Modelling International Collaborations in Art Education

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.

• AcknowledgementsAbout this Book1. Introduction- Circles of Engagement          - A Brief History          - Finding Possibilities  - Developing a Programme                                                                              - Reviewing the Decade           2. 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)3. 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)4. Setting the Stage- Key Ground Rules     - Preparing Students for Collaboration- Modes of Speaking    - Facilitation: Following the student process   Questions and Challenges (4)5. Collaborative Programme Models- Organic Networking  - Short-Term Projects  - Intensives       - Workshop Travel       - Extending Engagements        - The INTAC Model    - Shared EventsQuestions and Challenges (5)6. 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)7. Addressing Institutional Contexts- Institutional Support  - Barriers          - Inter-institutional Territories - Complex Diversity    - Working with Matched Partnerships Questions and Challenges (7)8. 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)9. 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)10. 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)          11. Student Collaboration in Practice- Approaches to Collaborative Artmaking       - Experiments in a Digital World        - Collaborative Strategies        - The Physical–Virtual Interface                                                                      12. 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)13. Face-to-Face- The Impact of Meeting          - Exhibitions     - Workshops and Debriefing Sessions - Social and Cultural Activities14. Online Exhibition- Inhabiting the Online Space  - Transitioning to Virtual Presentation                - INTAC on Kunstmatrix.com- Animating the Virtual Exhibition Experience  15. 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 communicationQuestions and Challenges (15)          16. Modelling the Future- An Expanded Vision- A Sustainable Scenario   - Expanding Collaborative NetworksQuestions and Challenges (16)   AppendicesAppendix A – Key Alumni Survey Data       Appendix B – Chronologies  Collaboration Partners          Notes on Authors and Contributors   List of FiguresIndex

'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.'