ART EDUCATION participation

PRECURSORS

GAMING TECHNOLOGY

FEMINIST PEDAGOGY

COLLABORATIVE ART

CYBERFEMINIST ARTISTS

COLLABORATIVE ART:

The use of a single medium to identify artists is waning in contemporary art exhibitions, which are tending toward theme-based, collaborative ventures, site-specific installations, and/or interactive cyberspaces. Schools of visual arts in higher education in the United States have been gravitating toward offering “New Media” courses or programs, or have been revising curricula in traditional art majors previously organized by medium (i.e., sculpture, photography, painting, etc.).

To inform an understanding of collaborative learning and artmaking, Keifer-Boyd looked to other artists who have facilitated collaborative artworks especially related to the metaphor of house. Research of such art projects included John Di Stefano's HUB video (2001), Pepón Osorio, Tina's House in Home Visits (1999-2000), Andrea Zittel's Pocket Property (2000), Rachel Whiteread's House (1993), and Mary Lucier’s Oblique House (1993), House of the Water (1997, Spoleta festival), and Aiken-Riken House video (1997).

As an art educator, Keifer-Boyd believes it is important to teach art in such a way that collaborative art becomes a part of every art students’ experience since it is an important aspect of art in the 21st century. 4" Binding Unbound (2004), Altered Realities (2000), and In.TIME.ations (1999) are some examples of collaborative art that Keifer-Boyd has facilitated.