The Twenty-Seventh Annual
National Conference on Liberal Arts
and the Education of Artists
Collaboration in the arts
Keynote speaker: Bettina Funcke
Bettina Funcke, author of Pop or Populus: Art between High and Low (Sternberg Press, 2009) is an independent writer and member of the faculty in the Masters Program of Critical Theory and the Arts, School of Visual Arts. She has published widely in contemporary art journals and artist monographs. She recently edited 100 Notes—100 Thoughts, the dOCUMENTA (13) publication series.
Keynote address: Collaboration and Convergence
Conference dates: October 16-18, 2013
Place: The Roosevelt Hotel, New York City
June 17: 200-word proposal and publication-ready 50-word abstract due
July 15: $75.00 non-refundable deposit due, applicable to the registration fee
September 23: $275.00 registration fee due
What is collaboration in the arts? Much depends on definition. Do we begin by apologizing because the word has been tainted by naming political wrong-doing? Do we admit that collaboration has either been a modest enterprise, or an ambitious dream? While it may be the oldest way of making art, collaboration unsettles many moderns, running afoul of the preferred Western model of individual authorship. Or, instead, should we boast the power of collaboration because it does stake out territory threatening to critical and curatorial practices, legal and business transactions – copyright, a centralized publishing industry – and the super star artist. The money and status at stake are enough to give pause: collaborate, collaboration, collaborator are loaded terms: in which direction shall we aim?
Historically, no art form – visual, written or performance – has ever been entirely free from the borrowing, citing, appropriating, manufacturing, synthesizing of idea, technique and image that underpin creation and knowledge. How many artists, from Homer to Koons, have ever produced a work entirely free from the minds and hands of others, living or dead, local or global?
Prompted by social activism, idealist theory, the need to share resources, the availability of Internet collaborative authoring tools, and delight in radical transformations, the arts and artists converge. Fine art takes on biology; the novel begets graphic images. Writing and teaching collaboratively are more hip than playing exquisite corpse while collaboration with ancestors, joint ventures between artists and strategies for promoting intellectual engagement to overcome politics, money, social fragmentation and global xenophobia create possibilities for sharing that emphasize invention and co-operation. We need to re-define this clunky, suspect old word, collaboration.
This conference will provide a forum to discuss collaboration, historically and culturally from ancient to modern times. Presentations may include, but are not limited to topics such as: activism; the art market; identity; evaluation, recognition and rewards; originality and ownership; working processes; teaching and pedagogy; resources; technology; experimental schools, artist-to-artist collaborations; collaborative poetry; fiction; writing practices; convergence of the arts.
Please forward abstract and proposal to: Laurie Johenning, conference coordinator, firstname.lastname@example.org Humanities and Sciences Department, School of Visual Arts, 209 East 23 Street, New York, NY 10010. For information contact: Dr. Maryhelen Hendricks, conference director, email@example.com, 212-592-2625.