Resident Artist Research Articles

Village Songs and the Building of Community Culture: A Talk

Village Songs and the Building of Community Culture: A Talk

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.

Iaşi Art Residency International Artist Residency Program. American Artist-In-Residence John Dillard

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 John Dillard whuch took place here, in Iasi, in January and February 2019.

We've explored…: our neighbourhood

An exhibition in south London is showing off children's photographs of their explorations of the world outside their nursery, explains resident artist Rosie Potter

Resident Artist.

A testament to the power of artist residencies, Adrien Segal went from Northern California to Homer, Alaska, and then back again, all to create sculptures that physicalize data from sea ice melt patterns. A multidisciplinary visual artist based in Oakland, Segal became an artist in residence at the Bunnell Street Art Center in Homer in 2014. During a presentation of hers, an audience member introduced Segal to the importance of the Albedo effect - the reflectivity of a surface - in studying energy absorption and ocean temperatures. As a result, Segal became intrigued by how the Albedo effect can indicate the warming of the Arctic climate due to polar amplification. However, her future project, Sea Ice/Albedo (see the cover image and Figures 1 and 2) would still need more time to percolate, so she placed it on the back burner for a few years. It was not until another artist residency, this time at Bullseye Glass in Emeryville, California, that Segal discovered cast glass might be a suitable medium to realize the Sea Ice/Albedo idea.

The artistry of dinoflagellate bioluminescence

Dinoflagellates are unicellular organisms responsible for many spectacular displays of coastal bioluminescence. This phenomenon is both scientifically interesting and aesthetically beautiful. As part of my efforts to communicate my science to the general public, I developed an Artist-in-Residence program, offering artists the opportunity for direct collaborations to develop creative approaches for displaying bioluminescence. I provide the resources of my laboratory, including space, living organisms, camera equipment, and scientific equipment as appropriate. The artist benefits from my expertise in working with dinoflagellates, and I mentor the resident artist in techniques most effective for a particular project. The results of these collaborations have included works that involved photography, video, and live installations, with exhibits in Paris, Los Angeles, and Milan. Art and science aim to help us experience and understand the world around us. An artistic approach for science outreach provides an aesthetic experience that highlights the beauty of nature and creates opportunities to teach science.

Resident Artist: Found Treasures, Myth and Midrash: Jo Milgrom's “Cherubim”

Resident Artist: Found Treasures, Myth and Midrash: Jo Milgrom's “Cherubim”

Resident Artist: Pious Widow, Exotic Dancer, Murderous Whore: The Photo Art of Anya Roz

The Russian-born, New York-based artist photographer Anya Roz speaks about her childhood in the “aggressively atheist Soviet state, where religious literature was long equated to opium (oh, these ever-present quotes from the undead resident of the red mausoleum) and where biblical literature was a dangerous thing to own.” In that environment, she found that “the best place for learning the Torah stories was, strangely enough, the very secular classical art museums, condoned by the state under the banner of ‘culture.’ ” For Roz, the narratives contained in paintings by Rembrandt, Velasquez, El Greco, and Michelangelo were “strange, exhilarating and demanded an explanation.” She noticed that they were important enough to be retold by the great masters again and again over the centuries, while styles replaced one another and cultures were transformed. Among the stories that most impressed her were:

Resident Artist: Scraps, Stains, Epiphanies: The Legacy of Hannelore Baron

Resident Artist: Scraps, Stains, Epiphanies: The Legacy of Hannelore Baron

The ‘scientific artworks’ of Doctor Paul Richer

This article examines the little-known sculptures of pathology created by Doctor Paul Richer (1849–1933) in the 1890s for the so-called Musée Charcot at the Hôpital de la Salpêtrière in Paris....

Resident Artist: Anonymous No More: Carol Hamoy's Visible Women

American artist Carol Hamoy belongs to the growing number of Jewish feminist artists who are addressing biblical themes in visual art.1 For Hamoy, recovering the histories and lives of women has been the central focus of a long and productive career. Her multimedia installation The Invisible Part of the Children of Israel was a centerpiece of MATRONITA, an exhibition of international Jewish feminist art presented by the Museum of Art in Ein Harod, Israel, last year. Most of the artists in that exhibit engaged with and provoked critical examination of Orthodox practice and belief. Hamoy’s exceptional piece instead evokes the ancient past and its imprint upon our consciousness. Indeed, it reshapes that imprint. The Invisible Part of the Children of Israel is emblematic of Hamoy’s meticulous scholarly research and carefully honed skills as an assemblage sculptor/seamstress. “Anonymous was a woman,” goes the feminist dictum, and this complex work, deceptively simple in presentation, makes that truism explicit. It does so by training a brilliantly nuanced lens on what is missing. Hamoy calls herself “a storyteller and an educator.” In evoking stories of women while simultaneously referencing the womanly arts of sewing and needlework, she has been well served by her family’s background in the New York City garment industry

Agnes Under the Big Top, a tall tale (review)

Reviewed by: Agnes Under the Big Top, a tall tale Mark Seamon Agnes Under the Big Top, a tall tale. Written and directed by Aditi Brennan Kapil. Mixed Blood Theatre, Minneapolis. 4 March 2011. The world premiere of Aditi Brennan Kapil's superb drama offered a timely reflection on the immigrant experience in the United States. Selected in 2008 as a National Endowment for the Arts' Distinguished New Play Development Project, Agnes Under the Big Top, a tall tale continued the mission of Mixed Blood Theatre: "a professional, multi-racial company [that] promotes cultural pluralism and individual equality through artistic excellence, using theater to address artificial barriers that keep people from succeeding in American society." Kapil, a playwright, actor, and director of Bulgarian and Indian descent and a resident artist at Mixed Blood for seventeen years, re-imagined the American "melting pot" as a kind of cultural spectacular, an enormous big top housing people of diverse backgrounds who must perform "tricks"—including lying to loved ones, retreating into silence, and committing fraud—in order to survive. Through effective design, expert acting, and careful attention to voice, Kapil upended romanticized notions of America as a nation of immigrants by scrutinizing the losses, failures, and coping mechanisms of recent immigrants. Agnes wove together seminal experiences in the lives of four American newcomers. Shipkov (Nathaniel Fuller), a former circus ringmaster, and his wife Roza (Virginia Burke) are Bulgarian immigrants in their forties. He drives a subway train, while she provides in-home care for the aging Ella (Linda Kelsey), a bedridden woman suffering from severe rheumatoid arthritis. Agnes (Shá Cage), a Liberian immigrant in her thirties, is also Ella's home-care worker. Agnes has been recently diagnosed with Click for larger view View full resolution Busker (Nick Demeris), Roza (Virginia Burke), and Shipkov (Nathaniel Fuller) in Agnes Under the Big Top, a tall tale. (Photo: Rich Ryan.) [End Page 640] Click for larger view View full resolution Agnes (Shá Cage) with Busker (Nick Demeris) in Agnes Under the Big Top, a tall tale. (Photo: Rich Ryan.) terminal cancer and has only weeks to live. Happy (Ankit Dogra), a young man in his twenties from India, works on the subway as Shipkov's trainee. An anonymous Busker (Nick Demeris) moves freely through time and space playing multiple roles, including a musician in whom Agnes confides, a silent Bulgarian clown whom Roza conjures, a pot-smoking Indian friend of Happy's, and a bird who speaks and listens to Agnes, Roza, and Ella. While not all of the characters' paths intersect, they are dramaturgically connected through themes of isolation, alienation, loss, and an unusual attention to sound, voice, and silence. Scenic designer Andrea Heilman, lighting designer Jeff Bartlett, and sound designer Katharine Horowitz created an intimate yet fragmented mise en scène for Kapil's tale of immigration. Greeted by recorded subway sounds, horizontal flashes of light suggesting train movement, and the live rhythms of a charismatic busker, the audience embarked on a theatrical journey between, across, and about barriers. Variously bright, dim, quiet, cacophonous, tranquil, and bustling, the dynamic environment served as a fitting representation for the confusion and challenges expressed in the diverse voices (and silences) of Kapil's characters. In addition to the sonic landscape of the train, Kapil further used the sounds of foreign language, vocal outbursts, and even deafening silence to illustrate the interpersonal consequences for Shipkov and Roza as they pursued economic opportunity in America. They remained physically separated throughout the production until Roza, in a shocking act of boldness, boarded Shipkov's train to confront him about her apparent inability or unwillingness to assimilate. She unleashed a jarring tirade in broken English that made plain her profound sense of loss of community, culture, family, and self. Burke's masterfully imperfect vocal delivery reached shouting levels to compensate for the whizzing sounds of passing subway trains. Fuller's frustrated, disbelieving facial expressions were at once hidden and revealed as train lights quickly flashed by and then vanished. The depth and hollowness of the subway tracks, coupled with fast-moving lights and piercing train sounds, emphasized the deep emotional expanse separating Roza and Shipkov within the tumult of their...

Q&A: The algorist

Having moved from engineering to art, Jean-Pierre Hebert applies mathematical rules to generate artworks that explore themes of chaos and determinism. As resident artist at the Kavli Institute for Theoretical Physics, and with an exhibition on in Los Angeles, Hebert explains his interest in algorithms.

The Contraceptive Caféé

Cabbages and Condoms, a restaurant located in central Bangkok and founded by the Population and Community Development Association (PDA) to help empower the poor and fund sex and AIDS education, is a showcase for fine food, creatively humorous artwork and an all important safe-sex message. This is a restaurant with a mission and Thongleum Damviengkum is the resident artist with a message. Using out-of-date condoms and birth control pills, Thong creates humorous, imaginative and educational artwork. Posters on abortion, safe sex, and family planning hang everywhere. The lampshades are festooned with condoms; birth control pills are glued on flowerpots. Fake flowers made from condoms hang from real trees. Mannequins dressed in outfits made from condoms and birth-control pills greet the diners. This is clearly a place where laughter and learning go hand in hand with haute cuisine.

Creating a Vision of Grand Teton National Park - Preserving the Photographs of Harrison R. Crandall

Harrison and Hildegard Crandall arrived in Jackson Hole, Wyoming, in 1922—the beginning of a pivotal and turbulent period in local history. Some of the valley’s homestead and ranch traditions were about to be transformed into what is now the Grand Teton National Park. Harrison (or “Hank” as he preferred) and Hildegard (or “Hilda” as Hank preferred) lived through it all—swept up in the local saga of dry homesteading. However, the Crandall family homestead, located in the shadow of the Grand Tetons, was just the beginning. Hank carved out a more permanent place for his family in the landscape they loved by inventing a way to make a living as the Grand Teton National Park’s official photographer and resident artist. The Crandall family operated their art studios in the Park for a total of 34 years. A summary of the life, times, and art of the Crandall family is provided in an earlier edition of the UW—NPS Annual Reports (Barrick 2008). Today, Hank’s photographic legacy provides a way for Jackson Hole residents and Grand Teton visitors to enjoy early scenes of the Park.

Resident Artist: The Illuminations of Ellen Frank

Resident Artist: The Illuminations of Ellen Frank

Resident Artist (guest): Testament of Women

Stories of biblical women claim our individual and collective imagination and exert a powerful force in popular culture and fine art. Sarah and Hagar, Ruth and Naomi, Judith, Deborah and Miriam continue to provide archetypes, points of reference against which our own experiences can be understood as we invent anew the values we draw from these women’s tales. The original impetus for my book project, Testament of Women, was a desire to respond to Sarah Laughed, by my friend and colleague Vanessa Ochs.1 Her book of essays focuses on retelling biblical tales to glean inspiration from and for contemporary women’s lives. It pushes back against traditions that perpetuate patriarchal assumptions in unarticulated and thus insidious ways. Vanessa is a contemporary, highly educated, progressive woman actively engaged with Jewish ritual. Her tales are crafted with awareness and acceptance of the changes wrought over the last generations in our cultural attitudes towards traditional institutions. Vanessa and I share many of the same values, but our projects had different conceptions. I undertook to question the existing social order of patriarchy, while I see Vanessa’s work as being engaged with extending and rethinking traditions. She is a scholar of Jewish rituals and their transformation through contemporary practices. I, as a feminist artist, focused on challenging the legacy of patriarchy. We had complementary values, but different goals. On my initial reading of Vanessa’s book, I was struck by my ignorance of the biblical tales, and that prompted me to study the original texts. My response took the form of an artist’s book. For those unfamiliar with the genre, artists’ books are original works of art in book format.2 This approach allows the artist/author full control over production and design choices, though it has the disadvantage that the book exists in only a few dozen copies, at least in the first edition. I made Testament of Women in a limited edition of forty copies, bound in poppy-colored silk, printed by letterpress in hand-set type, using linoleum

We've Got the Whole Tune in Our Hands

When I initially attempted to learn how to play the harmonica, I did not, unfortunately, start from that premise. Instead, I started with the directions that came with my harmonica-and I'm not alone in finding those standard directions frustrating. So, defeated by my inability to learn to play on my own, I put the harmonica and the directions away, awaiting enlightenment at some point in the future. Years later, I received an Education Improvement Act grant from the state of South Carolina to fund a resident artist for our school. I was most fortunate to find a professional harmonica player from North Carolina, Charlie Story, who visited my school for a week to teach my third-grade students-and me-how to play the harmonica. The first thing Story asked the students to do was to throw away the directions, because he found them an impediment to learning how to play. He introduced the basic concepts of playing and how to read the traditional harmonica tablature, and we were playing tunes almost immediately.

The Creation of God Loves a Grunt

INTRODUCTION I first met George L. Skypeck Jr (Sky) in the late seventies. His artwork and poetry was on exhibit as part of the “Forgotten Warrior Research Project” sponsored by the Disabled American Veterans (DAV) Center in Washington, DC. The project was created by Dr. John Wilson at Cleveland State University. I had met Dr. Wilson when I worked as a physician assistant (PA) in psychiatry at the University of Pittsburgh. He had invited me to attend a presentation of his research in traumatic stress and to see the art show that accompanied it. At the time, Sky was doing a number of DAV works and his poetry and art were used to illustrate Dr. Wilson’s study. This was the first Veterans Service Organization study focused on the post-traumatic stress aftermath of the Vietnam War. Sky and I soon became friends, and I often visited his studio located in a loft in the old Stars and Stripes building across the street from Union Station in Washington, DC. It was a great place to meet a number of the veterans who were just starting to become involved in Vietnam veteran issues. This group included Chuck Hagel, Ron Brock, Rusty Lindley, Jack Smith and others who were dedicated to helping veterans of the war in Vietnam. They would drop by the loft to chat about one of Sky’s new paintings. (Of course, we all gave Sky advice, which he mostly ignored but thanked us for anyway.) Sky is one of America’s most prominent military-historical commemorative artists. He is a combatwounded, disabled Vietnam veteran who rose from private to captain while serving two combat tours as a special warfare and senior intelligence advisor from 1967 until 1971. He is a decorated veteran, having won two Bronze Stars, the Purple Heart, three Air Medals, and numerous other awards. Sky has a special fondness for medics and created a piece of art titled “Nobody Forgets a Medic,” based on his being treated by an Army medic after being wounded the first of three times in Vietnam. Sky studied art at the Corcoran Museum in Washington and is a resident artist member of the famous Society of Illustrators of New York City. He has received numerous national and international art awards, including the prestigious Military Order of the Purple Heart’s George Washington Medallion of Merit. His last active duty assignment was to design and conduct John Wayne’s famous 1974 arrival into Feature Editor’s Note:

Inspiration into Installation: An Exploration of Contemporary Experience through Art

AbstractThis article discusses the ways in which a fine art department has successfully enabled pupils, staff and the local community to gain access to exciting and wide‐ranging art experiences. Through the creation of temporary installations and exhibitions the art department at Trinity School regularly becomes a gallery resource centre for part of the year. Children across all key stages create art inspired by artists in residence (including an artist teacher) in response to challenging contemporary issues. In 2005 three collaborative installations were produced in response to a potentially disruptive phase within the educational establishment. ‘Sleep‐Eternal Rest’ involved pupils' contributions to the installation, gallery visits and the study of different artists' work. For the exhibition ‘Flesh, Fur and Feathers’, a resident artist worked with students in response to a hanging deer, game and a table laden with fruit. In a building about to be demolished a group of recently graduated artists collaborated on an exhibition entitled ‘Somewheretogo’. This collaborative partnership led to art becoming a central resource for different curriculum areas as well as PSHE. The success of the venture led to pupils' own work becoming an accessible artistic resource, to which they themselves could respond. As well as avoiding the potential limitations of examdriven targets and assessment, it became a source of enrichment in personal, educational and creative terms.