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Utgivning, distribution etc. University Press of America , Lanham, MD ; 2008 : 2008
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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.
Acknowledgments p. vii Introduction p. ix Histories, Theories and Conversations The Decoration of the Paris Pantheon by Paul Chenavard-A Particular Brotherhood p. 3 The Calling of Two Creatures: Depression-era Collaboration and a Theory of Camera and Pen p. 14 Creative Occupation: Collaborative Artistic Practices in Europe 1937-1943 p. 27 Collaborative Practices in Environmental Art p. 60 Concepts of Collaborative Art in the Divided Germany of the 1960s p. 64 "Avant-femme" or Futuristic Frauen: Collaborative Art by Women in the German Democratic Republic p. 76 The Second Self p. 92 "Encompassing Unboundedness": Desire and Collaborative Authorship in Carla Harryman and Lyn Hejinian's "The Wide Road" p. 98 An Easy Alliance: A Dialogue on Methodology p. 108 Learning from Robert Venturi and Denise Scott Brown p. 116 Languages of Innovation p. 127 Working Together p. 139 Ken Friedman: A Life in Fluxus p. 145 Temporary Bedfellows: Claes Oldenburg, Maurice Tuchman and Disney p. 187 The Ivory Towers Were Always Connected: Interdisciplinary Dia(b)logues as Challenge and Chance p. 199 Socially Engaged Art, Critics, and Discontents: An Interview with Claire Bishop p. 202 "Detrimental to the Interests of the United States": Cuban Artists (Not) in Residence p. 210 Suzanne Lacy: Oakland Projects p. 218 Simonides in the Machine: The Art of Virtual Memory in a Pentagon-funded Initiative p. 232 Locating a Temporary Common Space: Cultural Exchanges in Weedpatch p. 237 "Sometimes I'm Harvey Weinstein; Sometimes I'm Wes Craven. The Same Goes For My Brother." The Neistat Brothers p. 248 Having Their Cake and Eating It Too: The Case of Christo's (and Jeanne-Claude's) Im(permanence) and Exclusivity p. 255 The Wu-wei of the 21st Century Art of Collaboration p. 262 What is Conversational Music or "Convers"? p. 266 Shorter Comments, Thoughts and Projects Some Thoughts on Collaboration p. 277 The Electron Buddy System p. 283 I Always Appreciated Teamwork and Collaborations p. 285 The Dream of a Common Language: Thoughts on Collaboration and Protest p. 287 Observations on Collective Cultural Action p. 289 New Social Art School p. 292 Complicity p. 294 Transromantik p. 296 Collaboration p. 299 "This Way Up": Concept and Progress Chris Fite-Wassilak p. 301 Online Collaboration in Genomic Art p. 302 A Robot and Its Double p. 305 Art.es and Collaborative Projects p. 308 My Collaborative Art p. 312 Collaboration between Tracey Snelling and Salvador Diaz, Chicago, March 2005 p. 313 "i-Woz" and Gina p. 315 "It seems simple, but it is not." p. 316 Index p. 317 Contributors p. 331