ArticlePDF Available

Conceptualising the value of artist residencies: A research agenda

Authors:

Abstract and Figures

This article provides an overview of the concept of the artist residency and the benefits as per- ceived by the art community and policy makers, then sets out a model within which an aca- demic research agenda may be formulated. The model illustrates how the individual, the orga- nisation, and the region intersect and interact in a range of different ways to form relationships, impacts, and consequently, value in a variety of forms: thus providing numerous possible ave- nues for empirical research.
Content may be subject to copyright.
Cultural Management: Science and Education, Vol. 1, No. 1 (2017)
9
Kim Lehman, PhD, is a Senior Lecturer in Market-
ing at the University of Tasmania and has a role as
Cultural Value Strategist for the Community, Part-
nerships and Regional Development portfolio. His
research interests focus on the arts and cultural
sectors, with streams investigating marketing,
development, management, and cultural tourism
issues. He leads a number of research projects as
part of this focus.
Email: Kim.Lehman@utas.edu.au
A
Kim Lehman
Conceptualising the value of artist
resdencies: a research agenda
A B S T R A C T
This article provides an overview of the concept of the artist residency and the benefits as per-
ceived by the art community and policy makers, then sets out a model within which an aca-
demic research agenda may be formulated. The model illustrates how the individual, the orga-
nisation, and the region intersect and interact in a range of different ways to form relationships,
impacts, and consequently, value in a variety of forms: thus providing numerous possible ave-
nues for empirical research.
K E Y W O R D S
Artist residencies, value, theory, research agenda
Paper received: 12 April 2017 Paper revised: 26 May 2017 Paper accepted: 8 June 2017
Introduction
n ‘artist residency’ or an ‘artist-in-
residence program’ describes the sce-
nario where an artist (as well as other
creative people) is invited to apply for time and
space away from their home environment, pos-
sibly in another country, and frequently in an-
other city. Traditionally they are seen as a time
where the artist can reflect, conduct research,
and investigate new works or means of produc-
tion. Sometimes the residencies are funded,
with accommodation and a stipend provided,
and other times the artist must pay the bulk of
the costs themselves. Indeed, there is consider-
able variety in the forms a residency can take.
Artist residencies have a long and rich his-
tory, perhaps starting with communities that
sought to encourage creative people to settle.
For example, the German town of Worpswede
has been an artist community since the 1880s.
It is still active as an artist colony and runs a
residency program for contemporary artists
(Corbett, 2015). Similarly, in the US, an artist
10
Logos Verlag Berlin Academic Books for Sciences and Humanities
colony called the Corporation of Yaddo was
founded in 1900 in the state of New York. The
Trask family bequeathed their estate to the
establishment of a residency program for art-
ists. They saw Yaddo as a place of “rest and
refreshment [for] authors, painters, sculptors,
musicians and other artists both men and
women, few in number but chosen for their
creative gifts” (Corporation of Yaddo, 2017,
n.p.). From these early beginnings artist resi-
dencies have become an accepted part of the
art and cultural landscape, and certainly a valid
part of a professional artist’s career.
However, where once artists residencies
took place exclusively in an arts context, they
can now be found in business, technology, sci-
ence and education. Residencies are considered
to be “an open and fluid concept”, encompass-
ing “a broad spectrum of activity and engage-
ment” (European Commission, 2014, p. 9). For
example, Facebook has an artist in residence
program, with artists producing site specific in-
stallations throughout the Facebook offices
(Moss, 2015). In fact, the range of industries
where an artist can be involved is considerable.
In addition, many towns and regions have artist
residency programs as part of their arts and
cultural strategies. Furthermore, there is al-
most an artist residency ‘industry’ where bro-
kers put together artists and organisations,
such as Residency Unlimited and Res Artis and
where government bodies provide residency
programs as party of their creative industries
strategies. (e.g., the Australia Council’s Interna-
tional Residencies Program and the Institut
Français’ Artist-in-residence Program).
Despite the growth of the concept there is
little empirical research on the impact or value
of artist residencies in terms of benefits and/or
value to the artists, the host organisation, or
the wider organisational and public stake-
holders. Within this context, this article firstly
provides an overview of the concept of the art-
ist residency and the benefits as perceived by
the art community and policy makers, secondly
it sets out a framework within which an aca-
demic research agenda may be formulated, and
then finally discusses the implications for the-
ory and practice for such an agenda.
Sources of data
The majority of the data on artist residencies
has a practitioner focus, tends to relate to op-
portunities, and talks about how artists can use
residencies for professional and creative devel-
opment (see, for example, Alliance of Artists
Communities (USA), 2017; Arts Council of
England, 2016; Australia Council for the Arts,
2015). Other literature is professional in na-
ture, in the form of government reports, practi-
tioner articles and commentaries, and some
important case studies (e.g., Scott, 2006; 2010).
These sources on artist residencies are summa-
rised in terms of their topic and theme in Table
1.
Cultural Management: Science and Education, Vol. 1, No. 1 (2017)
11
Table 1. An overview of artist residencies sources in terms of their topic and theme
Topic
Theme
Visual artists in visual arts organisations
Professional development for the artist; creative develop-
ment (at minimal cost) for the organisation.
Artists in education contexts
The role of artists/the arts in encouraging/stimulating
learning (there is quite a lot of this in education journals)
also seen in business consultancies promoting arts based
learning for organisations, see Creativity at Work:
http://www.creativityatwork.com/arts-in-business-apply-
ing-the-arts-to-organisational-learning/
Arts/business government sponsored or-
ganisations
These tend to be coming from a funding angle e.g., how can
business support the arts?
Artists ‘embedded’ in organisations for
professional benefit
No benefit for the organisation stated, e.g., Anonymous,
2013.
‘Think’ pieces/case studies
Magazine type articles discussing specific cases, e.g., Moss,
2015 on Facebook.
From Table 1 it can be seen that there has not
been any investigation into measuring either
the value or impact of artist residencies. That
said, it is clear there considerable value can be
derived from artist residencies, as perceived by
artists and policy makers (though no empirical
evidence). The following section provides an
overview of the role of artists residencies.
The role and benefit of artist residencies
Artist residencies frequently provide the artist
with a range of professional and economic re-
sources, including a living allowance, facileties,
tools, professional feedback and opportunities
to develop their networks and build an audi-
ence. In addition, they can also offer access to
new technologies, partnerships and further
funding opportunities which may lead to the
development of new ‘products’ and ideas that
expand the artists’ work. It has also been said
that residencies can also offer time for reflec-
tion and experimentation, opportunities to de-
velop artistic practice, and connect with other
artists (Australia Council for the Arts, 2015).
Certainly, some of the benefits of residencies
highlighted by artists relate to how the resi-
dency experience can inspire them creatively,
sustain them professionally, provide artistic
and professional opportunities, build interna-
tional networks and expose them to emerging
international trends in their art form (Styhre
and Eriksson, 2008). Intrinsic benefits include
building confidence and pride, and generating a
sense of being taken seriously, alongside the
prestige that comes with being awarded a resi-
dency in the first place (Australia Council for
the Arts, 2015). The experience of being in
residence also fosters a wider cultural aware-
ness (when artists visit another country), and
competencies in organisational and managerial
skills (European Commission, 2014).
For the host organisation, hosting artists from
different cultural and professional backgrounds
offers them opportunities to gather experience
12
Logos Verlag Berlin Academic Books for Sciences and Humanities
and develop long-lasting relationships, often
leading to wider networks of international art-
ists, cultural organisations and funding agen-
cies (European Commission, 2014). More
broadly, embedding an artist within an indus-
try can provide a source of creativity and help
stimulate an innovative corporate culture
(Roodhouse, 1997). The art and business envi-
ronments can be visualised as having an inter-
active, permeable boundary facilitating multi-
directional connections and new innovative
relationships (Fillis and Rentschler, 2008).
Schiuma and Carlucci (2016) consider artist
residencies as a powerful form of art-based
initiative, strategically handling individual and
organisation level value-drivers including pas-
sion, emotion, hope, morality, imagination, as-
piration and creativity. They argue that art-
based initiatives can impact on the ‘processes’,
‘values’, ‘identity’, ‘image’, ‘brand’ and ‘culture’
of organisations. When an artist enters, shares,
and works in collaboration with the industrial
organisation, the residency becomes a unique
form of cultural experience involving compari-
son of communication, knowledge, perception
and imagination (Scott, 2006). The idea that
both artist and organisation benefit is key to
the role artist residencies are seen to play in all
industry sector contexts.
Industry contexts
In terms of the industry sector in which the
residency takes place, schools and educational
institutions have a long history of involving
artists in the organisation (Bumgarner, 1994).
In general, artists in educational contexts are
seen as advancing the role of the arts in the
curriculum, and encouraging and stimulating
learning (Lumsdaine, Lumsdaine, 1995; Pujol,
2001). They are also seen as contributing to
staff development (Hunter, Baker, Nailon,
2014). Residencies in noneducation contexts
are seen as facilitating organisational learning
and capacity building for the host organisation
(Shanken, 2005).
As noted above, there is a multitude of sec-
tors that now host artist residencies: there
have been cases of artists working in technol-
ogy industries (Moss, 2015; Naiman, 2011); in
medicine (Rockwood, 2004); and in museums
(Anonymous, 2013). The sector that appears to
have had the most interaction with artists’ re-
sidencies is science. So much so that in the UK
and Australia there are organisations that faci-
litate and support art/science collabo-rations
and residencies. In the UK the ASCUS Art & Sci-
ence organisation is a: “…non-profit organi-
sation committed to bridging the gap between
the arts and sciences. We work with partners
and practitioners to create innovative trans-
disciplinary projects to engage new and wider
audiences and facilitate innovative public en-
gagement with both fields (ASCUS Art & Sci-
ence, 2017, n.p.).
In Australia the Australian Network for Art
and Technology (ANAT) collaborates with the
Australia Council for the Arts on the Synapse art
science program “supports intensive partner-
ships between leading media artists and sci-
ence institutions in Australia and beyond”
(Australian Network for Art and Technology,
2017, n.p.). In many respects the interactions
between art and the sciences can be seen as a
model of the benefits of artist residencies. As
Scott (2010) has noted: Residency programs
are encouraging artists who are interested in
research to witness the process of scientific
Cultural Management: Science and Education, Vol. 1, No. 1 (2017)
13
discovery and science labs are becoming inter-
ested in the art process (2010, p. 8).
The University of Western Australia’s
Symbiotic a residency program within the
School of Anatomy, Physiology and Human Bi-
ology is an example of an innovative mixing of
science and art. Their program claims it “ex-
poses artists and researchers to the culture and
practice of science” and provides “a hothouse
for developing new skills and knowledge for its
residents” (University of Western Australia,
2017).
The host community or region
In addition to the personal and organisational
aspects of residencies, linking more directly to
the external environment in which the resi-
dency takes place, creative stimulation for the
region or community where the residency is
located can also occur. Broadly, as is stated in
the EU Policy Handbook on Artists' Residencies,
there is a “…growing recognition of the value of
artistic and creative potential in society” (Eu-
ropean Commission, 2014, p. 17). Globally,
there is an increasing emphasis within gov-
ernment policy on the role of the cultural in-
dustries as drivers of urban and regional de-
velopment (Evans, 2009). Another driver that
is particularly relevant in this case is the fact
many cities are struggling to become more
creative, and to present themselves as creative
destinations” (Richards, Marque, 2012, p. 3).
Consumer demand for creative experiences
include an increasing interest in the active par-
ticipation in cultural practices by tourists (Gor-
din and Matetskaya, 2012). Artist residencies
are clearly seen as a vital component of any
strategy to encourage the growth of a creative
community or region.
A research agenda
It is apparent that there is considerable interest
in artist residencies in a professional and gov-
ernment policy sense. This is partially related
to the overall interest in the role of art itself as
an instrument for the creation of cultural value
(Carnworth, Brown, 2014; Crossick, Kaszyn-
ska, 2016). This position can be seen in the EU
Policy Handbook on Artists’ Residencies, where
it is stated that artist residencies: “…can pro-
vide cultural enrichment of the community in a
number of ways: by providing a platform for
collaboration with the creative process, by par-
ticipating in events or by being the audience for
work or work in progress… [and] help to de-
velop awareness, knowledge and understand-
ing between different groups in socjety” (Eu-
ropean Commission, 2014, p. 38).
However, the same level of interest is not
seen in the academic literature. Even within
scientific research institutions, which have a
long history of interacting with artist residen-
cies, no investigation as to the value to the art-
ist, the scientific department (or discipline), or
the institution has taken place (Jeffries, 2011).
Following on from the discussion in the pre-
vious section, Table 2 presents a value frame-
work for artist residency programs, as per-
ceived by the art community and policy mak-
ers. Each of these intersections between a type
of value and the beneficiary of that value repre-
14
Logos Verlag Berlin Academic Books for Sciences and Humanities
sents a potential topic for research. Further-
more, these intersections can also be seen as
the focus for both multi- and cross-disciplinary
research projects. This is because the potential
roles for artist residencies span the creative,
economic, organisational and developmental
spheres of research activity (as well as many
others).
Table 2. A value framework for artist residency programs
Value type
Individual
Organisational
Societal
Professional devel-
opment (skills, re-
sources, reputation,
etc.)
Artist
Economic benefits
Artist
Host organisation
Region or community
Broadened cultural
knowledge
Artist
Host organisation
Region or community
Organisational learn-
ing and capacity
building
Host organisations
and/or community orga-
nisations
Creative and cultural
stimulation
Region or community
where the residency is
located
As a means of progressing the discussion, set-
ting a research agenda, and illustrating just
how fruitful the research possibilities could be,
Figure 1 presents a model of how the various
actors relate to each other. In this model the
three beneficiaries noted in Table 2 - the indi-
vidual, the organisation, and the region - inter-
sect and interact in a range of different ways.
Very briefly, it is suggested that each actor
comes with their own characteristics (and po-
tential issues), which then can potentially inte-
ract to form relationships, impacts, and conse-
quently, value in a variety of forms. Clearly
there are numerous possible areas of research
interest, however the following research ques-
tions are proposed as a starting point:
In what ways do artists’ residencies in non-
art industry contexts add value to the artist,
the audience and the host organisation?
Are the impact and values different for the
various art forms, e.g., dance, theatre, or the
visual arts?
How does the individual artist’s charac-
teristics, e.g., their personality, skills, etc.,
affect the ‘success’ of the residency?
In what ways do artist residencies add value
to a city or region?
What are the factors of success of an artist
residency for all actors?
What motivates artists and organisation to
participate in artist residencies?
Cultural Management: Science and Education, Vol. 1, No. 1 (2017)
15
Figure 1. An example research case
Importantly, there are both theory and practice
implications for the research agenda proposed
here. Firstly, for theory, empirical research
would be welcome in the arts management and
marketing areas, where there have been nu-
merous calls for more robust theories that take
account of the nuances of the arts and cultural
sectors (e.g., Fillis, 2011; Lehman, Wickham,
2014). Here the issues of artists’ careers,
stakeholder management, and consumer moti-
vation (amongst others) are relevant. In urban
and regional planning field, there is considera-
ble debate on the role of the arts and cultural
sectors driving development, as well as discus-
sion over the development of creative precincts
and zones (e.g., Evans, 2009; Grodach, Loukai-
touSideris, 2007). Investigating the nexus be-
tween artist residencies and urbanbased crea-
tive precincts, for example, would provide a
valuable addition to the literature. Linking to
planning issues, there also appears to be consi-
derable scope for adding to the research being
16
Logos Verlag Berlin Academic Books for Sciences and Humanities
done on the creative and cultural industries in
relation to individuals and society. Overall,
there is now a heightened awareness of the
significance of ‘cultural value’, which concerns
those areas of social and individual ‘life’ where
art and culture can have an impact or add value
(Crossick, Kaszynska, 2016). Research directed
to understanding the links, if any, between
supporting artists within communities and or-
ganisations and improving health and wellbe-
ing, or improving social inclusion, would be
seen as significant for research in the health
and cultural trends literatures.
For practice there is no doubt that manag-
ers, policy makers and artists need a better
understanding of artist residencies in terms of
benefits and/or value to the artists, the host
organisation, or the wider organisational and
public stakeholders. Government policymakers
need to consider how to foster genuine interre-
lationships between related stakeholder groups
when developing policies in the sector. Indeed,
as has been previously mentioned, around the
world there is an increasing emphasis within
government policy on the role of the arts and
cultural sector as a driver of development, par-
ticularly related to those aspects of the sector
deemed to be ‘creative industries’ (Andres,
Chapain, 2013) or seen as part of the ‘creative
economy’ (Creative Industries Innovation Cen-
tre, 2013). In this context it is clear that while
there is significant interest in artist residencies
from the artists themselves, as well as from the
organisations and regions or communities that
support them, there is a pressing need to con-
ceptualise their impact and value from a robust
academic theory perspective, for the benefit of
all concerned. This article has sought to pro-
vide a starting point by setting out a framework
within which a research agenda may be for-
mulated.
References
Andres, L., Chapain, C. (2013), The integration
of cultural and creative industries into local
and regional development strategies in Bir-
mingham and Marseille: Towards an inclu-
sive and collaborative governance? Regional
Studies 47 (2): 161-182.
Anonymous (2013), Exploratorium®, Issues in
Science and Technology 30 (1): 39-46.
Alliance of Artists Communities (US) (2017),
Residencies, available at:
http://www.artistcommunities.org/resi-
dencies (accessed 2 April 2017).
ASCUS Art & Science (2017), About us, avail-
able at: http://www.ascus.org.uk/about/
(accessed 24 February 2017).
Arts Council of England (2016), Writers in resi-
dence: A practical guide for writers and or-
ganisations in London, available at:
http://www.artscouncil.org.uk/sites/de-
fault/files/download-
file/writers_in_residence.pdf (accessed 2
April 2017).
Australia Council for the Arts (2015), Residen-
cies Research, available at:
http://www.australiacouncil.gov.au/strate-
gies-and-frameworks/residencies-research/
(accessed 17 December 2016).
Barnard, C.I. (1938), The Functions of the
Executive. Cambridge: Harvard University
Press.
Australian Network for Art and Technology
(ANAT) (2017), Synapse: Art + Science Resi-
dencies, available at:
http://www.anat.org.au/synapse/ (ac-
cessed 3 March 2017).
Cultural Management: Science and Education, Vol. 1, No. 1 (2017)
17
Bumgarner, C.M. (1994), Artists in the class-
rooms: The impact and consequences of the
national endowment for the arts' artist in
residency program on K-12 arts education
(part II), Arts Education Policy Review 95
(4): 8.
Carnworth, J., Brown, A. (2014), Understanding
the value and impacts of cultural experi-
ences: A literature review, Manchester: Arts
Council England.
Corbett, R. (2015), A German Artist Colony,
Suspended in Time, Stakes a Place in the
Contemporary Scene, New York Times Style
Magazine, available at:
https://www.nytimes.com/2015/08/20/t-
magazine/worpswede-artist-colony-ger-
many.html?_r=0 (accessed 22 March 2017).
Corporation of Yaddo (2017), History, available
at: https://www.yaddo.org/about/history/
(accessed 2 April 2017).
Creative Industries Innovation Centre (2013),
Valuing Australia’s Creative Industries - Fi-
nal Report, Prepared by SGS Economics &
Planning for Creative Industries Innovation
Centre, Sydney, available at:
http://hdl.handle.net/10453/34865, (ac-
cessed 22 December 2016).
Crossick, G., Kaszynska, P. (2016), Under-
standing the value of arts & culture: The
AHRC Cultural Value Project, Swindon: Arts
and Humanities Research Council.
Evans, G. (2009), Creative cities, creative
spaces and urban policy, Urban Studies 46
(5/6): 10031040.
European Commission (2014), EU Policy Hand-
book on Artists’ Residencies, European
Agenda for Culture: Work Plan for Culture
2011-2014, available at:
http://ec.europa.eu/culture/policy/cultural
-creative-industries/documents/artists-re-
sidencies_en.pdf (accessed 2 December
2016).
Fillis, I. (2011), The evolution and development
of arts marketing research. Arts Marketing:
An International Journal 1 (1), 1125.
Fillis, I., Rentschler, R. (2008), Exploring meta-
phor as an alternative marketing language.
European Business Review 20(6): 492-514.
Gordin, V., Matetskaya, M. (2012), Creative
tourism in St. Petersburg: the state of the
art, Journal of Tourism Consumption and
Practice 4 (2): 55-77.
Grodach, C., LoukaitouSideris, A. (2007), Cul-
tural development strategies and urban re-
vistalization, International Journal of Cul-
tural Policy 13 (4): 349-370.
Hunter, M., Baker, W., Nailon, D. (2014), Ge-
nerating Cultural Capital? Impacts of Artists-
in-Residence on Teacher Professional
Learning, Australian Journal of Teacher Ed-
ucation, 39 (6): 7588.
Jeffries, S. (2011), When two tribes meet: colla-
borations between artists and scientists, The
Guardian, available at:
http://www.theguardian.com/artanddesign
/2011/aug/21/collaborations-between-
artists-and-scientists (accessed 26 Novem-
ber 2016).
Lehman, K., Wickham, M.D. (2014), Marketing
Orientation and Activities in the Arts-Mar-
keting Context: Introducing a Visual Artists’
Marketing Trajectory Model, Journal of Mar-
keting Management 30 (78): 664696.
Lumsdaine, M., Lumsdaine, E. (1995), Thinking
preferences of engineering students: Impli-
cations for curriculum restructuring, Journal
of Engineering Education 84 (2): 193-204.
Moss, C. (2015), Up in the AIR: How will tech
residencies reshape Bay Area art?, Rizhome
Blog, available at:
http://rhizome.org/editorial/2015/jan/20/
tech-companies-artist-residency-programs-
bay-area/ (accessed 25 November 2016).
Naiman, L. (2011), Xerox PARC: Collaboration
at the Intersection of Art and Science, Crea-
tivity at Work, available at:
https://www.creativityatwork.com/2011/0
1/10/xerox-parc-collaboration-at-the-inter-
section-of-art-and-science-an-interview-
with-john-seely-brown/ (accessed 20 No-
vember 2016).
18
Logos Verlag Berlin Academic Books for Sciences and Humanities
Pujol, E. (2001), The artist as educator: Chal-
lenges in museum-based residences, Art
Journal 60 (3): 4-6.
Richards, G., Marque, L. (2012), Exploring Crea-
tive Tourism: Editors Introduction, Journal
of Tourism Consumption and Practice 4 (2):
111.
Rockwood, K. (2004), Lending a helping eye:
Artists in residence at a memory clinic, The
Lancet Neurology 3 (2): 119-23.
Roodhouse, S. (1997), Interculturism: The rela-
tionship between art and industry, Journal
of Arts Management, Law, and Society 27
(3): 227-237.
Schiuma, G., Carlucci, D. (2016), Assessing the
business impact of arts-based initiatives, In:
Skoldberg, U.J., Woodilla, J., Berthoin, A.
Antal (Eds.) Artistic interventions in organi-
zations: Research, Theory and Practice,
Routledge: London and New York, 60-73.
Scott, J. (Ed.) (2006), Artists-in-labs. Processes
of inquiry, Wien: Springer, Wien, New York.
Scott, J. (Ed.) (2010), Artists-in-labs. Network-
ing in the margins, Wien: Springer Wien Ne-
w York.
Shanken, E. A. (2005), Artists in industry and
the academy: collaborative research, inter-
disciplinary scholarship and the creation
and interpretation of hybrid forms, Leo-
nardo 38 (5): 415-418.
Styhre, A., Eriksson, M. (2008), Bring in the arts
and get the creativity for free: A study of the
artists in residence project, Creativity and
Innovation Management 17 (1): 47- 57.
University of Western Australia (2017), Symbi-
oticA Homepage, available at:
http://www.symbiotica.uwa.edu.au, (ac-
cessed 21 March 2017).
Useful websites
ASCUS Art & Science organisation:
http://www.ascus.org.uk
Australia Council’s International Residencies
Program:
http://www.australiacouncil.gov.au/fund-
ing/funding-index/international-residen-
cies/
Australian Network for Art and Technology
(ANAT): http://www.anat.org.au
Institut Français’ artist-in-residence program:
http://www.institutfrancais.com/en/artists
-residence
Res Artis: http://www.resartis.org/en/
Residency Unlimited:
http://residencyunlimited.org
... In essence, they are stimulating retreats with good working conditions, as they grant fellows a temporary relocation and hiatus from everyday life. Aside from time, they may provide financial, spatial and social resources for reflection and untroubled artistic work (Lehman, 2017;Lithgow & Wall, 2017). ...
... The more than 1,300 artist residencies that exist worldwide (UNESCO, 2018) belong to a far-reaching and diverse infrastructure of cultural promotion. They represent an essential element of artist mobility and cultural diversity, which are actively supported by state cultural or location policy and multinational political programs (EU, 2014;UNESCO, 2018;Lehman, 2017;Bernava & Bertacchini, 2016). ...
... There is little empirical research on how the value unfolds of artist residencies in non-art settings (Lehman, 2017). The few cases under academic scrutiny indicate that these programs offer inspiration and foster creative solutions as employees are exposed to modes of thinking and problem-solving, they are usually unfamiliar with. ...
... The research is based on bibliographical and empirical research methods combined with graphic modelling methods. A number of studies devoted to the creative environment in education were analyzed [8], [9], [12], [13] as well as sources, devoted to "4 Ps of creativity" [7], [21] and different types of historical and modern art residences in Russia, Europe and USA [11], [14], [15], [16], [19], [20]. ...
... A number of models of modern art residences have been studied [14], an analysis of their applicability to expand the educational opportunities of the Faculty of Arts of SPBU has been carried out, the needs of teachers, students and graduates of the faculty as a target audience were considered, the potential for scaling the project audience, have been identified. As a result, the concept of a University art residence creative environment was developed to be an innovative addition to the educational environment of the arts faculty of SPBU. ...
Conference Paper
Full-text available
This study examines the possibility of solving two initially unrelated problems identified in the functional system of St. Petersburg University, due to their convergence within the research framework. The first problem is the deficit of interactive creative environments that could contribute to the development of creativity and creative productivity of students mastering art-related professions at the Faculty of Arts of St. Petersburg State University. The second is the lack of the concept of revitalizing for one of the cultural heritage sites under the jurisdiction of St. Petersburg State University – a summer cottage settlement of the late 19th century known as the Benois Dacha in Peterhof. It is assumed that the creation of the Art Residence on the basis of Dacha Benois will serve as an effective tool both for the heritage objects preservation and for the development of the creative environment for the students of the Arts Faculty, which will also help to increase the satisfaction of the educators and students from the education process, support the qualifications and motivation of educators, as well as attract new highly qualified actors to the participation in the educational process.
... What are the wider benefits of the residency to the artist, to the residency organization, and to society? Kim Lehman has developed an artist residency value framework matrix (Lehman 2017). He proposes five beneficial value types that affect the individual artist, the host or local community organizations, and the wider society or regional community. ...
Chapter
Full-text available
This chapter draws attention to the concept of nuclear awareness that arose in the wake of the nuclear catastrophes. It highlights epistemic and political stakes: the almost unimaginable timetables of nuclear energy (extraction and waste) on one hand, and the threat of instantaneous destruction on the other. The chapter emphasizes nuclear awareness as a critical assertion of nuclear energy and its societal impact and as a trigger of critical thinking of nuclear technology, nuclear power production, nuclear agenda, as well as their challenges and opportunities involved. The chapter analyzes the tools of narrating the Chernobyl disaster in the contemporary nuclear fiction, regarded as a archive of the nuclear Anthropocene and a case of nuclear knowledge management.
... Islands have a particular allure for artists and creatives who want to be 'islanded'; ie to be separated from their mainland lives, and to be closer to nature in order to gain inspiration from their surroundings both terrestrial and maritime (Brinklow, 2013: p. 40). In recent decades the artist's stay on an island has often been in the form of an artist-in-residence scheme where they are given the opportunity to experiment, learn and create with relative freedom and open-ended outcomes (Lehman, 2017). Some examples of such residences are Rabbit Island Residency in Lake Superior (USA), whose website identifies that its programs "provide time and space to investigate and challenge creative practices in a wilderness environment" and L'Artocarpe in Guadeloupe, which encourages culturally diverse practitioners to engage with the Caribbean island's landscape and history. ...
Article
Over the last four decades a number of recording studios have been developed on small islands. The first group of these were in warm water locales, exploiting the standard appeal of the tropics as places of rest and tranquillity. More recently a number of studios have developed in cold water islands, promoting the natural environment (and sometimes less than temperate weather) as encouraging reflection and creativity. This article analyses one aspect of the latter, in the form of the Visitations artist- in-residency programme run by Lost Map Records on the Scottish Isle of Eigg. Several of the musicians who have participated in residencies collected sounds from around Eigg that were embedded in original compositions. This has involved the extension of the studio space into the landscape in a process that stands in contrast to the traditional role of studios to insulate recordings from the external world. This article identifies that the first series of Visitations residences produced musical engagements with Eigg that represent the emotional geographies experienced by the musicians in relation to the landscape, providing more locally grounded projects than those produced in more traditional studios on warm water islands.
... It would allow an individual opportunity to explore his/her practice within another community (Wenger, 1998); a chance to meet new people, perhaps use new materials/techniques and to experience life in a new location. International artist-in-residencies are important (Sharp and Dust, 1990) because they provide opportunities for artists from around the world to spend time in a new atmosphere and environment (Lehman, 2017;Corbett, 2015). They facilitate cultural and artistic exchange, nurture experimentation and new ideas, and encourage research and the development of new work. ...
Article
In this visual article we will share experiences of an artist-in-residency project at the University of Tsukuba in Japan. The article starts by explaining the reasoning and motivations of an international artists collaboration. It explores and visually documents the context of developing a learning community of artistic practice. It visually describes a range of interactions, and peer reviewing opportunities which aimed to develop new understandings, knowledge and skills. It also highlights the use of an international artist teacher to facilitate and support the community in its exploration. A buddy system, studio-based crits, museum and gallery visits, curating, exhibiting and speaking publicly are all shown as processes for enabling the artists’ dialogue and development in an international context for making.
... It would allow an individual opportunity to explore his/ her practice within another community (Wenger, 1998); a chance to meet new people, perhaps use new materials/techniques and to experience life in a new location. International artist-in-residencies are important (Sharp and Dust, 1990) because they provide opportunities for artists from around the world to spend time in a new atmosphere and environment (Lehman, 2017;Corbett, 2015). They facilitate cultural and artistic exchange, nurture experimentation and new ideas, and encourage research and the development of new work. ...
Article
In this visual article we will share experiences of an artist-in-residency project at the University of Tsukuba in Japan. The article starts by explaining the reasoning and motivations of an international artists collaboration. It explores and visually documents the context of developing a learning community of artistic practice. It visually describes a range of interactions, and peer reviewing opportunities which aimed to develop new understandings, knowledge and skills. It also highlights the use of an international artist teacher to facilitate and support the community in its exploration. A buddy system, studio-based crits, museum and gallery visits, curating, exhibiting and speaking publicly are all shown as processes for enabling the artists’ dialogue and development in an international context for making.
... In general, residencies are stimulating retreats with good working conditions, as they grant artists a temporary relocation and a break from everyday life. Aside from time, residencies may provide financial, spatial and social resources for reflection and untroubled artistic work (Lehman 2017;Lithgow and Wall 2017). In an R&D context, residencies offer access to high-end technology and staff expertise; artists are expected to explore research topics and to deliver company-related artworks in return. ...
Article
Full-text available
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.
... With a twofold look at the 20th century and the future of a united Europe, the project Creative Europe 2018, Artists in Architecture, explores the inherent potential of short-lived artist residences [6]. It identifies in them a garrison of culture, creativity, and innovation within landscapes, linking the understanding of the dynamics activated in the communities by the presence of artists, with the forethought of regeneration scenarios for settlement systems [7]. ...
Article
Full-text available
The paper debates the results of a research carried out by the Department of Architecture of the University of Naples "Federico II" (DiARC), as part of the Creative Europe 2018 Artists in Architecture, Reactivating modern European houses program (entitled EACEA 32/2017 and EACEA 35/2017; scientific coordinator: Maria Rita Pinto; project manager: Serena Viola). The research investigates the relationships between creativity and sharing as tools of a new form of social sustainability. These elements can induce positive effects on the settlement qualities of the places, acting as engines of the custody of the settlement values and the collaborative regeneration of the built environment. The methodology is based on participatory approaches able to restore the levels of cohesion, care, and creativity that the experimentation typology of the Artists Residencies is able to trigger on the territory and on the communities who inhabit it. The results return in the form of the complex process of the artist exhibition reception a significant strategy of sustainable development, capable of influencing the community by entrusting it with the role of custodian of the existing heritage and of renewing local entrepreneurship with innovative productions.
... The artistic dimension allows you to explore and learn about the world in a different way (Tadajewski & Brownlie, 2008), and ignoring the scientific knowledge brought about by art and culture could certainly potentially limit scientific progress (Scott, 2010). There is a lack of empirical research on artist residences in terms of benefits and value for both the artist and organizations (Lehman, 2017;Shanken, 2005;Stephens, 2001). Therefore, the need to develop further studies and research on the theme of the relationship between art & business emerges, to understand new methodologies and criteria (Shanken, 2005). ...
Preprint
Full-text available
The article will examine the theoretical reference framework within which the collaborations between art and business have developed in recent years and will try to trace the elements useful for the construction of a reference methodology for an art-based collaboration model, said a model that, from theoretical and empirical research, allows to replicate the innovative content in primary arts in the whole context of CCIs in their collaboration with traditional industries. Furthermore, the impact of the art thinking in the process of cross-innovation between CCIs and SMEs will be verified and the role of the innovation catalyst as a key figure for organizational learning will be introduced.
Article
Full-text available
The introduction of the Australian Arts Curriculum and the rise of a twenty-first century creativity agenda in education signal an opportunity for teacher educators to re-examine the outcomes and potential of arts-based initiatives on teacher professional learning. This study re-visits the outcomes of the Australian Artist-in-Residence program in this context and analyses a subset of data collected for its evaluation. The study reveals that while teachers perceive an improvement in creative capital, it is important to consider questions about the capacity for such programs to generate long term changes in practice. The study illustrates how some States and Territories embedded opportunities for collective reflective activity to facilitate such change and suggests there is potential for AIR models to support pre-service and in-service professional learning in creative and critical thinking as well as the arts curriculum. With the Professional Engagement domain of the Australian Professional Standards for Teachers (Graduate teachers), in particular Standards 6 and 7, this is timely research.
Article
Full-text available
Tourism development in St. Petersburg, which is a major cultural centre, has improved in terms of tourist flows; both tourism demand and tourist products have become more diverse. These improvements give grounds for a fairly optimistic prognosis for the tourist industry in St. Petersburg. At the same time, there are a number of factors which may endanger sustainable development of tourism in St. Petersburg. The current situation calls for a more flexible and innovative approach to industry development. Among these factors are the pronounced seasonal character of tourism, the short-term visits of most of the tourists, and the rather conservative, academic cultural image of St. Petersburg, which compromises the city's appeal as a destination for certain tourist segments. Another critical limitation on the development of cultural tourism in general and of creative tourism in particular is the low involvement of the population in cultural and tourist events held in the city. This makes it relevant to look for new approaches for creative tourism development in St. Petersburg as an important tool for the sustainable development of the industry. This article considers the existing and potential competitive advantages of St. Petersburg as a tourist destination on the basis of creative tourism development.
Article
Full-text available
Answering the call by Fillis, this paper aims to build an ‘arts-marketing orientation’ model by exploring the parallel relationship that exists between the Product Life Cycle (PLC) and the notion of the ‘career trajectory’ (as it applies to visual artists). In so doing, this paper provides a finer-grained understanding of the marketing orientation and activities of visual artists as they progress through their career. Qualitative analysis of the data (and the subsequent development of the Visual Artists’ Marketing Trajectory model) suggests that the marketing orientation and activities undertaken by visual artists deviates significantly from the assumptions underpinning traditional marketing theory. Unlike customer orientation (central to traditional marketing theories), this research suggests that in the arts-marketing context, the marketing orientation and activities of visual artists change according to the career trajectory stage in question.
Article
Full-text available
The author surveys contemporary artist-engineer-scientist collaborations in industry and the academy and considers a variety of theoretical and practical issues pertaining to them. Given the increasing dedication of cultural resources to engage artists and designers in science and technology research, the author concludes that more scholarship must analyze case studies, identify best practices and working methods, and propose models for evaluating both the hybrid products resulting from these endeavors and the contributions of the individuals engaged in them.
Book
Networking in the Margins is about sharing information in the margins where immersive learning can expand the exact sciences and demand a more robust level of dialogue from the humanities and the arts. At base of these margins, sits an attitude, which values mixed levels of fantasy, reality and logic and accepts unexpected results. Therefore, this new edition will feature how the AIL artists from the disciplines of sculpture, installation, performance and sound and AIL partner scientists from the disciplines of physics, computer technologies, environmental ecology and cognitive analysis have complimented each others research from 2006 to 2009. While scientists have certainly learnt about art, artists have become more involved in ethical and social debates about scientific discovery in relation to society. In this book the potentials of networking in these margins are reflected upon by 9 prominent authors, 12 artists and 12 leading scientific researchers from various Laboratories.
Article
There is a growing national trend to invite visual artists to participate in what I call open-process museum-based residencies. The challenging educational goals of many of these new residencies are to translate contemporary art for mainstream audiences, which often perceive it as a hermetic language, and to engage people of color from previously untapped working-class communities and recent immigrant populations.
Article
Andres L. and Chapain C. The integration of cultural and creative industries into local and regional development strategies in Birmingham and Marseille: towards an inclusive and collaborative governance?, Regional Studies. This paper explores the nature of the integration mechanisms of cultural and creative industries (CCI) into local and regional strategies and policies in Birmingham (UK) and Marseille (France) over the last thirty years. Using the typology developed by Smith and Warfield in 2008 with regard to CCI local policies and drawing on the collaborative governance model of Ansell and Gash in 2007, the paper compares the private CCI actors involved in local policies based on culture-centric versus econo-centric approaches. It demonstrates that the culture-centric approach is more exclusive than the econo-centric approach, and tends to lead to restrictive governance arrangements.
Book
This book verifies the need for the arts and the sciences to work together in order to develop more creative and conceptual approaches to innovation and presentation. By blending ethnographical case studies, scientific viewpoints and critical essays, the focus of this research inquiry is the lab context. For scientists, the lab context is one of the most important educational experiences. For contemporary artists, laboratories are inspiring spaces to investigate, share know-how transfer and search for new collaboration potentials.