When collaborations go right, they use all the collaborator’s talents and experiences, becoming more than the sum of their parts. When they go wrong, relationships and artworks can be destroyed, and the cracks often appear along the fault lines of historic bias and discrimination.

To some degree, all creative works are collaborative. No individual completes a creative project without input, criticism, influence, assistance, or engagement with others. But creative projects are often wrenched away from their collaborative roots when it comes time for funding, professionalizing, and historicizing.

This class takes place online.

Upon registration, students will receive access to online class meetings.

Sliding scale available for BIPOC students (Black, Indigenous, People of Color). Contact Millie Kapp at [email protected] for more information.

Liz Flyntz is an artist, curator, writer, and digital experience designer. She works with archives and digital tools to develop exhibitions, performances, multimedia projects, software and websites. Her work uses contemporary tools and systems thinking to explore time, governance, economics, communication, idealism, and futility.

She’s written extensively about early media art for publications including Afterimage, Intercourse, and The Creators Project. In 2016 she co-curated The Present Is the Form of All Life, an exhibition of the time capsule works of Ant Farm and their successor group LST at Pioneer Works. She’s spoken about art/science collaboration, media art history, and experience design at ISEA, the College Art Association Conference, NYU, MICA, and RISD.

Catalina Alvarez is a Colombian-American film director and interdisciplinary artist. Her films have screened at festivals including Slamdance, Fantastic Fest (Best Picture, Shorts with Legs), New Orleans and Palm Springs, and venues such as the Wexner Center for the Arts (Jury Award, Ohio Shorts), the ICA Philadelphia, the San Diego Art Institute, the Museum of the Moving Image (Best Emerging Filmmaker, Queens World Film Festival) and Arclight Hollywood (Best of Slamdance). She is a recipient of Fellowships from the Virginia Center for the Creative Arts, the Wexner Center for the Arts, Flux Factory and the Robert Flaherty Film Seminar.

Image: Description and Alt Text: The Theater of Eternal Music performing in 1965. From left, Conrad, La Monte Young, Marian Zazeela and John Cale. Photo by Fred W. McDarrah/Getty Images, via NYTimes.com.