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1
Menzies, Victoria Jane y n/a. "Artist-in-Residence: A Catalyst to Deeper Learning in Middle Phase Schooling". Griffith University. School of Vocational, Technology and Arts Education, 2005. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20051130.101749.
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The study sought to investigate the nature of learning that occurs in two different approaches (integrated and non-integrated) to an artist-in-residency program. The program was conducted in middle phase schooling, and adopted the principles of authentic learning. Two year five classes and their teachers participated in the study. The residency provided learning experiences that connected to the curriculum unit theme for one year five class (integrated), but not for the other year five class (non-integrated). These experiences were designed to relate to the learner's lived experiences and promote higher-order thinking processes. The study sought to explore the potential for visual arts residencies to foster more 'authentic' modes of learning. The study examined children's ability to transfer knowledge, gained through the visual and verbal analysis of images, by manipulating and integrating diverse information and ideas. Grounded Theory was deemed to be an appropriate research methodology for this study as it involves gathering data in field settings and applying inductive methods to analyze this data. Diverse data collection strategies were implemented including: teacher stories, interviews, student reflection, researcher observations and student artworks. LeximancerTM software was selected as an instrument for analyzing data. This software was considered appropriate as it fosters a descriptive and interpretive approach to analysis. The findings of the study indicated that children who participated in the integrated artist-in-school's curriculum program demonstrated more evidence of higher-order thinking processes than children who participated in the non-integrated program. The participants undertaking the integrated approach were able to establish relatively complex relationships between the central residency concepts, demonstrating an ability to use visual and verbal codes of communication to articulate their ideas, knowledge and experiences. A further important finding identified positive student behavioural outcomes, where the integrated residency approach appeared to connect group members as small supportive learning communities. The study also identified a transition in the teacher's perspectives on teaching and learning after participating in the integrated approach. This research project has significance both nationally and internationally by investigating current practices in artist-in-schools programs that both enhance and hinder educational outcomes. The study has significance to the broader educational community in terms of its focus on the role of visual arts specialist adjuncts in maximising learning outcomes. The findings of this study could provide insight into the interrelationship between visual arts and other curriculum areas to heighten student learning outcomes. The findings of the study illustrate how particular approaches to visual art in education can enhance children's learning and development. These insights can assist artists undertaking residencies in schools, and the teachers involved, to provide richer learning experiences. The findings provide ifirther evidence to support an approach that involves close collaboration between resident artists and educators. It is recommended that the residency learning experiences are connected to the children's lived experiences and that there is social support from teachers, parents and peers. It is also argued that for a residency to be considered 'authentic', the approach requires a number of essential and valuable attributes. These essential and valuable attributes have two tiers of application which coalesce to contribute to the efficacy of a school art residency.
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Menzies, Victoria Jane. "Artist-in-Residence: A Catalyst to Deeper Learning in Middle Phase Schooling". Thesis, Griffith University, 2005. http://hdl.handle.net/10072/365864.
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The study sought to investigate the nature of learning that occurs in two different approaches (integrated and non-integrated) to an artist-in-residency program. The program was conducted in middle phase schooling, and adopted the principles of authentic learning. Two year five classes and their teachers participated in the study. The residency provided learning experiences that connected to the curriculum unit theme for one year five class (integrated), but not for the other year five class (non-integrated). These experiences were designed to relate to the learner's lived experiences and promote higher-order thinking processes. The study sought to explore the potential for visual arts residencies to foster more 'authentic' modes of learning. The study examined children's ability to transfer knowledge, gained through the visual and verbal analysis of images, by manipulating and integrating diverse information and ideas. Grounded Theory was deemed to be an appropriate research methodology for this study as it involves gathering data in field settings and applying inductive methods to analyze this data. Diverse data collection strategies were implemented including: teacher stories, interviews, student reflection, researcher observations and student artworks. LeximancerTM software was selected as an instrument for analyzing data. This software was considered appropriate as it fosters a descriptive and interpretive approach to analysis. The findings of the study indicated that children who participated in the integrated artist-in-school's curriculum program demonstrated more evidence of higher-order thinking processes than children who participated in the non-integrated program. The participants undertaking the integrated approach were able to establish relatively complex relationships between the central residency concepts, demonstrating an ability to use visual and verbal codes of communication to articulate their ideas, knowledge and experiences. A further important finding identified positive student behavioural outcomes, where the integrated residency approach appeared to connect group members as small supportive learning communities. The study also identified a transition in the teacher's perspectives on teaching and learning after participating in the integrated approach. This research project has significance both nationally and internationally by investigating current practices in artist-in-schools programs that both enhance and hinder educational outcomes. The study has significance to the broader educational community in terms of its focus on the role of visual arts specialist adjuncts in maximising learning outcomes. The findings of this study could provide insight into the interrelationship between visual arts and other curriculum areas to heighten student learning outcomes. The findings of the study illustrate how particular approaches to visual art in education can enhance children's learning and development. These insights can assist artists undertaking residencies in schools, and the teachers involved, to provide richer learning experiences. The findings provide ifirther evidence to support an approach that involves close collaboration between resident artists and educators. It is recommended that the residency learning experiences are connected to the children's lived experiences and that there is social support from teachers, parents and peers. It is also argued that for a residency to be considered 'authentic', the approach requires a number of essential and valuable attributes. These essential and valuable attributes have two tiers of application which coalesce to contribute to the efficacy of a school art residency.Thesis (Masters)
Master of Philosophy (MPhil)
School of Vocational, Technology and Arts Education
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Glauser, Andrea. "Verordnete Entgrenzung Kulturpolitik, Artist-in-Residence-Programme und die Praxis der Kunst". Bielefeld Transcript, 2009. http://d-nb.info/994331169/04.
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Tung, Wei Hsiu. "Art for social change : the role of artist-in-residence schemes in challenging Taiwanese identity". Thesis, Birmingham City University, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.272095.
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Meban, Margaret. "I'm doing what artists do!, a case study of an artist-in-residence program". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape7/PQDD_0004/MQ42716.pdf.
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Huddy, Avril. "A contemporary model for dance artists in residence in secondary schools". Thesis, Queensland University of Technology, 2016. https://eprints.qut.edu.au/102338/4/Avril_Huddy_Thesis.pdf.
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This practice-based research inquiry investigated Artist in Residence projects being delivered in Australian Secondary Schools. Through an analysis of Artist in Residence programs and models of practice, dance creativity and creative processes, and two case studies from my own professional practice, I have created a contemporary model of practice for dance artists in residence in Secondary Schools and communities. It is anticipated that the findings from this research will provide insights into how best to promote rich creative experiences and sustainable arts practice within schools and their broader local communities, long after the conclusion of an arts project.
7
Foster, Gayla Catherine. "The history of the Artist-in-Residence Program of the State Arts Council of Oklahoma /". Full-text version available from OU Domain via ProQuest Digital Dissertations, 1995.
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8
Cockram, John. "Stars, bridges, cocoons and glass houses : an investigation of the fine art department's student artist in residence programme at the University of East London". Thesis, University of East London, 2004. http://roar.uel.ac.uk/3465/.
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This qualitative study explores the impact upon Fine Art students at the University of East London of community art practice via its student 'Artist in Residence Programme'. Evidence from successful course applicants showed expectations to be a heightened confidence and broadened understanding of the potential role in society for art and artist. Whilst this was often so, post-residency findings also demonstrated significant impact upon understanding of educational 'distance travelled'. Drawing on student, staff and host accounts it is argued that the programme is more than a cultural / philosophical mechanism for creative investigation beyond the studio through non-specialist interaction and collaboration; as important as this may be. Crucially, it is a mechanism for educational and pedagogical reflection; for 'critical distance' facilitating awareness of creative and cognitive development, teaching and learning and Fine Art educational process. Whilst it addresses Contextualist concerns of need, life and work [Eisner], it is very much an Essentialist art issue of 'subject'; how this is framed contextually and institutionally and also how it is personally constructed and critically evaluated in light of cultural and educational comparison: higher education is not synonymous with institution but a 'process' potentially taking place anywhere [Barnett]. Amongst the themes addressed is the impact upon student development of The Three C's [Confidence, Competence and Context]; 'space' and 'place' and Transferable Skills. Stages of student development are presented along with 'Transferable' and 'Transitional' models of student practice, differentiated by the extent and impact of collaboration, lay discourse and 'other' educational environments. On a meta-level, implications for Essentialist / Contextualist philosophy are reviewed. Creative practice 'beyond the studio' demonstrates how residencies often precipitate not only profound shifts in understanding towards creative 'modus operandi', but also towards educational process and teacher / learner relationships. Collectively, this incurs reflection upon the effect of 'lay' dialogue upon cognition and the 'cloth of identity'. This then connects with debate upon a 'vertical' didactic and 'lateral' dialectic within teaching, informed by issues of 'criticism', artist / tutor 'presence', 'absence' and 'collaboration'. Drawing findings together, there are implications for studio pedagogy in terms of judgement, meaning and cultural authority. In sum, this research suggests that for many students, a rounded Fine Art education cannot be obtained solely within the confines of 'institution' or through the sole authority of the 'Specialist' tutor / art practitioner.
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Rupp, Bettina. "Residências em arte contemporânea : espaço, tempo e interlocução". reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2017. http://hdl.handle.net/10183/158018.
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Esta pesquisa analisa a residência artística pelo atravessamento de três conceitos principais: espaço, tempo e interlocução, vistos como aspectos fundamentais nos programas inseridos dentro do campo da arte contemporânea. Para tanto, foi previsto um percurso histórico que apresenta a sua formação, como sendo um lugar que oferece espaço e tempo para que o artista possa trabalhar de forma imersiva em seus projetos. Além da experiência do deslocamento do antigo ao novo contexto, as residências costumam propiciar diálogo entre os artistas durante suas estadias, promovendo, assim, uma rede de contatos. Como uma forma de entender também o objeto de estudo dentro da realidade brasileira, foram pesquisadas iniciativas no País. Resultante disso, percebeu-se a recorrência de um diferencial afinado com as reflexões da arte contemporânea e disponibilizado aos residentes: o acompanhamento crítico, realizado de forma sistemática por diferentes profissionais do campo da arte. A existência dessa prática apontou a necessidade de um aprofundamento nessa etapa da pesquisa, sendo consultados tanto artistas quanto críticos e curadores para levantar um conjunto de percepções individuais. As informações foram obtidas com o auxílio de entrevistas e enquetes qualitativas. Ainda, visando ampliar as discussões sobre a presença dessa atividade, os depoimentos foram confrontados com os conceitos de espaço, tempo e interlocução, apresentados por outros autores, entre eles, Gaston Bachelard, André Comte-Sponville e Maurice Blanchot. Por fim, foi possível concluir algumas considerações relevantes sobre a presença dessa atividade reflexiva nos programas de residência artística da atualidade.This research analyzes the artistic residence through the crossing of three main concepts: space, time and interlocution, seen as fundamental aspects in the programs inserted within the field of contemporary art. For that, it was foreseen a historical course that presents its formation, as being a place that offers space and time for the artist to work of immersive mode in his projects. In addition to the experience of the displacement between the old and the new context, the residences usually provide dialogue among the artists during their stays, thus promoting a network of contacts. As a way of understanding also the object of study within the Brazilian reality, initiatives were researched in the Country. Resulting from this, it was noticed the recurrence of a differential attuned to the reflections of contemporary art was made available to residents: the critical support by different professionals in the field of art. The existence of this practice pointed to the necessity of a deepening in this stage of the research, being consulted as much artists as critics and curators to raise a set of individual perceptions. The information, was obtained with the aid of interviews and surveys. Aiming to broaden the discussions about the presence of this activity, the statements were confronted with the concepts of space, time and dialogue, presented by other authors, among them Gaston Bachelard, André Comte- Sponville and Maurice Blanchot. Finally, it was possible to conclude some relevant considerations about the presence of this reflexive activity in the programs of artistic residence of the present time.
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Larson, Christina F. "America Seen through the Work of Paul Sample". Case Western Reserve University School of Graduate Studies / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=case1427980908.
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HUANG, YUEH-WEI y 黃月薇. "Since 2000 Communication in International Artist-In-Residence in East Taiwan：HweiLan Investigation Research". Thesis, 2009. http://ndltd.ncl.edu.tw/handle/29350648608772280527.
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碩士國立花蓮教育大學
視覺藝術教育研究所
97
The cultural diversification viewpoint elaborates during the development of globalized artistic exchange and communication, through the mechanism of international “artist-in-residence” to transmit art diversification concept’s value on artistic mutual exchange and equal learning. We wonder in Taiwan whether art communities that carry out the international “artist-in-residence” projects were able to meet the meaning of artist’s resident creation and if such art communities can utilize art communities’ rich and diversified individual characteristics to fairly accomplish cultural art’s vision during artist residencies. Therefore, stressing on artistic mutual exchange and equal learning, accepting artists’ different culture and artistic background, and highlighting the exchange and learning experiences among different cultures and arts has become important challenges for carrying out international “artist-in-residence” projects in the future. Besides, since 2000 while implementing and promoting the international “artist-in-residence” projects, during the process what kind of role that Taiwan government or art communities played in art communes and artist workshops? This study discussed the international “artist-in-residence” projects in east Taiwan and analyzed the relationships between the operation of HweiLan International Artists Workshop and the issue of artist mutual exchange and equal learning. The main research strategy adopted Hweilan International Artists Workshop as the case study object, researchers as the research tool, and used more than one multi-data collection methods, such as Documentary Evidences, Participants Observations, by taking the notes, videos, films, and photographs to increase the completeness and sufficiency of the record, and the Interview Method, to fully understand the real situation of such art activities. The research had been concluded that during an international “artist-in-residence”, if the art environment valued more on personal achievements, the environment would cease the conversation of equal learning, while, on the contrary, pressing more emphasizes on artist mutual exchange would continue the conversation of equal learning. Moreover, if residing artists were requested to achieve a preset standpoint and goal, the opportunities of mutual exchange would be reduced. But when there was no preset standpoint or goal, and artists were not asked to accompany anything, such environment would increase chances of artist mutual exchange. If the project coordinator paid attention on the fairness of activity facilities, allowed for unfair exchange, and had to meet art market’s need or higher management’s requests, then the project would stray from the direction of support and help. However, while there was no need to meet art market’s needs or higher management’s requests, the condition would enhance the attitude of support and help. Also, artists’ voluntarily input and affection input would enhance overall quality of the residency program; without artists’ input, the quality would be minimized.
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Wang, Chia-Wei y 王嘉蔚. "A Study of Border-Crossing Artist-in-Residence for Performing Artists in Taiwan". Thesis, 2011. http://ndltd.ncl.edu.tw/handle/gu36hv.
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碩士國立臺北藝術大學
藝術行政與管理研究所碩士班
99
From historical perspective, artist-in-residence (A.I.R.) activities took an important role in arts history in 17th century. Artists at that time revived the old-time life style by practicing cross-culture and cross-border exchange. They also spread out the attitude of retrieving the connection to the nature by creating art works. Nowadays, with the impact of globalization and the progress of technology, A.I.R. activity has now revived all over the world. From central government programs to non-governmental foundation projects, there are more and more diversified exchange programs coming out. This thesis seeks to help artists to be stimulated by exploring to different cultures through those exchange programs. In the meantime, it also expect to increase a country’s cultural exchange experience as well as to practice cultural diplomacy. Governmental culture sectors in the world, take European Union for instance, proposed a five-year pilot project for cross-border artist mobility in different art genres. In which, they invest budget for a greater accessibility for artists mobility. Though exchange policy of EU doesn’t focus on A.I.R., it aims to build up a better environment which is a rather systematic resource networks for artist exchange. In Taiwan, on the other hand, the earliest A.I.R. project can be traced back to 1998.” The Cité des Arts Project” was firstly organized by Ministry of Education. Since 1999, Council for Cultural Affairs had organized the cross-border A.I.R. project for visual artists. The project has cooperated for both visual and performing artists since 2005. Taipei Arts Village, which is supervised by Taipei city government, started its A.I.R. project in 2003.Those projects above are important ones which are organized by the government. However, if we look at the statistic of the numbers of artists going abroad through these projects, we can easily find that visual artists have more opportunities than performing artists. And the duration of three -months is the most seen. What is the reason that performing artists have less opportunities having resident opportunity abroad? This thesis aims to find out the possible problems and difficulties performing artists would encounter when going for A.I.R. projects by interviewing them. In addition, the A.I.R organizers, who are mostly from governmental sectors, are the other valuable perspective to this thesis. To integrate these two different points of view, I hope to propose suggestions which can help Taiwanese performing artists have more overseas resident opportunities in the future.
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Liu, Yu-Han y 劉禹含. "Artist-in-Residence and Its Cluster Effect：A Case Study of Banqiao 435 Art Studio". Thesis, 2016. http://ndltd.ncl.edu.tw/handle/p2w2x2.
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碩士國立臺灣藝術大學
藝術管理與文化政策研究所
104
435 Art Studio in Banqiao 435 Art Zone, in which entered and stationed with nearly a hundred groups of artists, became the densest Artist-in-Residence space in Taiwan. The researcher has attempted to study the impact of such a cluster of artists which, as well as how to reach the desired benefits for Banqiao 435 Art Zone. Literature analysis, field study, and interviews with related participants are adopted as research methods, and the conclusion shows: First of all, Artist-in-Residence and the public sector benefit from each other for cheap cost and tranquil environment in which artists are willing to reside. In order to encourage the artists’ experimental creations, a long residence cluster has brought artists together, so they can exchange technical and informative ideas, particularly for young artists’ professional growth. As for the public, people can obviously sense artistry atmosphere in Banqiao 435 Art Zone, and also agree with the supportive policy and arrangement made by the public sector. Second, the art studio is a place for production and work. The artists’ creations are distributed separately in other exhibition venues in Banqiao 435 Art Zone. The public can only get to know these artists while stepping into the Art Studio during the opening hours. Meanwhile, the artists focus on the public feedback, so that people have a preliminary understanding of Art. The artistry atmosphere in the neighborhood has made people and Banqiao 435 Art Zone closer than ever. Hence, the residents and schools nearby have painted the walls outside the Art Zone voluntarily. Thirdly, the artists, the residents, the management team and the public sector must plan and cooperate more actively and effectively. Banqiao 435 Art Zone is complicated in management, which affects the long-term development of itself. Nowadays, the artists gather here, so lots of kinetic energy and external benefits are produced. However, under the financial pressure from the government, the situation may change the operating model. Whatever direction the 435 Art Zone will head to depends on the policy of the public sector, which is a major key that needs to be carefully considered.
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CHEN-YING-HSUEH y 陳瑛雪. "An Action Research of an Artist-in-Residence Implementing a Community-Based Curriculum in an Elementary School". Thesis, 2014. http://ndltd.ncl.edu.tw/handle/e2nwxs.
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碩士國立彰化師範大學
美術學系
103
An artist-in-residence project is a combination of school and social resources. It is a medium which offers students an opportunity to familiarize what art is from the creations or the teaching experiences of artists, accompanied by the fact that it helps developing the school-based curriculum. Recently, more and more artist-in-residence projects and other related programs have been emphasized. Unfortunately, the studies of the influence of school art teaching in Taiwan are focused more on school teachers than on artists-in-residence at the present stage. This study employs action research approach to analyze the lesson plans and implementations of the researcher in the community-based curriculum in an elementary school in Tainan City. It is aimed at the results of artist-in-residence course designs and teaching for a community-based curriculum as well as the effects on students’ learning process. The data are going to be collected by class-observing and interviewing. To state succinctly, a community-based curriculum which contains the history, architectures and geographical position is able to develop a series of creative activities— supporting facts are that there are postcard frottage, community portraits, community maps, traveling books, graphic association, puppet making and puppet photographs. They intensify students’ impressions of their own community. Second, due to artist-in-residence lecturing, field studying and group discussing in class, the contexts of community-based curriculum are diverse. Therefore, students will boost their capability of creative thinking. The last but not the least, the designs of teaching materials for the community-based curriculum must depend on the abilities of the students. If the lesson plan is well-designed, there will be spare time for students to share their work and show their appreciation.
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Huang, Ju-hsien y 黃茹舷. "Research on Relationship between City Image and Works of Artist-In-Residence-Focus on A.I.R. Taipei". Thesis, 2012. http://ndltd.ncl.edu.tw/handle/84734526266377832206.
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碩士國立臺灣師範大學
美術學系在職進修碩士班
100
Place or occasion, everyone is conscious of the occasions with his/her extraordinary and touching experiences from birth to maturity, in current life, or once in the past, and has a keen affinity with it. Affinities formed through such ways generate the source that an individual identifies with culture and place. As for occasion, it is rich of various kinds of experiences and phenomena, like association between an individual and site, landscape, time, or community. Image or evaluation comes from the degree we experience the occasion; as a result, the image of a place is manifested by this way. From the angle of the urban culture, art serves as the communicative medium between human and human/country. Besides, we can observe the tendency of modern art via artist-in-residence. We can also learn how the artist constructs multidimensional platform with frequent communication by artist-in-residence programme. Cultural communication has to be bi-directional, equal and interactive. Cross-culture allows citizens and artists in different countries have the opportunity for contact. They may go further to know, understand, and influence one another, learning how to respect the diversity in various cultures. Art can foster international communication, and is an excellent medium to stride over fence. This research focuses on the city image with artist-in-residence. By qualitative and quantitative approaches, the research content is categorized into three sections: 1. The artistic clusters in the city-- formation and changes of A.I.R. Taipei, the role of artist’s life in the art village, and the survey of the city image in the artist’s eyes. 2. Discuss representation of implication of creation by interviewing the artists. Besides, in the process of the artist as flaneur of urban space to breathe the air in Taipei and interact with Taipei, the relation between the artist’s work and the city image is verified. 3. How art village with communicative function integrates with urban space in Taipei for instilling local social culture into creative works and developing city image. This research canvasses the formation of city image with the artist’s creative content. Once a city possesses a good image, the residents can be proud of being part of it, identified with it, and go further to elevate the urban image of the city. Finally, according to the subjects, the research results and findings are proposed, and what needs to be improved and strengthened is also pointed out for the following studies in the future.
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康禔今. "A Case Study of the Implementation Process and Participants’ Viewpoints of an Artist-in-residence Program". Thesis, 2012. http://ndltd.ncl.edu.tw/handle/67635667146738267042.
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碩士國立彰化師範大學
美術學系
100
Abstract Artists-in-residence program is relatively new in Taiwan; it aims to improve the quality of art teaching by having artists or professional art groups working with art teachers at schools to deepen students’ learning of the art and humanity curriculum. However, by 2012, very few studies have been conducted to inquire the effectiveness or document the participants’ viewpoints of artists-in-residence programs. Museum of Contemporary Art, Taipei (MOCA Taipei) has had five years of experience implementing artists-in-residence program. This researcher thereby adopted a case study method and interviewed MOCA Taipei staff, the artist, the art teacher regarding to the implementation of an artist-in-residence program in the academic year of 2011-2012. Participatory observation and questionnaires to students were also conducted to understand participants’ perspectives. The research questions of this study included: (1) What is the implementation process of the artist-in-residence program by MOCA Taipei? (2) What is the curriculum content and ways of exhibiting learning results of this artist-in-residence program? (3) What are the viewpoints and suggestions of the participants including the artist, the art teacher, the museum staff, and students regarding to the artist-in-residence program? The major conclusions of this study are as follows: (1) MOCA Taipei initiated the project by looking for schools and artists to collaborate with. Meetings were conducted every semester. MOCA Taipei staff oversees the artist-in-residence program, and the implementation process can be divided into the following four stages: mediating, pre-preparation, curriculum implementation and exhibiting results. (2) Curriculum implementation process include: project overview, creative association and presentation, visiting the museum, introducing different materials, sketching, creating schoolbags and uniforms, the artist providing feedbacks to students, students finishing their artworks. Students’ works were exhibited on school campus during their school anniversary exhibition as well as at MOCA Taipei. (3) The Artist, art teacher, MOCA Taipei staff and students felt that the artist-in-residence program brought to them different experience and positive benefits. Questionnaire survey and interview documented the results of students’ learning as well as their feedbacks after participating in the program. Most participants felt the one major difficulty during the process is the limited time for curriculum implementation. Overall, participants including the artist, the teacher, MOCA staff and students described their views and suggestions with regard to artist-in-residence program.
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Lai, Yu-chung y 賴昱中. "The Development and Challenge of Non-Profit Organization: A Case Study of Kio-A-Thau Artist-in-Residence". Thesis, 2007. http://ndltd.ncl.edu.tw/handle/54526423913424604951.
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碩士義守大學
管理研究所碩士班
95
This research makes a study of Kio-A-Thau Artist-in-Residence. The association which is combined by local resident, meritocrat and professors study in artistic domain and it bases on local sugar culture. It not only executed the community development but founded the artist-in-residence successfully. Originally, Kio-A-Thau Artist-in-Residence was the one of seven artist-in-residences that was supported by Council for Cultural Affairs. Nowadays, it may exit only one of them. How to resolve the problem, shortage of budget, deficiency of human resource, noncooperation of public sector and profitable interference of private sector. How to invite the global artists enter and be stationed in? How to impel the transformation in Kio-A-Thau Sugar Factory and how to provide a place that can used for inhabitant to cherish the memory of the history , and also can used for inhabitant to intimate with the field of art. Especially, after the serious conflict process of demolished Kio-A-Thau Sugar Factory by Kaohsiung Rapid Transit Corporation. How to mobilize social power against covetousness of public sector? How to keep room of Kio-A-Thau Artist-in-Residence successfully? The passion and dream of non-profit organization''s leaders effect the organization which can be survive or perish and the passion and dream is crucial point to resolve the challenge form external environment as per this study. Besides, collection and analysis the second data, this study adopts the method of depth interview. I invited the major leaders and some people who relation with the project. In the meanwhile, I analyzed profoundly the event of Kaohsiung Rapid Transit for understanding the process of the artist-in-residence how they who are Kio-A-Thau Artist-in-Residence, local resident, community empowerment organization, Kio-A-Thau Sugar Factory, local council, Cultural Bureau of Kaohsiung Country Government, Kaohsiung Rapid Transit Corporation and what not fight with the mass social pressure and discussing the interaction and conflict.
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Yaohua, SU y 蘇瑤華. "Action Research on the Cluster Development of Artist-in-Residence Taipei from the Perspective of Urban Cultural Planning". Thesis, 2011. http://ndltd.ncl.edu.tw/handle/38238204762104621499.
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博士國立臺灣師範大學
美術學系
99
Arts clusters, each with distinguish features, inquire various attitude in management. With its common effects on external economy, it has been taken as a panacea of urban regeneration. The research is focus on clusters of artist-in-residences program, and adopting action research method on the development of Arts-in-Residence Taipei（AIR Taipei）. Taking the advantage of being the AIR Director of expanding, I have recalled, recollected my memories and experience on governance of the independent artists’ clusters, and concluded that in agglomerating the community, formal as well as informal mechanism are needed. Spaces to accommodate different mechanism are needed. In addition to studio, office, and meeting room, café, balcony, or even barbecue gathering are also facilitating disseminating of tacit knowledge as well as information. Successful communication channel will then ensure a creative milieu to be in existence. A city needs to balance between investment of flag-ship mega cultural park as well as independent artist-run clusters. The law and policy are inquired to understand thoroughly of the differences of arts clusters before launching efficient and progressive programs to encounter challenges of the creative economy.
19
Yun, Chung Lo y 鍾珞筠. "Contemporary Art as a Museum Revitalization Strategy: A Case Study of Artist-In-Residence Program of the Isabella Stewart Gardner Museum". Thesis, 2010. http://ndltd.ncl.edu.tw/handle/93527890982055181013.
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碩士國立臺灣藝術大學
藝術與文化政策管理研究所
98
Museum resembles organic entity in the natural world and adjusts its functions according to the changing environment. The notion of “museum revitalization” suggests that museums expand utilization of their collection, research and relevant services, and serve as facilitator of a better cultural life for people; what justifies museums as cultural and social institutions lies above. This study departs from exploring how contemporary museums make good use of their resources in the service of bringing new perspectives to their audience, thus, revitalizing the content a museum has to offer. This study commences with the definition of the notion of revitalization, and explores the background of museum revitalization. Continually, the study examines the establishment and changing process of the case of the Isabella Stewart Gardner Museum in Boston, United States, founded in 1903. Furthermore, the study focuses on the intervention of contemporary art in traditional museums as a revitalization strategy, investigating the impact and effect of Gardner Museum’s long-standing “Artist-In-Residence Program” that initiated in 1992, especially in prompting the museum to reflect the contemporary society, to encourage diversified interpretation, and to increase utilization. In analyzing the program, semistructured interviews, observations, and information gathered from documents are utilized as methods of data collecting. The study selects three case studies of artist-residency from the program, and investigates how the untervention of contemporary art influences museum practice, and gradually contributes to the revitalization of the museum. Three findings are drawn from the study: 1) The intervention of contemporary art builds connection between the past and present; artist’s interpretation provides audience a brand new and diversified point of view, while serving the function of aiding audience in understanding and appreciating the content of the museum, guiding and encouraging the thinking and interaction process, stimulating the meaning-making activities in the museum. 2) Artists taking advantage of museum resources transform the content of the museum into living subjects and sources of inspiration, and keep the production of creative outcomes going, while highlighting the social utility of museums to museum managers. 3) Contemporary art enables museums to ponder upon their missions and core values, urging museums to elevate their functions and to renew themselves as the society moves on.
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Buchan, Susan. "Music, marimbas and children : exploring the meaning that children make of playing marimbas and wacky instruments with Artist-In-Residence, Jon Madin". Thesis, 2012. https://vuir.vu.edu.au/21441/.
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This is a study of the meaning that a group of Year 4 primary school children made of their participation in playing marimbas and "wacky" instruments with Artist-In-Residence, Jon Madin. The approach to music-making of the Artist-In-Residence is one which is participatory, inclusive and accessible, and which places value on children's active engagement in music-making.
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Shapera, Tali. "Interior design for travelling dance professionals: a short term residence and performance space". 2012. http://hdl.handle.net/1993/13689.
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Several dancers travel to different cities as their careers performing ballets for audiences nationally and internationally. However, their constant travelling does not allow the dancers to gain a sense of place or form a connection with the cities they visit. The objective of this practicum project is to address this issue by producing an ideal environment that is designed for the dancers needs. This will be achieved by analyzing the role of interior design by proposing a Short Term Residence for Travelling Dance Professionals visiting the city of Winnipeg. The design project is a new typology where dancers coming to Winnipeg have the opportunity to stay in one location that will provide housing, dance rehearsal space, and most importantly an opportunity for collaboration and creative synergy to occur. The theories I will investigate are, the Significance of Place and Community, Collaborative Social Environments, and Performance and the Body in Space.
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Lawry, Miranda Jane. "Vital signs/art and wellness: the hospital as a mediated site". Thesis, 2013. http://hdl.handle.net/1959.13/1043162.
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Research Doctorate - Doctor of Philosophy (PhD)As photographers give people an imaginary possession of a past that is unreal, they also help people to take possession of space in which they are insecure. (Susan Sontag 1990:34) This thesis is the outcome of original inquiry that focuses on substantiating ‘Practice as Research or ‘Practice-led Research’ as a means of generating and identifying ‘authentic experience.’ The ‘space,’ as Sontag names it, is ‘the hospital;’ in particular, the hospital as a vulnerable, threatened and, ultimately, destroyed space. The theme of interacting with such an insecure space in order to record and articulate an ‘authentic experience,’ namely the experience of the staff who have worked in one hospital in particular, the Royal Newcastle Hospital (NSW), forms the foundation of this exegesis. The research is situated within the area of Arts Health and is a theoretical and, at times, personal reflection on my time as artist-in-residence at the Royal and my relationship with the staff as they prepared to leave a much loved place of work. As a photographic artist, the research was realised by using the photographic image as a primary visualising agent and, principally, the window as the prevailing encoded form. The resulting images and the process of creating them are recorded herein and have left the people of the Royal with a series of ‘imaginary possession[s] of a past’ that is now intangible in a material sense, and thus ‘unreal.’ Nevertheless, the images, some of which are now permanently housed in the new precinct, The Royal Newcastle Centre at Rankin Park, and memorialised in the first of the three portfolio books, Pathologies of Time I - Royal Newcastle Hospital, were created with the intention of working with the staff in order to contribute to their journey towards taking ‘possession’ ‘of space in which they felt ‘insecure.’