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A Study of Artistic Collaborations

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A Study of Artistic Collaborations View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of Tasmania Open Access Repository Partnership or Perish? A Study of Artistic Collaborations by Margaret Baguley Grad.Dip.Teach(Sec.), Grad.Dip.Arts, BAVA, MA Submitted in partial fulfilment of the requirements for the Degree of Doctor of Philosophy University of Tasmania August, 2007 Volume 1/3 Declaration of Originality This thesis contains no material that has been accepted for a degree or diploma by the University or any other institution, except by way of background information and duly acknowledged in the thesis, and to the best of my knowledge and belief no material previously published or written by another person except where due acknowledgment is made in the text of the thesis. Signed: Date: ii Permission to Copy This thesis may be available for loan and limited copying in accordance with the Copyright Act 1968. Signed: Date: iii Acknowledgements I would like to acknowledge the support and kind assistance of my supervisory team: Professor Vincent McGrath, Head of School of Visual & Performing Arts, University of Tasmania for his perceptive insights into issues concerning the ego and the art world; Dr Deborah Malor, Theory Program/Honours & Postgraduate Coordinator, School of Visual and Performing Arts, University of Tasmania for her theoretical knowledge and structural expertise; Mr Malcom Bywaters, Academy Gallery Director, School of Visual & Performing Arts, University of Tasmania for his unfailing guidance and support during the creation of the Partnership or Perish? exhibition; Mr Martin Kelly, Retired Lecturer in Ceramics & Asian Art History, Queensland University of Technology, who has been a wonderful mentor from the very beginning. I would also like to thank: Professor Kay Lawrence, University of South Australia and the State and Territory Embroidery Guilds of Australia who generously gave of their time and allowed me to obtain and use information; Susie Shears, Director of the Victorian Tapestry Workshop, and the wonderful weavers and administrative team who made me feel so welcome; Jennifer Turpin & Michaelie Crawford; Denise Sprynskyj & Peter Boyd; John Vella; Geoffrey Ricardo; Sue Batten and John Dicks and their contribution to the Partnership or Perish? exhibition; Associate Professor Margaret Barrett who is an inspirational role model; Tammy Jones who is a wonderful friend and computer guru; and finally, but certainly not least, to my husband Martin Kerby who has constantly encouraged and supported my academic endeavours from near and afar and loved me through it all. iv Abstract Though collaboration has been evident throughout the history of art, the purpose of this study was to examine the process and structures of collaborative artistic practices that have re-emerged in the contemporary art world. In framing this research various factors which have impacted on the re-emergence of collaborative artistic practices – the role of the artist, the perception of art making, and societal and cultural influences were also considered. Three case studies were utilised for this research: the Parliament House Embroidery (1984 – 1988); the Victorian Tapestry Workshop (1976 - ); and the Partnership or Perish? exhibition (2006). The extensive documentation and archival resources available affected the choice of the first two case studies, with the third being chosen due to my curatorial role in the Partnership or Perish? exhibition. All of the case studies have been publicly acknowledged as being the result of a collaborative process. Each of the case studies provided insights into the process of collaboration and the characteristics necessary for a successful and sustainable artistic collaboration. The data gained through observation, interviews, and collation as well as QSR computer software analysis from the selected case studies, when coupled with information gained from current literature on artistic collaborative practices was utilised to formulate a model for collaboration. These findings were compared and contrasted to collaborative processes operating in various sectors such as the arts, technology, the community and education. The findings present an extensive list of factors and characteristics which are essential in initiating and maintaining a collaborative process, resulting in a recommended arts model for those wishing to engage in the collaborative process. v Table of Contents: Volume 1 Declaration of Originality ______________________________________________ii Permission to Copy___________________________________________________ iii Acknowledgements___________________________________________________ iv Abstract_____________________________________________________________v Table of Contents: Volume 1___________________________________________ vi Tables & Figures ____________________________________________________ ix Tables ________________________________________________________________ ix Figures________________________________________________________________ ix Chapter 1: Studies of Collaboration ______________________________________1 Background to the Study ________________________________________________________3 Changing Role of the Artist ______________________________________________________4 Perceptions of Art Making _______________________________________________________4 Groups and Leadership _________________________________________________________5 Main Objective of the Study______________________________________________________6 Research Questions ____________________________________________________________6 Design of the Study ____________________________________________________________7 Qualitative Research Rationale ___________________________________________________7 Case Study Attributes___________________________________________________________7 Phenomenology _______________________________________________________________8 Methods _____________________________________________________________________8 Study Participants _____________________________________________________________9 Contemporary Art Context______________________________________________________11 Timeline for the Study _________________________________________________________12 Definition of Terms ___________________________________________________________13 Limitations of the Study ________________________________________________________13 Conclusion __________________________________________________________________14 Chapter 2: Understandings of Collaboration ______________________________15 What is Collaboration? ________________________________________________________15 Collaboration and Contemporary Art _____________________________________________28 Community & Public Art _______________________________________________________34 Social and Cultural Influences on Collaborative Practice _____________________________40 The Changing Role of the Artist__________________________________________________43 Art Making and Gender ________________________________________________________49 The Perception of Art Making ___________________________________________________56 Collaboration and Relationships _________________________________________________59 Social systems and Art _________________________________________________________65 Individuality, Ego, Authorship___________________________________________________73 Conclusion __________________________________________________________________75 Chapter 3: Practices of Collaboration____________________________________78 The Arts ____________________________________________________________________78 Technology__________________________________________________________________83 Community__________________________________________________________________89 Education___________________________________________________________________94 Cross-sector Collaboration _____________________________________________________98 Group Dynamics ____________________________________________________________101 Group Work and Leadership ___________________________________________________103 Creativity and Collaboration___________________________________________________106 Groups and Collaboration_____________________________________________________108 vi Collaborative Models in the Arts ________________________________________________122 Conclusion _________________________________________________________________128 Chapter 4: Investigating Collaboration _________________________________129 Case Study & Phenomenology__________________________________________________130 Validity____________________________________________________________________135 Data Analysis_______________________________________________________________137 Reflexivity__________________________________________________________________139 The Purpose of the Case Studies ________________________________________________141 The Participants_____________________________________________________________143 The Researcher _____________________________________________________________143 Methods and Techniques ______________________________________________________147 Implementation of Interviews___________________________________________________153 Parliament House Embroidery _________________________________________________153 Victorian Tapestry Workshop __________________________________________________153 Partnership or Perish? exhibition _______________________________________________155 Recording the Interviews ______________________________________________________156
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