Journal articles: 'Artist-in-residence'

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Joseph, Allison. "Artist-in-Residence." Callaloo 19, no. 2 (1996): 451–52. http://dx.doi.org/10.1353/cal.1996.0064.

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Donahoo, Robert, and Eileen Teper Bender. "Joyce Carol Oates, Artist in Residence." American Literature 60, no. 1 (March 1988): 150. http://dx.doi.org/10.2307/2926428.

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McNamara, Tracy. "Uku Artist in residence 2021: Wi Taepa." Scope: Contemporary Research Topics (Art & Design), no. 23 (2022): 147–50. http://dx.doi.org/10.34074/scop.1023004.

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de Ali, Mariana Castro. "Artist in Residence: Mariana Castro de Ali." ReVision 30, no. 1 (January 1, 2008): 44–45. http://dx.doi.org/10.4298/revn.30.1/2.44-45.

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Gkartzios, Menelaos, and Julie Crawshaw. "Researching Rural Housing: With an Artist in Residence." Sociologia Ruralis 59, no. 4 (April 3, 2019): 589–611. http://dx.doi.org/10.1111/soru.12224.

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Shields, Alison Lea, Ingrid Mary Percy, and Teresa Vander Meer-Chassé. "Making Time and Space for Art: An Examination of an Artist-in-Residence Within a Postsecondary Art Education Program." Canadian Review of Art Education 48, no. 1 (December 11, 2021): 73–99. http://dx.doi.org/10.26443/crae.v48i1.96.

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Abstract: This article examines the process and impact of an artist-in-residence program in Art Education at the University of Victoria. After an open call to artists, contemporary Upper Tanana visual artist, Teresa Vander Meer-Chassé, member of the White River First Nation of Beaver Creek, Yukon and Alaska was selected as the inaugural artist-in-residence. Through research-creation and qualitative methods this research examines the artist’s artistic process and the impact of an artist-in-residence on students’ and faculty’s perception of artistic practice and their experience working with an artist-in-residence within a post-secondary space of learning. Through photographic documentation, reflections and interviews by participants, the article examines ways the artist-in-residence enriched student and faculty learning in a Faculty of Education. Keywords: Artist-in-residence; Post-secondary education; Artistic inquiry; Indigenous pedagogy; Beading. Résumé : Cet article s’intéresse au processus et à l’impact d’un programme d’artiste en résidence dans le domaine de l’enseignement des arts à l’Université de Victoria. Suite à une audition ouverte d’artistes, l’artiste visuelle contemporaine du Haut Tanana Teresa Vander Meer-Chassé, membre de la Première Nation de White River de Beaver Creek, du Yukon et de l’Alaska, a été choisie artiste-résidente inaugurale. La présente recherche utilise des méthodes quantitatives et de recherche-création pour étudier la démarche artistique de l’artiste et l’impact d’une artiste-résidente sur la perception de la pratique artistique chez les étudiants et le corps enseignant. On y analyse aussi l’impact de collaborer avec une artiste-résidente en milieu d’apprentissage postsecondaire. Documentation photographique, réflexions et entrevues des participant.e.s sont mises à profit pour déterminer de quelles façons l’artiste- résidente a enrichi l’apprentissage étudiant et du corps enseignant au sein de la Faculté d’éducation. Mots-clés : artiste-résidente, enseignement postsecondaire, recherche artistique, pédagogie autochtone, perlage.

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Palamar, Ioana. "Iaşi Art Residency International Artist Residency Program. American Artist-In-Residence John Dillard." Review of Artistic Education 22, no. 1 (June 1, 2021): 253–57. http://dx.doi.org/10.2478/rae-2021-0031.

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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.

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Kantner, Kathy Dobash, Jen Abraczinskas, and Brad Malloy. "An Art Teacher Can Become an Artist-In-Residence." Gifted Child Today 21, no. 5 (September 1998): 30–32. http://dx.doi.org/10.1177/107621759802100510.

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Gruden, Maida, and Mara Prohaska-Markovic. "Contextual practices within The Roommate Artist in Residence Project." Kultura, no. 147 (2015): 158–67. http://dx.doi.org/10.5937/kultura1547158g.

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Allen, Patricia B. "Artist-in-Residence: An Alternative to “Clinification” for Art Therapists." Art Therapy 9, no. 1 (January 1992): 22–29. http://dx.doi.org/10.1080/07421656.1992.10758933.

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Hunter-Doniger, Tracey. "An artist-in-residence: Teaching with a sense of urgency." International Journal of Education Through Art 11, no. 2 (June 1, 2015): 229–43. http://dx.doi.org/10.1386/eta.11.2.229_1.

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Eggermont, Marjan, and Sarah Lockwood. "Communicating Design: 750 First Year Engineering Students, a Writer-in-Residence and an Artist-in-Residence." Design Principles and Practices: An International Journal—Annual Review 3, no. 4 (2009): 125–46. http://dx.doi.org/10.18848/1833-1874/cgp/v03i04/37722.

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King, Barbara Amelia, and Peter Martinez. "Karel Nel and COSMOS: A Far-Reaching Artist-in-Residence Collaboration." Leonardo 55, no. 1 (2022): 82–86. http://dx.doi.org/10.1162/leon_a_02058.

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Abstract The phenomena of the universe form a common focus for the interrelationship between art that has space as its central concern and the astronomical sciences, as both disciplines strive to observe and express the mysteries of the cosmos. An unwavering mutual interest in space and mutual respect for each discipline form the nexus between the two. Some scientific projects have artist-in-residence programs that promote innovative art/science dialogues. Although most residencies are designed for the short term, one has certainly stood the test of time. The authors analyze one 15-year collaboration between visual artist Karel Nel and Caltech’s Cosmic Evolution Survey, COSMOS.

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Paris, Lisa, and Sara O'Neill. "Exploring the Benefits of Artist-in-Residence Programs in Western Australian Schools." International Journal of Arts Education 13, no. 4 (2018): 23–44. http://dx.doi.org/10.18848/2326-9944/cgp/v13i04/23-44.

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Eckhoff, Angela. "Art experiments: introducing an artist‐in‐residence programme in early childhood education." Early Child Development and Care 181, no. 3 (April 2011): 371–85. http://dx.doi.org/10.1080/03004430903388089.

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Mathews, J. D., C. L. McCart, E. H. Klevans, R. A. Walker, R. Fisher, K. S. Kunz, and J. A. Brighton. "An Artist-in-Residence Program in the Pennsylvania State University College of Engineering." Leonardo 23, no. 2/3 (1990): 227. http://dx.doi.org/10.2307/1578610.

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Reissig-Vasile, Celia. "Community Art as a Transformative Experience: Reflective Explorations of an Artist-in-Residence." International Journal of the Arts in Society: Annual Review 4, no. 2 (2009): 267–76. http://dx.doi.org/10.18848/1833-1866/cgp/v04i02/35606.

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McEwen, Celina. "Wild Territory: Examining Urban Theatre Projects’ Recent Artist in Residence Theatre-making Work." International Journal of the Arts in Society: Annual Review 1, no. 1 (2006): 59–66. http://dx.doi.org/10.18848/1833-1866/cgp/v01i01/35331.

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Stephens, Kevin. "Artists in residence in England and the experience of the year of the artist." Cultural Trends 11, no. 42 (January 2001): 41–76. http://dx.doi.org/10.1080/09548960109365157.

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Watson-Green, Amanda. "Painting with Ōtepoti Dunedin: Artist in Residence at the Dunedin School of Art 2021." Scope: Contemporary Research Topics (Art & Design), no. 23 (2022): 33–40. http://dx.doi.org/10.34074/scop.1023026.

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Johnsen, Susan. "Interview with a Young Artist-In-Residence: Pi Xiaoxiao a Chinese Perspective on Creativity." Gifted Child Today 20, no. 3 (May 1997): 14–16. http://dx.doi.org/10.1177/107621759702000305.

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Zeplin, Pamela. "The Artist-in-Residence: A New Paradigm for Teaching and Learning in University Art Education." Journal of the World Universities Forum 1, no. 1 (2008): 173–82. http://dx.doi.org/10.18848/1835-2030/cgp/v01i01/59511.

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Richmond-Cullen, catherine. "THE EFFECT OF AN ARTIST-IN-RESIDENCE PROGRAM ON SELF-REPORTED LONELINESS IN OLDER ADULTS." Innovation in Aging 3, Supplement_1 (November 2019): S53. http://dx.doi.org/10.1093/geroni/igz038.208.

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Abstract The study, funded by the Pennsylvania Council on the Arts and the Pennsylvania Department of Aging, measured the effect that an artist in residence program (conducted by state-vetted professional teaching artists) had on self-reported loneliness in older adult. All participants were aged sixty years or older and participated in programming in state-funded adult community centers located in fourteen sites throughout the Commonwealth of Pennsylvania. Artists offered 10 sessions in creating and critiquing art to older citizens in the artists’ respective art forms including performing arts, visual arts and multidisciplinary/interdisciplinary arts. Through pre and post-tests, changes in loneliness were measured using the Revised UCLA Loneliness Scale. The data revealed that there was a significant correlation between a self-reported decrease in feelings of loneliness and participation in a program conducted by professional artists. . It was proposed that findings from the study could influence the quality of programs provided by state-funded adult community centers in Pennsylvania and increase funding levels to adult community centers throughout the Commonwealth of Pennsylvania.

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Richmond-Cullen, Catherine. "The effect of an artist in residence program on self-reported loneliness in senior citizens." Educational Gerontology 44, no. 7 (July 3, 2018): 425–32. http://dx.doi.org/10.1080/03601277.2018.1494369.

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Booth, Eric. "New Framework for Understanding the Field of Artists Who Work in Community and Education Settings." ENGAGE! Co-created Knowledge Serving the City 4, no. 1 (June 22, 2022): 7–15. http://dx.doi.org/10.18060/26047.

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This paper presents a Framework for understanding the field of teaching artists (also known by other terms such as community artist, participatory artist, social practice artist, civic practice artist, artist-in-residence and more) in the U.S. and around the world. This paper describes the current state of the field, which is disparate and disorganized and suggests that previous ways of describing it have proved unhelpful. This pioneering Framework was developed in partnership with practitioners in many communities over years, and was vetted by practitioners in communities around the world to affirm its validity. This Framework was introduced by the author about a decade ago, categorizing the field according to the purposes for which these artists are hired, which turn out to be seven identifiable threads that contain almost all employment in the U.S. and in other countries. This Framework has proven useful in clarifying and advancing the field in a variety of communities, for administrators, for practitioners, for funders, and for those discovering, entering, and advancing in the field. This paper introduces the Purpose Threads and describes each one, giving community-based examples of organizations that employ teaching artists to achieve their goals, and suggesting ways in which one might evaluate whether each purpose is achieved. This paper acknowledges that the seven purposes do not play out discretely in practice, but naturally overlap, and the author identifies a series of basic teaching artist tools that apply across all threads. The author also discusses teaching artist work in digital media, a reality that has burst into prominence during the Covid pandemic. The author invites readers to apply this material in whatever ways are useful.

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Sandberg, Berit. "The Artist as Innovation Muse: Findings from a Residence Program in the Fuzzy Front End." Administrative Sciences 10, no. 4 (November 5, 2020): 88. http://dx.doi.org/10.3390/admsci10040088.

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In a highly competitive business environment, integrating artists into corporate research and development (R&D) seems to be a promising way to foster inventiveness and idea generation. Given the importance of individual level innovation for product development, this study explores the benefits that employees experience from the artist-in-residence-program at Robert Bosch GmbH, Germany. Qualitative content analysis of interviews with scientists and engineers was performed in order to explore the impact of their encounters with artists in the theoretical framework of the triadic concept and transmission model of inspiration. The findings corroborate the notion that inspiration is a suitable theoretical underpinning for individual benefits of art–science collaborations in the front end of innovation. Scientists and engineers are inspired by the artists’ otherness and transcend their usual modes of perception in favor of enhanced focal, peripheral and bifocal vision. Whereas shifts in perspective are reflected in individual thinking patterns, researchers are hardly motivated to change their work-related behavior. The exchange with artists does not have a concrete impact on technological innovation, because researchers neither integrate impulses into their experiential world nor link them to fields of activity. In the case under scrutiny, artistic impulses do not contribute to idea generation in the sense of front-end activities. The study contributes to research on artists in businesses by illuminating the R&D environment as a hitherto neglected field of activity. While substantiating previous research on artist-in-science-residencies, the results suggest that the potential of such interdisciplinary endeavors is limited.

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Walsh, Aylwyn. "Breaking frames: Mark Storor’s For the Best – A case study about an artist in residence." Journal of Applied Arts & Health 3, no. 2 (August 23, 2012): 217–28. http://dx.doi.org/10.1386/jaah.3.2.217_1.

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Lithgow, Michael, and Karen Wall. "Sympathy for the abject: (re)assessing assemblages of waste with an embedded artist-in-residence." Journal of Aesthetics & Culture 11, no. 1 (January 1, 2019): 1682224. http://dx.doi.org/10.1080/20004214.2019.1682224.

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Blood, C. "Materials Reimagined: An Interview with Julia Goodman about the Recology SF "Artist in Residence Program"." Interdisciplinary Studies in Literature and Environment 20, no. 3 (July 19, 2013): 647–55. http://dx.doi.org/10.1093/isle/ist056.

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Duplan, Anaïs. "In the Wilds of Black Sound." Resonance 3, no. 3 (2022): 278–87. http://dx.doi.org/10.1525/res.2022.3.3.278.

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In this interview, curator and writer Anaïs Duplan speaks with 2022 Wave Farm artist-in-residence Johann Diedrick and 2021 artists-in-residence Ricardo Iamuuri Robinson and Sadie Woods on Black experimental documentarian practices, especially as they pertain to sound-based works and other inter- or post-disciplinary practices. Black soundings of speech and racialized forms of listening are ever-mutating invisible responses moving to and from societal biases. Diedrick, Robinson, and Woods discuss their past works along with the thematic undercurrents of those works, including racial bias in artificial intelligence and news reportage, the discipline and the language of science, and the mechanics of sounds. This interview is a part of research by Duplan toward a future publication detailing interdisciplinary experimental documentarian practices among practitioners.

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Mahawer, Krishna. "Artist-in-residency concept." International Journal of Research -GRANTHAALAYAH 5, no. 6 (June 30, 2017): 423–27. http://dx.doi.org/10.29121/granthaalayah.v5.i6.2017.2051.

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The main purpose of the Artist-in-Residence program is to collect artists, academicians, curators and other artistic persons from their own environment at another place at the same time, by which all of them gather here together for research, presentation, new production. And exchange ideas. These programs provide opportunities for an artist to practice his or her own art, meet new people, discover and experience new materials, etc. These opportunities take place in new places and new communities, as Art Residences express meaning from different cultures. Emphasizes exchange and in-depth understanding of other cultures. आर्टिस्ट-इन-रेजिडेन्सी प्रो्राम का मुख्य उद्देश्य कलाकारों, अकादमिशियनों, क्यूरेटरों और अन्य कलात्मक व्यक्तियों को उनके अपने माहौल से निकालकर एक ही समय में अन्य स्थान पर एकत्रित करना है, जिसके द्वारा यहाँ पर सभी इकट्ठे होकर एक साथ शोध, प्रजेन्टेशन, नये प्रोडक्शन और विचारों का आदान प्रदान कर सके। ये प्रोग्राम किसी कलाकार को अपने स्वयं की आर्ट प्रेक्टिस करने, नये लोगों से मिलने, नई सामग्रियों की खोज करने और अनुभव करने आदि के मौके प्रदान करती है, ये मौके नई जगह और नये समुदायों में होते हैं, क्योंकि आर्ट रेजिडेन्सी विभिन्न संस्कृतियों के अर्थपूर्ण आदान प्रदान और दूसरी संस्कृतियों को गहराई से समझने पर जोर देता है।

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Shreefter, Robert. "Borders/Fronteras: Immigrant Students' Worlds in Art." Harvard Educational Review 71, no. 3 (September 1, 2001): A1—A17. http://dx.doi.org/10.17763/haer.71.3.66h56140vg11k4j8.

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In my work as an artist and a writer-in-residence in a number of public schools in Wake and Durham counties in North Carolina, I was struck by changing school demographics and culture. These schools — which had been made up almost exclusively of Black and White students—were experiencing a growing population of immigrant children, mostly children of migrant workers from Mexico, whose families were choosing to settle permanently in the area.

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Nimbley, Michael, and Catherine Bourgeois. "Presenting: Michael Nimbley." Canadian Journal of Disability Studies 10, no. 2 (October 8, 2021): 325–32. http://dx.doi.org/10.15353/cjds.v10i2.808.

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The following is the working script from Montreal-based artist Michael Nimbley’s presentation about his professional career. The script was co-created with his creative ally Catherine Bourgeois, the founder and artistic director of Montreal-based theatre group, Joe Jack & John. Joe Jack & John is a theatre company that produces original, bilingual, multidisciplinary shows combining video, dance, and the spoken word. Their artistic approach is deeply humanistic and inclusive; their creations represent a social microcosm by integrating professional actors with an intellectual disability or from diverse cultural backgrounds. During the time of VIBE, Nimbley was an artist-in-residence with the company. In establishing artistic residencies, Joe Jack & John are fulfilling their mission in a new way by inviting an artist living with a disability to initiate and direct a creation of their own. These residencies demonstrate a unique political stance. By handing power to an artist with an intellectual disability, they are furthering their research on marginalized aesthetics and voices. Their goal is to develop interdependent creative models and practices, promoting the emergence of underrepresented voices that have not been part of the dominant artistic trends. In doing so, they are disrupting aesthetic hierarchies and continuing to dismantle biases against artists who evolve outside the artistic establishment.

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Faccion, Debora. "Review – New Media Caucus Showcase A perspective on consciousness within digital practices." Media-N 15, no. 2 (July 29, 2019): 20–26. http://dx.doi.org/10.21900/j.median.v15i2.207.

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Presentations by the following NMC members: Sophia Brueckner, Assistant Professor, University of Michigan Martin Calvino, Artist-in-residence at Rutgers University Zach Duer, Assistant Professor, Creative Technologies, Virginia Tech Carter Eggleston, MFA candidate in Creative Technologies, Virginia Tech Elizabeth Flyntz, Artist, Writer, and curator Jeffrey Gangwisch, strikeWare co-founder and Adjunct Professor, Anne Arundel Community College Chelsea Heikes, candidate at European Graduate School Laura Hyunjhee Kim, Ph.D. candidate, University of Colorado Boulder George Legrady, Distinguished Professor of Interactive Media and director of Experimental Visualization Lab, UC Santa Barbara Maya Livio, Ph.D Candidate, University of Colorado Boulder, Curator of Media Archaeology Lab, Curator of MediaLive at BMoCA Eric Souther, Associate Professor of New Media, Indiana University South Bend Deirtra Thompson, Independent artist, practitioner, and researcher Masha Vlasova, Lecturer and Lead Faculty, University of North Texas Michelle Hernandez, MFA alumna, Hunter College, CUNY Dominika Ksel, Adjunct Assistant Professor of New Media, Baruch College, CUNY.

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Raheem, Amaara, and Simon Ellis. "I am just dancing: Am I just dancing ‐ A conversation between Amaara Raheem and Simon Ellis." Choreographic Practices 12, no. 2 (December 1, 2021): 117–33. http://dx.doi.org/10.1386/chor_00034_7.

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In this conversation, dance-artist Amaara Raheem talks about her choreographic thinking and practice with CHOR co-editor Simon Ellis. They discuss Raheem’s interest in dancing, ritual and research ‘in-residence’, and wonder about the kinds of bodies that dance. They consider how artists intentionally create the conditions for their work and practices to happen. The conversation is in part designed to introduce Raheem as a new co-editor to CHOR’s readership.

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Dae CHUNG, Kwang. "WALKING AND DWELLING: MAKING A DAILY PROVOCATION, BUILDING A COMMUNAL PLACE AND BECOMING AN ARTIST IN RESIDENCE." International Journal of Creativity and Innovation in Humanities and Education 1, no. 2 (December 1, 2018): 24–37. http://dx.doi.org/10.21608/ijcihe.2018.182867.

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Feldwisch, Rachel P., Kristie L. Coker, Shanna M. Stuckey, Ashley A. Rittenhouse, Kassi K. Kite, and Joshua S. Smith. "The impact of an arts‐integrated curriculum on student literacy and engagement." International Journal of Literacy, Culture, and Language Education 3 (April 1, 2014): 95–111. http://dx.doi.org/10.14434/ijlcle.v3i0.26910.

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This paper presents the results of mixed‐method examination of the implementation and outcomes of the Arts Integration Program (AIP). The AIP was created by a national nonprofit organization that works with educational systems, the artscommunity, and private and public sectors to provide arts‐related education to elementary school aged children. The arts‐based literacy curriculum included an artist‐in‐residence component. The study design included classroom observations,interviews, and a pre–post standardized Literacy Assessment Tool in 11 schools in the Midwest. Results show high levels of student enthusiasm and engagement in the AIP, with consistently sustained levels of student engagement when the artists in residence facilitated learning. Student scores increased modestly in literacy knowledge, and the findings provide avenues for other schools to infuse arts into their literacy instruction.

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Lachapelle, Richard. "The Ottawa Roman Catholic Separate School Board’s Artists-in-Residence Program (1970-1988): One Point of View." Canadian Review of Art Education: Research and Issues / Revue canadienne de recherches et enjeux en éducation artistique 42, no. 2 (May 27, 2016): 3. http://dx.doi.org/10.26443/crae.v42i2.5.

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This paper documents an educational artist-in-residence program that was particularly active in some Ottawa Roman Catholic Separate School Board primary schools during the period 1970 to 1988. In schools where space was available, professional artists were assigned studio space as a means to encourage their participation in the day-to-day life of the schools. In exchange, the visual and performing artists offered non-teaching services that included mentoring and participation in stage plays, mural creation and art exhibitions. These activities mainly took place within the framework of the artists' everyday ongoing professional practice.

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Creighton, Joanne V. "Joyce Carol Oates: Artist in Residence, and: The Uncompromising Fictions of Cynthia Ozick (review)." MFS Modern Fiction Studies 34, no. 2 (1988): 254–55. http://dx.doi.org/10.1353/mfs.0.0257.

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Hunter-Doniger, Tracey, and Robin Berlinsky. "The power of the arts: Evaluating a community artist-in-residence program through the lens of studio thinking." Arts Education Policy Review 118, no. 1 (May 12, 2016): 19–26. http://dx.doi.org/10.1080/10632913.2015.1011814.

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Zaiontz, Keren. "‘Navigators and friends’: An Interview with Former Olympic Park Artist in Residence Neville Gabie and Curator Sam Wilkinson." Contemporary Theatre Review 23, no. 4 (November 2013): 593–97. http://dx.doi.org/10.1080/10486801.2013.839184.

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Peixoto Baldan, Luiza. "Corta Luz (2013/2018)." Revista Prumo 4, no. 7 (November 15, 2019): 102–9. http://dx.doi.org/10.24168/revistaprumo.v4i7.1120.

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Corta Luz is a project by artist Luiza Baldan carried out while in residence at Pivô/Copan building during July 2013 and later revisited in 2018. Baldan comments on her relationship with the house and routine in Republica, the so-called new downtown Sao Paulo. She focused on the metropolis’ vertical scenery and the intimacy of the building’s interiors, transcending the aesthetics of modernist achitecture’s milestones. As a procedure, the artist’s work and life are mingled in a sort of dilated performance. Key-Words: Copan, Sao Paulo, inhabit, everyday, visual arts

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BURNARD, PAMELA, and GARY SPRUCE. "Editorial." British Journal of Music Education 26, no. 3 (October 2, 2009): 239–40. http://dx.doi.org/10.1017/s0265051709990015.

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In this issue the majority of articles focus on performance. Within this context we are invited particularly to reflect upon the perspectives of students, parents and children, all of whom may share the delights of music learning, musical knowledge and engagement but who experience and apply them in very different settings. Understanding how we learn music, how musical skills develop, how musical knowledge is represented and how music teachers can best teach and inspire, are challenging topics for music educators across all phases whether they be early music teachers, artists in residence or artist educators.

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Kok, Erna E. "Joachim von Sandrart, aristocrat-painter in Amsterdam, 1637-1645." Netherlands Yearbook for History of Art / Nederlands Kunsthistorisch Jaarboek Online 70, no. 1 (November 16, 2020): 258–93. http://dx.doi.org/10.1163/22145966-07001012.

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In this article, the central issue is the interaction between Sandrart’s friendship networks, his art production and success in Amsterdam. His famous literary life’s work the Teutsche Academie, and Lebenslauf, his (auto) biography, will also be involved. Sandrart’s stay in Amsterdam (1637-1645) was the true springboard for his career. Upon arrival in Amsterdam, he immediately positioned himself in the network of influential entrepreneurs, connoisseurs and magistrates by moving into a patrician residence on the Keizersgracht. Sandrart’s wealthy bloedvrienden (family members) with important socio-political networks - the banker Johan de Neufville and the artist-agent Michel le Blon - further brokered easy access to the bourgeois elite network, which soon earned the aristocratic painter many important commissions. In the late 1630s and early 1640s, Sandrart was a pioneer in his use of the Van Dyckian way of portraying and a classicist Italian style in history painting. Although it took a further ten years before the change of style towards academism became definite in Amsterdam, Sandrart had been the artistic leader thereof. Moreover, he launched a new artists image and artistic lifestyle by positioning himself as the aristocratic-artist.

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Barber, Claire. "Mining Textiles:Extracting multi-narrative responses from textiles to rethink a mining past." International Visual Culture Review 1 (February 7, 2019): 33–42. http://dx.doi.org/10.37467/gka-visualrev.v1.1770.

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This article is evidence of a practice-based investigation into the imaginative worlds of mining and textiles as a starting point for transforming ways of thinking and creating in the locality. Featuring artist-in-residence and archival processes of research, and performative and site-responsive interventions, a number of recurring themes of enquiry will be developed that combine elements of clothing design, historical studies, nature studies, photography, inflatable construction and social anthropology. The article will draw from the authors artistic practice in the extraction of multi-narrative responses from textiles as an inventive method for engaging site-specifically with former mining locations in UK and Australia.

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Allan, Robert Reid. "MaerzMusik." Tempo 72, no. 286 (September 6, 2018): 80–81. http://dx.doi.org/10.1017/s0040298218000414.

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For one week in March, a bitterly cold Berlin became a hotspot for hard-hitting, radical and politically engaged music making, as MaerzMusik welcomed some of the most forward-thinking composers, performers, speakers and thinkers through its doors. With by far the most representation across the week's events, it was composer/producer/DJ/transgender activist Terre Thaemlitz who assumed the role of unofficial artist-in-residence, with her appearances spanning two concerts, a talk, a DJ set (under pseudonym DJ Sprinkles) and a 30-hour performance of his latest album Soullessness, which was installed over the festival's opening weekend at the Martin-Gropius-Bau.

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Cuevas, Skylar, Qi (Kathy) Liu, Helen Qian, Max E. Joffe, Karisa Calvitti, Megan Schladt, Eric P. Skaar, and Kendra H. Oliver. "How to design an art-science program? Self-reported benefits for artists and scientists in the VI4 artist-in-residence program." PLOS ONE 17, no. 12 (December 30, 2022): e0279183. http://dx.doi.org/10.1371/journal.pone.0279183.

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While many new programs bridge the arts and sciences, a data-based examination of art-science program design can lead to more efficient programming. The Vanderbilt Institute for Infection, Immunology, and Inflammation Artist-in-Residence program is a virtual program that brings together undergraduate student “artists” and faculty-level “scientists” to generate science-art content. We have recruited over 80 artists and 50 scientists to collaborate in creating visual science communication content. Using self-reported data from both groups, we performed qualitative and quantitative analyses to define sources for negative and positive experiences for artists and scientists. We also identify areas for improvement and key features for in producing a positive experience. We found that artists participants had more positive responses about “learning something new” from the program than scientists. We also found that for both artists and scientists the length of the program and the virtual nature were identified as key features that could be improved. However, the most surprising aspect of our analysis suggests that for both “way of thinking” and “science communication to the public or general audience,” were seen as significant beneficial gains for scientists compared to artists. We conclude this analysis with suggestions to enhance the benefits and outcomes of an art-science program and ways to minimize the difficulties, such as communication and collaboration, faced by participants and program designers.

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Lee, Sylvia W. S. "“Co-branding” a Cainü and a Garden: How the Zhao Family Established Identities for Wen Shu (1595–1634) and Their Garden Residence Hanshan." Nan Nü 18, no. 1 (November 1, 2016): 49–83. http://dx.doi.org/10.1163/15685268-00181p03.

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This paper examines two paintings by Wen Shu (1595–1634), each of which was inscribed by her husband who declared that Wen Shu painted what she saw in their garden residence Hanshan. With this claim, the family reinforced the image of “Wen Shu the artist” as a cloistered gentry woman and an amateur painter despite the fact that she painted for financial reasons. At the same time, this claim exalted the existing image of Hanshan. By establishing images for Wen Shu and Hanshan, the family worked together to reaffirm and enhance their social standing. This research contributes to the understanding of how a woman painter and her family utilized, participated in, and derived benefits from the prevalent garden culture of seventeenth-century China.

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Goldstein, Ilana Seltzer. "Visible art, invisible artists? the incorporation of aboriginal objects and knowledge in Australian museums." Vibrant: Virtual Brazilian Anthropology 10, no. 1 (June 2013): 469–93. http://dx.doi.org/10.1590/s1809-43412013000100019.

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The creative power and the economic valorization of Indigenous Australian arts tend to surprise outsiders who come into contact with it. Since the 1970s Australia has seen the development of a system connecting artist cooperatives, support policies and commercial galleries. This article focuses on one particular aspect of this system: the gradual incorporation of Aboriginal objects and knowledge by the country's museums. Based on the available bibliography and my own fieldwork in 2010, I present some concrete examples and discuss the paradox of the omnipresence of Aboriginal art in Australian public space. After all this is a country that as late as the nineteenth century allowed any Aborigine close to a white residence to be shot, and which until the 1970s removed Indigenous children from their families for them to be raised by nuns or adopted by white people. Even today the same public enchanted by the indigenous paintings held in the art galleries of Sydney or Melbourne has little actual contact with people of Indigenous descent.

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Lee, Rona. "Truthing gap: imagining a relational geography of the uninhabitable." Architectural Research Quarterly 15, no. 3 (September 2011): 216–30. http://dx.doi.org/10.1017/s1359135511000765.

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During 2008–10, I was the Artist in Residence of the Leverhulme Trust, at the National Oceanography Centre, (NOCS), Southampton, working with sonar geophysicist Dr Tim Le Bas, exploring methods of seabed mapping and undersea survey. During this period I documented aspects of oceanographic study, learnt processes used by my scientific colleagues, conducted performative interventions and made works in direct response to the context of NOCS. The work produced was shown at an exhibition at University of Wales Institute, Cardiff in 2009 and will be developed into a larger exhibition at the John Hansard Gallery, Southampton in 2012. This article constitutes both a re-presentation of my primary research and a reflection on the methods I adopted to address the issues raised by my inquiries. Works produced are both referred to directly and represented via supplementary documentation.

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Journal articles on the topic 'Artist-in-residence'

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