Artist In Residence Research Articles

Art for art’s sake? Artists as partners in urban regeneration

ABSTRACT Responding to the polarized view of artists either being displaced or co-opted in urban regeneration, this paper unveils a middle ground in which artists also act as partners or co-producers in these processes. We illustrate this intermediary role in property development processes with reference to a case study of the Seaport Innovation District in Boston by drawing upon a survey of resident artists and interviews with artists, planners, architects and economic development specialists. The paper makes two contributions to the literature. It offers a fresh look at the dialectical relationship between cultural and economic modes of production by more fully integrating consideration of artists’ sensibilities and practice with those of a host of built environment disciplinary practices including architects, planners and real estate developers. As a result, it extends extant analysis of urban regeneration-led gentrification from its urban planning, geography and sociology disciplinary roots into the disciplines of architecture and real estate. Our findings lead onto a research agenda centered on consideration of the intermediary roles played by creative and cultural sector actors and how creativity might be captured to positive effect, in the production of the built environment.

The Positive Impact of The Artist Residency Program on the Inheritance, Protection and Development of Jingdezhen's Ceramic Cultural Heritage: A Case Study Of Taoxichuan Art Community

The Positive Impact of The Artist Residency Program on the Inheritance, Protection and Development of Jingdezhen's Ceramic Cultural Heritage: A Case Study Of Taoxichuan Art Community

The Shelters of Imagination: Logos, Franklin Street, St Peters, Marion and The Dreamhouse

‘The Shelters of Imagination’ is a series of five poems, ‘Logos’, ‘Franklin Street’, ‘St Peters’, ‘Marion’, and ‘The Dreamhouse’, which explore the relationship between a writer’s place and the phenomenological aspects of literary composition. Each poem examines how a place from which I have written has impacted, driven, or impinged on the poetic imagination. These poems destabilise the boundary between where the material world the writer inhabits ends, and the fringe of poetic imagination begin. These poems are heavily informed by Gaston Bachelard’s The Poetics of Space (1964) where he examines the relationship between place and the phenomenology of poetic imagination. Along with creative engagement with Bachelard’s writings, auto-ethnographic reflections from my recent relocation from Sydney to Adelaide are woven through these poems as they move from the sterile cityscape, to a garden-lined eco-flat shaped like a chapel in St Peters, towards the rural sites of an artist residency space in the Adelaide Hills, and then conclude with a meditation on the imagined space.

Making a mark on the farm: the marks and traces of farm animals and infectious diseases in northern England

ABSTRACT Farmed animals are expected to move through farmed spaces in certain ways to maximise their productivity. These spaces are also designed to limit the movement of disease-causing organisms. However, both types of lifeforms do not always move in expected ways. We focus on the mark-making of these organisms to explore: 1) the evidence of their movements through farm spaces; and 2) the effects of these movements on managing farm animal disease. We explore these questions via social-scientific and artistic practices. The social science draws on in-depth interviews with UK cattle and sheep farmers, and farm advisors. The artistic component draws on work conducted by an ‘artist in residence' engaging with farm animals and farmer-livestock relationships. Farm animals and infectious micro-organisms were found to move in different ways and create different marks and traces across farms, bodies, and how diseases were managed. These lifeforms often frustrated biosecurity practices of exclusion and enclosure and existed on a spectrum of disease risk. Human actors needed to learn to become attuned to lifeform movements in order to enact disease management. We conclude by suggesting a continued focus in future social-scientific research on how the ‘sub-animal body' contributes to the enacting of farm disease management.

Garden of Future Blackness: A terraform artwork

This photo essay documents the making of the Garden of Future Blackness, a sankofa-shaped garden and land-based community artwork that promotes a future where Blackness will be inherently valuable, cherished, and nurtured. Started in the summer of 2020 on the 64-acre site of FAR (Feminist Artist Residency), the Garden became the site of one of three outdoor performances that closed the weeklong Witch Institute symposium in August 2021.

Navigating in the multiverse: Possibilities and limitations of creative practices in online environments

Currently, and especially since the breakout of the COVID-19 pandemic, there has been an increase of online concerts, talks and even artist residencies. There has also been a development of webstreaming sound studios and online interactive platforms that accommodate art works. Moreover, museums and galleries offer virtual tours to their exhibitions. All this is part of a promise of widening access to cultural, educational and creative opportunities and a suggestion to escape from the limitations and boundaries of time and physical distance. Nonetheless, creative practitioners, curators and art aficionados are urgently compelled to critically analyse, doubt and challenge this promise of limitless possibilities that the online world is offering. In this era of digital information, what expectations does a virtual artwork raise? What is its utilitarian purpose and social value? How do the disembodiment and technological displacement of human beings shape and affect their cultural and communal bonding? To find some answers or, rather, to extend these questions, I will reflect on my artistic practice and experience of creating works that are available on online platforms and controlled with the use of digital interactive tools. A primary analytical tool will be the phenomenological concept of the lived body as well as socio-anthropological arguments about time and materiality. My aim is not to create a fixed and dogmatic theory but to negotiate what role, if any, artistic practice can have in the virtual world.

Эпистемологическая полезность художественных резиденций и шелуха повторений

In the article, artist residencies are considered as an object of research. The stereotypes associated with the role of artist residency in the artistic process are examined: for example, the idea of site-specificity and of the artist in residency as a person necessarily endowed with fresh optics and destined to make the place her own. The article notes that in the world of artist residencies, the mode of work for the result, or the creation of a work, and the mode of research are separated. Currently, there is a tilt towards research residencies. Further, the article discusses the specifics of artistic research and its role in the artistic process. Jean-François Lyotard’s approach to exhibitions as philosophical statements is mentioned and Nelson Goodman’s concept of the creation of worlds is analyzed. Strategies of work in the artist residency are described through specific ways of creating worlds, research in the residency is analyzed as an opportunity to construct a correct, that is, epistemologically productive version of the world. Through the expansion of some points of Goodman’s analytical aesthetics, the emphasis is placed on artist residency as a unique, laboratory, space/condition/ context for the creation of new symbolic systems — worlds — through the presentation of referential chains in their formation and deciphering. In the situation of artist residency, new worlds are being created literally before our eyes, and, taken as a subject of research, artist residencies provide conditions for the decomposition of the artistic process into its components. Artist residencies are spaces where connections between worlds unfold.

Artists in residence

Artists in residence

Kaapora Chair: non-hegemonic knowledge and knowers at the Federal University of São Paulo

This article shares and discusses experiences that have been developed at the Federal University of São Paulo, under the Kaapora Chair of Traditional and Non-Hegemonic Knowledge. Created in 2016 and linked to University's Dean of Extension and Culture, Kaapora works as a platform for dialogue between academic and non-academic worlds. One of its distinguishing features is that it values the leading role of those with non-hegemonic knowledge, being open to their own ways of learning and exchanging. The Kaapora Chair proposes a set of initiatives that combine teaching, research and community outreach, carried out by teachers and students from various courses and campuses, with the support of university staff. We organize courses inside and outside the curriculum, workshops, in-person and remote lectures and debates, short field trips, surveys, artist residencies and publications – both alone or in partnership with other organisations. In this way, it aims to contribute to broadening the intellectual, aesthetic and epistemological horizons of all those involved in its activities and to transforming the university into a “pluriversity”. Keywords: Kaapora Chair; Federal University of São Paulo; non-hegemonic knowledge; intercultural dialogues; epistemic quotas.

‘Artists not tourists’: ethical tensions between creative mobility and migration

ABSTRACT Over the past decade there has been significant increase in artist residencies that provide opportunities for artists to travel internationally, in order to immerse themselves in a place and develop their artistic practice. This essay reflects on a case study of an artist residency program in Berlin, in which 10 international artists were invited to live in a refugee accommodation centre for a month each. Drawing on fieldwork notes, sketches, interviews with participants and the residency facilitators, I reflect on my unease and tensions that this form of creative mobility produces in relation to the visualities of migration. Questions around the role of mobility and exchange for artists, as well as applied mobilities researchers, pose ethical considerations about the privileges of movement and the visualities that such mobility produces. I suggest that the international artist residency model reinforces hierarchies and the injustices of cultural mobilities that are entwined and embedded in elite mobility practices.

Beyond the tourism-led-development logic: the role of art and culture in outlining new spatial planning policies in post- pandemic Lezha.

The article deals with art interventions’ role in developing new spatial planning solutions for the Lezha region in the post-pandemic era, from a perspective of social and economic sustainability. Lezha is a strategic area for tourism development in Albania, but this opportunity also gives way to some emerging issues in its development, most of which have been further emphasized by the pandemics: the main one is avoiding the development of an economic model entirely dependent on tourism and improving locals’ quality of life by addressing an increasing need for quality public spaces and participation. In fact, as demonstrated by the pandemics, tourism’s revenue is not always a reliable economic source. Furthermore, when planning economic strategies to make a region wealthier, it is crucial to think about parallel social interventions to improve locals’ quality of life. The article explores on the one hand art’s potentialities linked to placemaking, critical reflection, creation of sense of belonging and locals’ involvement, thus going beyond the mere promotion of cultural tourism, on the other hand its limits: the final aim should not be to create one more “open air museum”, but to address public interest. Finally, the paper suggests some possible applications in Lezha, including a program of artistic residencies to be organized once a year in collaboration with agro-tourisms in Zadrima, with the objective of introducing socially engaged art projects all over the region.

Older Women Rock!

In this article artist/activist Leah Thorn shares the processes and rationale underpinning ‘Older Women Rock!’, a project creating pop-up political art spaces to raise awareness and explore issues facing early-old-age women in their 60s and 70s. Through poetry, performance, retro clothes, film, consciousness-raising and listening skills, ‘Older Women Rock!’ celebrates older women, unites them across differences, challenges their invisibility and subverts society’s assumptions and prejudices about them. The project arose out of a 10-month Leverhulme Trust artist residency undertaken by Leah in 2015 at the Kent Academic Primary Care Unit, University of Kent, and the England Centre for Practice Development, Canterbury Christ Church University. The project was developed in 2017 through a Fellowship at Keele University Institute of Liberal Arts and Sciences.

Writing with Multiple Appendages

Four pairs of images from the Postcards from the Underground (2022) print series are presented here as experiments in translating invertebrate underground worlds. Artist Perdita Phillips and cultural theorist Astrida Neimanis collaborated to create an interdisciplinary ‘walkshop’ event to the coal mining town of Lithgow, as part of Phillips’ Artsource both/and artist in residence at Artspace, Sydney in 2017. The many forms of stygofauna—small invertebrate animals including worms, mites, snails, insects and many crustacea—can be found in the millimetreswide in-between spaces in groundwater. Short-range endemism is common—due to their distribution in isolated patches beneath semi-arid to rainforest landscapes in Australia—and sporadic relic distribution world-wide. Working between Neimanis’ text and Phillips’ drawings and found images, the conversations with and through stygofauna, underground water and mining were then developed into colour postcards, that use a red/cyan optical masking technique. The images can be decoded with a red filter that is held up to the eye. The previously invisible cyan delineations are then revealed from beneath—alluding to the layers of concern and the double state of both/and—“caught up in both the noticing and notnoticing of each other” that the artist/author were articulating (Neimanis and Phillips 137). The swirling patterns of swimming and the complex fingering of many limbs were rendered into cryptic scores. The postcards explore notions of hiding/revealing and comprehension and miscomprehension of subterranean ecosystems, through the multiple scratchings of the skittering limbs of stygofauna.
 Phillips, Perdita and Astrida Neimanis. Postcards from the Underground. 2022. Private Collection.

Sonification of ocean data in art-science

ArtScience is a burgeoning field that promotes bi-directional collaboration between scientists and artists. Artists learn from scientists to inform the creation of new works based on scientific ideas and data. Scientists learn from artists to explore data in new ways and learn new ways of communicating. In 2022, Colin Malloy was the artist in residence for Ocean Networks Canada and created many new musical works based on ocean data. He explored many ways of sonifying ocean data using novel mappings in multiple original solo electroacoustic percussion compositions. Some mappings were more direct—such as using data for wavetables—while others were less so—such as probabilistic trigger mappings based using datasets as probability distributions. This paper presents his methods for sonifying ocean data used for sound production in these musical compositions.

The Hermits of Big Sur by Paula Huston

Reviewed by: The Hermits of Big Sur by Paula Huston Judith Sutera OSB The Hermits of Big Sur. By Paula Huston. Collegeville, MN: Liturgical Press, 2021. 235pp. $24.95. This is not a book about some romanticized characters who fit the world’s image of hermits, but about a real-life Roman Catholic community of Camaldolese hermits, a subset of the Benedictines, the oldest religious institution within the church. The book starts exactly where it should, with the question of why in the world anyone would take up the life of a hermit. Huston ably distinguishes between “fuga mundi,” a conscious flight from the world for a positive purpose and “contemptus mundi,” an attempt to escape the world because it is seen as evil. The hermit must be motivated by fleeing towards rather than fleeing from. Huston sets the stage for the Big Sur community by placing it firmly within its geographical environment. She makes the important connection between this religious settlement of the 1950s and the local world of author Henry Miller, resident artists, World War II veterans [End Page 85] seeking meaning and healing, and others drawn to the “grandeur and nobility of the setting” as Miller put it. Huston writes, “But Big Sur is not only astonishingly beautiful; it also manifests what the nineteenth-century British Romantics would call ‘the Sublime.’ By this term, they meant that the full power of uncontrolled nature is on display, and humans can only stand before the spectacle in awe” (7). Eventually, the monks would share this wild coastal land with the neighboring Esalen Institute, where people seeking meaning and mystery in this powerful natural setting would include Alan Watts, Aldous Huxley, LSD experimenters, and other mid-century thinkers. “The New Age movement, alternative medicine, East-West religious dialogue, yoga, massage, mind-body interventions, Joseph Campbell’s archetypes, and Fritz Perl’s Gestalt therapy owe much of their widespread practice today to the impressive lineup of radical thinkers who passed through Esalen during the revolutionary sixties. Like the psychedelic revolution, the Esalen phenomenon was also prompted by a kind of fuga mundi” (9). Some of these practices have even cross-pollinated with the very different world of their Camaldolese neighbors. Meanwhile, the monks were drawn to this place by their own contemporaneous search for meaning and a home for their contemplative life. The bulk of this book is not about a small group of men and the home they created but about the context in which they created it. The story is solidly situated within substantial descriptions of world history and Italian politics, especially the period of Mussolini and the love/hate relationship of fascism and the church. Given the world portrayed here, it is no wonder that a 1958 Time magazine featuring the Italian monks who came to look for a foundation place claimed they already had twenty potential applicants. But it is rare that a religious community is ever founded in harmony. The book follows correspondence with famous Trappist monk Thomas Merton and the many challenging matters around the early years, especially the turmoil within the church in that time of reform and renewal that divided communities and brought pain to many individuals. This monastery, as are so many, was born in the conflicting views of the kinds of people who dare to create, and the tension between human personalities, between ideal and institution. I have personally experienced the grace and goodness of this unique sacred place and have known some of the monks; this book helped me to see all of it in a much broader and deeper way. As a monastic religious myself, I commend the author on her ability to capture both the practical, historical dimensions and the indefinable power of this place and the people who created and live in it. I believe, too, that a story about such an unusual lifestyle told in this way might engage the minds [End Page 86] and hearts of people who know little about the world of religious hermits. Judith Sutera OSB Mount St. Scholastica Copyright © 2023 American Catholic Historical Society

10. Unage Iași Art Residency. International Visual Arts Residency Program. Emery Hall, American Artist Resident

Abstract Iași Art Residency is an artistic residency program that takes place in Iasi and involves the monthly invitation of an international visual artist, in order to materialize a specific art project related to the experience lived in the cultural space of Iasi. The program aims to connect the students of the Faculty of Visual Arts and Design within “George Enescu” National University of Arts in Iași with the invited artists, in order to exchange artistic experiences. This article will briefly present the activity of the American resident artist Emery Hall which took place here, in Iasi,in May and June 2022.

아티스트 레지던시의 아트마켓 실험과 예술가의 참여 경험

There is a growing recognition of the important role that artist residency programs can play in supporting artistic activities in their various forms. This paper examines an experimental residency program that has been in operation for less than two years in Seoul Art Space Sindang. The principal goal of the “S-store” project is to help artists develop products for the art market in cooperation with a major department store. We use Bourdieu’s field theory to analyze the strategies that underlie the operation of this more thoughtful approach to commodifying craft artworks; an approach that involves a mixture of both autonomous and heteronomous principles. Our findings reveal noticeable differences in the perceptions and experiences of the involved artists based on their positions in the field of craft. In particular, well established artists were more interested in the commodification of art and were consequently more actively involved in the project than less well established artists who were more concerned with maintaining the aesthetics inherent to small scale crafts production. Nonetheless, despite these differences, both groups equally recognized the importance of maintaining a pure art status beyond the boundaries of the art market. This study shows the potential and complexity of artist residency programs in helping artists adapt to the market logic of the art industry.

Un modèle d’échanges citoyens et collaboratifs : les résidences d’artistes

L’expansion des pratiques artistiques sociales et collaboratives depuis les années 1990 place les résidences d’artistes comme des dispositifs particulièrement adaptés à la construction d’une citoyenneté culturelle, notamment dans les zones isolées ou oubliées. De nombreuses résidences reçoivent des artistes pour des projets précis et les sélectionnent en fonction de leurs capacités présupposées à créer du commun, tout en répondant aux enjeux soulevés par les transformations sociétales et environnementales actuelles. Des entretiens avec des artistes et des responsables de résidence, une observation participante et l’analyse de récits de résidence ont permis d’établir que cette émancipation ne passe pas uniquement par la participation à des ateliers de création encadrés ou à des actions de médiation, mais par la présence même des artistes et les méthodes et pratiques de recherche qu’ils apportent sur le territoire. Cette présence temporaire s’ancre autour de l’hospitalité et des possibilités qu’elle offre localement. L’accueil constitue également l’une des conditions pour que des échanges se créent au gré des envies et des affinités personnelles, pour que les résidences puissent devenir des sites d’apprentissage et de production de connaissances libres. Notre étude montre enfin comment ces résidences, en laissant la possibilité au dissensus de s’exprimer, permettent la construction de la subjectivité et de la solidarité dans la résolution de problèmes communs, mêlant ainsi jouissance de droits culturels et exercice de la citoyenneté.

At the Hatter’s Table

At the Hatter’s Table Robert Carr (bio) Edible. Sometimes. CoolWhip, dream whip, buttercream, butter stick, sweet and sour, fruitspread, cocoa on my junk. I think of myself as cake:A flesh-colored icing, a grand- daddy banquet at the Hatter’s table.Ageless set of creases, a multi- layered thing, so happy to be split.Serve me on a platter washed in tears, in sweat, in any other viscous liquid.Write my name, and yours, on an iced pink chest,encircle us with a heart, squeeze what you desire from your tube of batter. [End Page 41] Robert Carr ROBERT CARR is the author of three collections of poetry: Amaranth (Indolent Books 2016), The Unbuttoned Eye (3: A Taos Press 2019), and The Heavy of Human Clouds, forthcoming from 3: A Taos Press. A seven-time Pushcart Prize nominee, Robert’s poems appear in numerous journals and anthologies. Selected by the Maine Writers and Publishers Alliance, he was the recipient of a 2022 artist residency at Monson Arts. At the nadir of the global AIDS pandemic, I worked full-time in infectious disease response. In my desk drawer at the Massachusetts Department of Public Health, I had one book. Not a clinical text or a strategic plan, but The Complete Works of Lewis Carroll. Through Alice’s adventures in Wonderland, I found relief from the rabbit hole of premature death. “At the Hatter’s Table” revisits the queer erotic in the context of my personal and professional history. Copyright © 2023 Wayne State University Press

Transformative Art Making and Caregiving with Young Children: Motherscholarship with The Scribble Squad

Transformative Art Making and Caregiving with Young Children: Motherscholarship with The Scribble Squad