylor
Keyword(s):  
United States ◽  
School Districts ◽  
Qualitative Study ◽  
Contemporary Art ◽  
Communication Skills ◽  
Teaching And Learning ◽  
Positive Impact ◽  
The United States ◽  
Age Group ◽  
Collaborative Art

This qualitative study examines multiple collaborative art experiences across ages and classrooms during two years at a suburban public school in one of the largest school districts in the United States. Students in two middle-school elective art courses engaged in contemporary art education projects to strengthen visual and verbal communication skills as they partnered with younger peers in primary grades, including the following activities: collaborative earthworks, toy designs and mixed-up animal sculptures. These multi-age socially-constructive art experiences provided students with opportunities to build community across campus while interacting with each other and the artwork co-created. Observations and noted responses via reflection from students indicated positive impact on both communication and collaboration through bidirectional teaching and learning, with students in each age group requesting more opportunities for cross-grade collaborative experiences.

Coexistent ruins: Exploring Iraq’s Mesopotamian past through contemporary art

2021 ◽  
Vol 15 (1-2) ◽  
pp. 221-238
Author(s):  
Hanaa Malallah
Keyword(s):  
Contemporary Art ◽  
Collaborative Research ◽  
Local Community ◽  
Archaeological Sites ◽  
Critical Question ◽  
Art Students ◽  
Post Conflict ◽  
Collaborative Art ◽  
Knowledge Economies ◽  
Local Residents

The project will initiate and conduct interdisciplinary, expanded media, collaborative research at four ancient sites in Iraq, Mesopotamia: Ur, Babylon, Nippur and Nimrud as well as, through a series of workshops, talks, exhibitions and online coverage with the specific aim of exploring the critical question of how contemporary collaborative art projects conducted at these key archaeological sites can enable a re-engagement with this ancient heritage and history, facilitating a greater engagement with that past and thereby contribute to the local tourism and knowledge economies at these locations. A female lead artist at each of the sites will facilitate a socially engaged programme that will utilize creative responses at these repeatedly colonized sites with participation from local residents, visitors to the sites and female art students; the programme aims to generate a renewed interest in the significance of this ancient heritage. The main aim is for this project to enable the small museums at these sites, which have been neglected for many years, to become more responsive to the needs of the local community. It intends to help with issues of post-conflict healing and reconciliation addressing issues of postcolonial conflict and survival.

“Insurgence”

2017 ◽  
pp. 210-223
Author(s):  
Teresa Torres Eca ◽  
Angela Saldanha ◽  
Ana Maria Barbero Franco
Keyword(s):  
Contemporary Art ◽  
Learning Experience ◽  
Community Art ◽  
Art Educators ◽  
Artistic Process ◽  
The Arts ◽  
Political Events ◽  
Art Practices ◽  
Collaborative Art ◽  
Pedagogical Approaches

When engaging in contemporary community art practices, art educators question and reflect upon daily life aesthetics, creating micro-narratives and provoking actions through poesis and metaphors. Performative practices converge in political events using hybrid languages in-between the borders of various fields where educational practices may be generated through participatory research and collaborative art processes. In this chapter we describe several practices and strategies of activism related to art education research by the authors with intention of promoting socially engaged justice through artistic process in the community. The strategies employed by the authors are based on collaborative pedagogical approaches adopted from contemporary art practices and artistic tools, such as collaborative sketchbooks, kilts, drifts, drawing festivals and online exhibitions. These approaches promote shared learning experience and democratic participation through the arts, and ultimately help to develop community cohesion, solidarity and social justice.

Screen Presence

2016 ◽  
Author(s):  
Stephen Monteiro
Keyword(s):  
Contemporary Art ◽  
Social Contexts ◽  
Popular Media ◽  
Andy Warhol ◽  
Film Culture ◽  
Artistic Practice ◽  
Popular Film ◽  
Robert Rauschenberg ◽  
Mona Hatoum ◽  
Source Materials

Cinema plays a major role in contemporary art, yet the deeper influence of its diverse historical forms on artistic practice has received little attention. Working from a media and cultural studies perspective, Screen Presence explores the intersections of film, popular media, and art since the 1950s through the examples of four pivotal figures – Andy Warhol, Robert Rauschenberg, Mona Hatoum and Douglas Gordon. While their film-related works may appear primarily as challenges to conventional cinema, these artists draw on overlooked forms of popular film culture that have been commonplace, and even dominant, in specific social contexts. Through analysis of a range of examples and source materials, Stephen Monteiro demonstrates the dependence of contemporary artists on cinema’s shifting applications and interpretations, offering a fresh understanding of the enduring impact of everyday media on how we make and view art.

Screening Statues

2017 ◽  
Author(s):  
Steven Jacobs ◽  
Susan Felleman ◽  
Vito Adriaensens ◽  
Lisa Colpaert
Keyword(s):  
Contemporary Art ◽  
Three Dimensional ◽  
Interdisciplinary Approach ◽  
Film History ◽  
Two Dimensional ◽  
Artistic Practice ◽  
Experimental Art ◽  
Broad Scope ◽  
Art Practices ◽  
Extensive Reference

Sculpture is an artistic practice that involves material, three-dimensional, and generally static objects, whereas cinema produces immaterial, two-dimensional, kinetic images. These differences are the basis for a range of magical, mystical and phenomenological interactions between the two media. Sculptures are literally brought to life on the silver screen, while living people are turned into, or trapped inside, statuary. Sculpture motivates cinematic movement and film makes manifest the durational properties of sculptural space. This book will examine key sculptural motifs and cinematic sculpture in film history through seven chapters and an extensive reference gallery, dealing with the transformation skills of "cinemagician" Georges Méliès, the experimental art documentaries of Carl Theodor Dreyer and Henri Alekan, the statuary metaphors of modernist cinema, the mythological living statues of the peplum genre, and contemporary art practices in which film—as material and apparatus—is used as sculptural medium. The book’s broad scope and interdisciplinary approach is sure to interest scholars, amateurs and students alike.

Transformative Encounters and Uncanny Intimacies: Biotechnology and Contemporary Art – A Practitioner's Approach and Perspective

Somatechnics ◽  
2012 ◽  
Vol 2 (2) ◽  
pp. 263-283 ◽  
Author(s):  
Svenja J. Kratz
Keyword(s):  
Tissue Culture ◽  
Human Skin ◽  
Contemporary Art ◽  
Skin Equivalent ◽  
Biomedical Innovation ◽  
Equivalent Models ◽  
Science Projects ◽  
Insight Into ◽  
Human Skin Equivalent

Abstract: Presented from an ArtScience practitioner's perspective, this paper provides an overview of Svenja Kratz's experience working as an artist within the area of cell and tissue culture at QUT's Institute of Health and Biomedical Innovation (IHBI). Using The Absence of Alice, a multi-medium exhibition based on the experience of culturing cells, as a case study, the paper gives insight into the artist's approach to working across art and science and how ideas, processes, and languages from each discipline can intermesh and extend the possibilities of each system. The paper also provides an overview of her most recent artwork, The Human Skin Equivalent/Experience Project, which involves the creation of personal jewellery items incorporating human skin equivalent models grown from the artist's skin and participant cells. Referencing this project, and other contemporary bioart works, the value of ArtScience is discussed, focusing in particular on the way in which cross-art-science projects enable an alternative voice to enter into scientific dialogues and have the potential to yield outcomes valuable to both disciplines.

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