Published online by Cambridge University Press: 03 October 2026
Several articles on collaboration across artistic fields have appeared in New Writing. Shauna Busto Gilligan and Karen Lee Street, in an essay called ‘Critical reflection on creative collaborations: imagining the image and wording the work,’ assert, ‘It is through collaboration and the sharing of information and craft – at events such as community workshops and academic conferences – that as artists we can expand our art (whether it is art of the word or image) and critically reflect on what we are trying to do through further creations’ (Gilligan & Street, 2011). For those of us working in universities, we can connect with other creative disciplines to expand our artistic practices and, even more so, our approaches to teaching these artistic practices. Similarly, Phillip Gross and Wyn Mason, in their essay ‘Surface tensions: framing the flow of a poetry–film collaboration,’ assert: ‘Collaboration, working across art forms and media in particular, offers a window into creative process. [...] Collaborators across forms cannot presume a common language; they have to make their work apparent to each other’ (Gross and Mason). ‘Text(ure), Modeling, Collage’ explores the intersections and differences among creative writing, graphic design and visual art, in terms of artistic practice and pedagogy.
Claudine Jaenichen: We don’t often make time for these conversations across artistic fields. As Karri Holley explains in Understanding Interdisciplinary Challenges and Opportunities in Higher Education, academic institutions often isolate faculty both physically and intellectually (2009: 18). A creative writer may not have occasion to bump into a visual artist across town or across campus to talk about how rigorous our practice is, how our fields share similar kinds of problem solving that build intuition, or how revision works across artistic endeavours. This interdisciplinary conversation essay is designed to circumvent our usual isolation, cultivate pedagogical allies, and develop new perspectives that invigorate teaching in both creative writing and the visual arts.
To save this book to your Kindle, first ensure no-reply@cambridge.org is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.
Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.
Find out more about the Kindle Personal Document Service.
To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Dropbox.
To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.