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Creative Collectives follows the artistic and ideological journeys of two groups of northern California Chicana artists involved in collectives which created complex images whose powerful visual social commentary sprang from the daily experiences of their lives.
Collective Creativity offers an analysis of the explosion of artistic creativity currently taking place on the South Pacific island of Rarotonga. By exploring the construction of this art-world through the ways in which creativity and innovation are linked to social structures and social networks, this book investigates the social aspects of making fine art in order to present a ’collective’ theory of creativity. With a close examination of tourism, galleries and, of course, the artists themselves, Katherine Giuffre presents a detailed picture of a complex and multi-faceted community through the words of the art-world participants themselves. Theoretically sophisticated, yet grounded with rich empirical data, this book will appeal not only to anthropologists with an interest in the South Pacific, but also to scholars concerned with questions of ethnicity, creativity, globalization and network analysis.
Collective Creativity combines complex and ambivalent concepts. While ‘creativity’ is currently experiencing an inflationary boom in popularity, the term ‘collective’ appeared, until recently, rather controversial due to its ideological implications in twentieth-century politics. In a world defined by global cultural practice, the notion of collectivity has gained new relevance. This publication discusses a number of concepts of creativity and shows that, in opposition to the traditional ideal of the individual as creative genius, cultural theorists today emphasize the collaborative nature of creativity; they show that ‘creativity makes alterity, discontinuity and difference attractive’. Not the Romantic Originalgenie, but rather the agents of the ‘creative economy’ appear as the new avant-garde of aesthetic innovation: teams, groups and collectives in business and science, in art and digital media who work together in networking clusters to develop innovative products and processes. In this book, scholars in the social sciences and in cultural and media studies, in literature, theatre and visual arts present for the first time a comprehensive, inter- and transdisciplinary account of collective creativity in its multifaceted applications. They investigate the intersections of artistic, scientific and cultural practice where the individual and the collective merge, come together or confront each other.
Twenty-five leading artist duos and collectives give insight into how and why to work collaboratively Art history is traditionally presented as the individual's struggle for self-expression, yet over the past fifty years, the number of artists working collaboratively has grown exponentially. Co-Art: Artists on Creative Collaboration explores this phenomenon through conversations with twenty-five leading art-world pairs and groups, who offer insight that is relevant beyond the art world, making this book vital for all who seek to work creatively and effectively with others. Artists featured: Allora & Calzadilla, Assemble, Auguste Orts, ayr, Biggs & Collings, Broomberg & Chanarin, ChimPom, Claire Fontaine, DAS INSTITUT, DIS, Elmgreen & Dragset, Eva & Franco Mattes, GCC, Gelitin, Guerrilla Girls, Iain Forsyth and Jane Pollard, Jane and Louise Wilson, John Wood and Paul Harrison, LaBeouf, Rönkkö & Turner, Lizzie Fitch/Ryan Trecartin, Los Carpinteros, Pauline Boudry/Renate Lorenz, Raqs Media Collective, SUPERFLEX
This book focuses attention on groups of performing people that are unique aesthetic objects, the focus of an artist’s vision, but at the same time a collective being; a singular, whole mass that exists and behaves like an individual entity. This text explores this unique experience, which is far from rare or special. Indeed, it is pervasive, ubiquitous and has, since the dawn of performance, been with us. Surveying installation art from Vanessa Beecroft & Kanye West, Greek tragedy, back-up dancing groups and even the mass dance of clubbing crowds, this text examines and names this phenomenon: Aesthetic Collectives. Drawing on a range of methods of investigation spanning performance studies, acting theory, studies of atmosphere and affect and sociology it presents an intervention in the literature for something that has long deserved its own attention. This book will be of great interest to scholars, students and practitioners in performance studies, theatre, live art, sociology (particularly of groups and subcultures), cultural studies and cultural geography.
This book documents the rise in youth creativity, entrepreneurship, and collective strategies to address systemic barriers and discrimination in the creative industries and create an expanded, more diverse, inclusive, equitable, and caring field. Although the difficulties of entering and making a living in the creative industries—a field which can often perpetuate dominant patterns of social exclusion and economic inequality—are well documented, there is still an absence of guidance on how young creatives can navigate this environment. Foregrounding an intersectional approach, Reimagining the Creative Industries responds to this gap by documenting the work of contemporary youth collectives and organizations that are responding to these systemic barriers and related challenges by creating more caring and community-oriented alternatives. Mobilizing a care ethics framework, Miranda Campbell underscores forms of care that highlight relationality, recognize structural barriers, and propose new visions for the creative industries. This book posits a future where creativity, collaboration, and community are possible through increased avenues for co-creation, teaching and learning, and community engagement. Anyone interested in thinking critically about the creative industries, youth culture, community work, and creative employment will be drawn to Campbell's incisive work.
'Living as Form' grew out of a major exhibition at Creative Time in New York City. Like the exhibition, the book is a landmark survey of more than 100 projects selected by a 30-person curatorial advisory team; each project is documented by a selection of colour images.
The Cultural Politics of Jazz Collectives: This Is Our Music documents the emergence of collective movements in jazz and improvised music. Jazz history is most often portrayed as a site for individual expression and revolves around the celebration of iconic figures, while the networks and collaborations that enable the music to maintain and sustain its cultural status are surprisingly under-investigated. This collection explores the history of musician-led collectives and the ways in which they offer a powerful counter-model for rethinking jazz practices in the post-war period. It includes studies of groups including the New York Musicians Organization, Sweden’s Ett minne för livet, Wonderbrass from South Wales, the contemporary Dutch jazz-hip hop scene, and Austria‘s JazzWerkstatt. With an international list of contributors and examples from Europe and the United States, these twelve essays and case studies examine issues of shared aesthetic vision, socioeconomic and political factors, local education, and cultural values among improvising musicians.
Why can some organizations innovate time and again, while most cannot? You might think the key to innovation is attracting exceptional creative talent. Or making the right investments. Or breaking down organizational silos. All of these things may help—but there’s only one way to ensure sustained innovation: you need to lead it—and with a special kind of leadership. Collective Genius shows you how. Preeminent leadership scholar Linda Hill, along with former Pixar tech wizard Greg Brandeau, MIT researcher Emily Truelove, and Being the Boss coauthor Kent Lineback, found among leaders a widely shared, and mistaken, assumption: that a “good” leader in all other respects would also be an effective leader of innovation. The truth is, leading innovation takes a distinctive kind of leadership, one that unleashes and harnesses the “collective genius” of the people in the organization. Using vivid stories of individual leaders at companies like Volkswagen, Google, eBay, and Pfizer, as well as nonprofits and international government agencies, the authors show how successful leaders of innovation don’t create a vision and try to make innovation happen themselves. Rather, they create and sustain a culture where innovation is allowed to happen again and again—an environment where people are both willing and able to do the hard work that innovative problem solving requires. Collective Genius will not only inspire you; it will give you the concrete, practical guidance you need to build innovation into the fabric of your business.