Add to ORKGThis essay uses new archival sources to reconstruct the aesthetics – and ethics – of collaboration at Gyorgy Kepes’s Center for Advanced Visual Studies at MIT during the Cold War. Exploring how the Center's artistic ambitions became entangled with military agendas, this essay reveals two contradictory models of interdisciplinary exchange – one based on complicity, the other based on conversion – and examines the conflicts that arose from this double bind
This essay poses the question ‘who are the we in collaboration’? At a time when the rhetoric of coll...
Technocrats of the Imagination traces the rise of collaborative art and technology labs in the U.S. ...
This essay explores the ways in which artists re-examined the status of institutions in the late 196...
The proliferation of art-science collaboration in contemporary art necessitates a critical history. ...
In North America, there are over one hundred programs and labs committed to collaborative experiment...
This collection gathers interdisciplinary essays investigating the complex cultural phenomenon of co...
In North America, there are currently over 100 programs and labs committed to collaborative experime...
In the wake of the Second World War, John Cage, Robert Rauschenberg and other members of the New Yor...
During the early Cold War, a polarised view of artistic practice in the United States and the Soviet...
Who is the collaborator, or in whose eyes? What is the motivation to collaborate: for material gain,...
Cornford & Cross were invited to contribute a paper for a special edition of ���Third Text��� focuse...
This dissertation looks at artists whose work was closely aligned with research and pedagogy in the ...
This special issue will explore the relationship between post-1945 literature and the problem of com...
This thesis begins with the question of whether a collaborative art practice inspired by, or drawing...
Collaborators can ask various questions of each other. What’s the product? Who’s doing what? How do ...
This essay poses the question ‘who are the we in collaboration’? At a time when the rhetoric of coll...
Technocrats of the Imagination traces the rise of collaborative art and technology labs in the U.S. ...
This essay explores the ways in which artists re-examined the status of institutions in the late 196...
The proliferation of art-science collaboration in contemporary art necessitates a critical history. ...
In North America, there are over one hundred programs and labs committed to collaborative experiment...
This collection gathers interdisciplinary essays investigating the complex cultural phenomenon of co...
In North America, there are currently over 100 programs and labs committed to collaborative experime...
In the wake of the Second World War, John Cage, Robert Rauschenberg and other members of the New Yor...
During the early Cold War, a polarised view of artistic practice in the United States and the Soviet...
Who is the collaborator, or in whose eyes? What is the motivation to collaborate: for material gain,...
Cornford & Cross were invited to contribute a paper for a special edition of ���Third Text��� focuse...
This dissertation looks at artists whose work was closely aligned with research and pedagogy in the ...
This special issue will explore the relationship between post-1945 literature and the problem of com...
This thesis begins with the question of whether a collaborative art practice inspired by, or drawing...
Collaborators can ask various questions of each other. What’s the product? Who’s doing what? How do ...
This essay poses the question ‘who are the we in collaboration’? At a time when the rhetoric of coll...
Technocrats of the Imagination traces the rise of collaborative art and technology labs in the U.S. ...
This essay explores the ways in which artists re-examined the status of institutions in the late 196...