Collaborative Creative Projects

Persistent Princesses: Problems, Products, and Pedagogy

This work in progress with art historian Carlee Bradbury entails upcoming research publications, a videogame, and website exploring princess media and representations...  

 

Violent Remains: The South Station Hoard presentations and publications 2012-2016

What if today’s warriors were tween girls and their secret treasure included bejeweled cell phones, jewelry that symbolized sexuality, sweetness, and violence, and various digital/social networking artifacts of their youth cultures?

"Carlee Bradbury, Karie Edwards, and Courtney Lee Weida shared their amazing collaborative project Violent Remains. Reconstructing a hoard of tween girl artifacts in Edwards’ basement, they created an installation and a series of photographs in response to the hoard. They also gave a touching reading of the links between medieval warfare and modern bullying." (http://thematerialcollective.org/material-collectivebabel-2012/)

 

The Exquisite Uterus Project

The Exquisite Uterus Project is an ongoing collaborative project, exhibited in Power, Politics, and Performance: Gender, Art , And Resistance, Steinhilber Gallery, UW-Oshkosh, Oshkosh, Wisconsin. September 4th-October 6th, 2012.

 

Art and Design Inquiry as Part of the Creative Process

(presentation at National Art Education Association Convention: April 2011: Seattle, WA)

What does multi-disciplinary research in art and design education look like? An education historian, two art educators and a design educator discuss their distinct approaches and research methodologies.

 

 

Subversively Discursive Digital Communities of Contemporary Craft

(presentation at the MIT Media in Transition Conference and Hacking the Academy web project)

 

What is the nature of online studio craft communities? This paper examines the construction of counter-discourses, creative collaborations, and revised identities within digital forums for ceramics and other studio crafts. Communities of people working with studio craft and folk art media might seem unlikely netizens, however, Internet forums for craftspeople are rapidly emerging. It has been said that ceramics is a non-verbal craft; ceramics education programs define it as a nonverbal “visual language.” The “Clayart Archives,” a popular ceramics message board, hosts many complaints from students that their teachers claim only “clay will teach.” In many ways, web forums such as message boards and tutorials offer alternative social and teaching spaces. Web dialogues, exchanges, and collaborations offer opportunities to reclaim and/or revise artistic identities and conceptions of past and present craft communities. The “Women Potters Speak” website notes Elspeth Owen's sense of “identity with and through other women [giving] a much clearer identity as a separate individual too [so that] it was out of this new autonomy that I gradually began to make pots that also have a life of their own and a character to which other women especially respond.” This duality of separateness and connectedness suits the paradoxical nature of web communities well.