Overview
Based on over a decade of collective teaching, this volume explores the hybrid use of online and in-person collaboration as a means of offering international experience to university-level arts students. Illustrated with photographs, screenshots, diagrams, posters, and examples of collaborative student art projects, this book inspires reflection on teaching methodologies and student artmaking strategies across cultures and languages. Pedagogical and methodological topics trace an evolution of curricular approaches and the use of evolving online platforms. Examples of themes and visual strategies demonstrate the power of student-directed collaborative learning. Diverse voices have been gathered through research conducted with educators and alumni connected to the International Art Collaborations Network (INTAC), providing perspectives on working collaboratively in a global context. Student projects exemplify responses to the challenges of communication and creation that come with distanced artistic partnerships. Chapters end with suggested points for conversation, whether between educators, students of art education, or students entering collaborations. Although based on experiences in the visual arts, the ideas and methods are applicable to others engaging in inter-institutional education or online collaborative practices.
Full Product Details
Author: Peter Sramek , Giselle Mira-Diaz , Charisse Fung
Publisher: Intellect
Imprint: Intellect Books
Weight: 1.089kg
ISBN: 9781835950678
ISBN 10: 1835950671
Pages: 376
Publication Date: 07 February 2025
Audience:
Professional and scholarly
,
Professional & Vocational
Format: Paperback
Publisher's Status: Active
Availability: Out of stock 
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Table of Contents
Acknowledgements About this Book Introduction Circles of Engagement A Brief History Finding Possibilities Developing a Programme Reviewing the Decade Why International? Why Collaboration? The Importance of Global Connections Situating the International in Art Education Cultural Diversity and Global Awareness Collaboration as a Key ‘Catalyzing Change’ Dr. Juha Suonpää, TAMK (Finland) Questions and Challenges (2) Discovering Collaborative Practices Enabling Interaction Coming to Collaboration ‘Contemporary and Historical Models: Virtual art collaborations, artistic collectives, and exchanges across borders’ Giselle Mira-Diaz (INTAC) ‘Collective Body 2008–2020’ Prof. Patricia Azevedo UFMG (Brasíl) and Prof. Clare Charnley LBU (UK) Questions and Challenges (3) Setting the Stage Key Ground Rules Preparing Students for Collaboration Modes of Speaking Facilitation: Following the student process Questions and Challenges (4) Collaborative Programme Models Organic Networking Short-Term Projects Intensives Workshop Travel Extending Engagements The INTAC Model Shared Events Questions and Challenges (5) Pedagogy and Educators A Broader Conception of Teaching Enabling Student Experience Why do faculty do it? ‘Why INTAC Participants DO Activate their Cameras?: The Importance of Collaboration in Emancipatory Education’ Prof. Sofía Sienra Chaves, UAEMex (Mexico) ‘Trusting the Process’ Prof. Meera Margaret Singh, OCADU (Canada) ‘poetry of transience’ Prof. Walter Bergmoser, UE (Germany) Questions and Challenges (6) Addressing Institutional Contexts Institutional Support Barriers Inter-institutional Territories Complex Diversity Working with Matched Partnerships Questions and Challenges (7) Engaging Global Themes Defining Thematics Arriving at Meaningful Projects Global Themes ‘Let’s think about the journey of bananas’ Phuong Hoang, RMIT (Vietnam) / UE (Germany) Questions and Challenges (8) Bridging Diverse Contexts How Different is Difference? Understanding Difference Working Across Languages Visual Language Diverse Learning Environments Building Bridges Considerations of travel ‘Metaverse & INTAC: The Dilemma & Breakthrough of Chinese Students’ Dr. Liu Fan, WTU (China) ‘Art Over Language’ Prof. Silas Fong, CAU (South Korea) Questions and Challenges (9) The Dynamics of the Student Experience Student Voices Motivations Challenges for Collaboration Alumni Recommendations Learning Outcomes Alumni Interviews Participant Manifesto: Ground Rules for Collaborators Questions and Challenges (10) Student Collaboration in Practice Approaches to Collaborative Artmaking Experiments in a Digital World Collaborative Strategies The Physical–Virtual Interface Collective Body Projects: 2008–20 Threads Between Partners ‘Second on the Right and Keep on Going…’ Prof. Patricia Azevedo, UFMG (Brasil) and Prof. Clare Charnley, LBU (UK) Face-to-Face The Impact of Meeting Exhibitions Workshops and Debriefing Sessions Social and Cultural Activities Online Exhibition Inhabiting the Online Space Transitioning to Virtual Presentation Animating the Virtual Exhibition Experience INTAC on Kunstmatrix.com Activating the Online Space A Decade of Evolving Online Options Meaningful Virtual Interaction Negotiating Online Platforms Selecting Workspaces Platform Options Acceptance of Online Platforms Ensuring Dynamic Online Spaces Online Activities Student Agency in Online Channels The Question of Visibility It’s about the communication Questions and Challenges (15) Modelling the Future An Expanded Vision A Sustainable Scenario Expanding Collaborative Networks Questions and Challenges (16) Appendices Appendix A – Key Alumni Survey Data Appendix B – Chronologies Partners Notes on Authors and Contributors List of Figures Index
Reviews
'A timely and deeply researched, thoughtfully presented, visually stunning book... While this book is primarily meant for post-secondary studio settings, it will serve many, resonating not only with those wishing to explore international collaboration, but also those who wish to re-engage the multi-cultural, -lingual, -gendered, etc., individual students in art classrooms. The voices here — authors and other contributors which include fellow educators and students —are impassioned; the energy is palpable and as such it invokes a much-needed re-action. Modelling International Collaborations is authored by an equally appealing group. [...] The make-up of this author/co-researcher group speaks to their acknowledged regard for developing the collective capacity in/for student/faculty classroom activation and exhibition building.' -- Dr. Pam Patterson, Canadian Review of Art Education
Author Information
Peter Sramek is a visual artist with a practice in photography and book arts and as Professor at OCAD University in Canada (now emeritus), he has worked to develop innovative curriculum in the arts over more than four decades. Since 2010, development of the International Art Collaborations network has been a key focus for his ongoing efforts to expand experiential and cross-cultural learning opportunities for students. His book, ‘Piercing Time: Paris After Marville and Atget 1865–2012’ is published by Intellect Books. Giselle Mira-Diaz is an artist and art educator based in Chicago, USA. She participated in INTAC from 2015–17 while at OCAD University and throughout her master’s research in Art Education at School of the Art Institute of Chicago (2017–19, MAAE). Today she is part of the INTAC team as the Archive Project Analyst, active throughout the research for this book along with being co-facilitator for the INTAC Sustainability Jams 2022 and 2023. Giselle is currently completing an MFA in Photography at Columbia College Chicago where she is the 2023 recipient of the Stuart Abelson Graduate Research Fellowship and working as an Education Assistant at the Museum of Contemporary Photography. Her main artistic and research interest is the use of audio, film and photography to document and create a living archive of oral histories from marginalized communities who have traditionally been erased through migration or displacement. Charisse Fung is an INTAC alumna who participated in collaborative projects from 2018–2021 at OCAD University, joining the INTAC Archive Project Team as Project Archivist and Research Assistant, working on the development of this book and as co-facilitator for the INTAC IORE Sustainability Jam 2022. Charisse is a curator, artist, and archivist from Hong Kong (and now Canada) with a passion for meaningful connection and collaboration that manifests in projects centring on storytelling, visibility and kinship. She has worked with various arts organizations, including the Toronto Reel Asian International Film Festival.
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