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robertogreco : residencies   41

Is a Laundromat the Best Place to Show Art? This NYC Nonprofit Makes a Strong Case For It | Art for Sale | Artspace
"In many modest income and minority neighborhoods throughout New York City's five boroughs, there has been an undeniable trend in real estate—attracted by the relatively low cost of living and opportunities for development, many communities previously ignored by the arts establishment for being too dangerous, too fringe, and/or commercially unviable have been recently flooded by gourmand coffee shops and gallery spaces with the ostensible intention of bringing art into these neighborhoods. While the ambition is well-meaning, what these spaces often represent is the erasure of a community's pre-existing culture and creativity and, more importantly, rapid increases in local rent prices which ultimately push many long-standing residents out. This trend is colloquially referred to as "artwashing."

Of course, there are art spaces and groups that are actively working to develop better practices and relationships, as discussed in last year's article on the subject by Jillian Billard. Among those leading the fight against gentrification is the nonprofit, The Laundromat Project. Founded by Risë Wilson in 2005, The Laundromat Project has supported over 160 artists since its inception through its fellowship programs and artist's residencies with the mission of facilitating and training artists on how to develop responsible community-based cultural programming. Initially inspired by the concept of utilizing and activating laundromats as inherently diverse and accessible community gathering spaces, the project now uses the laundromat metaphorically, having worked with libraries, community gardens, and all other manner of spaces throughout the city, which provokes the following associative experiment: what if, instead of artisanal coffee shops and white-cube gallery spaces, we imagined a laundromat as the symbol of the arts entering a community?

In this interview with Artspace editor Shannon Lee, Laundromat Project's executive director Kemi Ilesanmi discusses the nonprofit's history, its unique programming, and how to highlight the culture that already exists within neighborhoods responsibly."
art  artwashing  nyc  laundromats  shannonlee  risëwilson  laundromatproject  kemiilesanmi  community  jillianbillard  residencies  democracy  glvo 
june 2019 by robertogreco
Liberty Foundation
"Through my time organizing XOXO and Build I’ve been lucky enough to meet countless exceptionally talented and hard-working independent creators in many different fields. However, a lot of these artists are struggling with the same problem. Many are unable to break the cycle of burying their own goals below part-time or full-time work, living project to project without the benefit of breathing room to assess and develop their careers.

This project aims to break that cycle.

The Liberty Foundation supports artists who work on the internet by giving them the tools they need to grow their practice into an independent business.

The Foundation will begin by offering a number of fellowship awards. Under the guidance of our advisory board, we will be prioritizing awarding our fellowships to a diverse and representative group of artists working in contemporary fields such as film, music, podcasts and audio storytelling, writing, comics, tabletop and board games, and video games.

Our fellows will each receive a $60,000 cost of living grant and support for health insurance costs for one year. These grants will not be project-based, but rather aimed at giving creators a chance to step back and make decisions based on curiosity and long-term growth rather than dire and immediate need.

The second aspect of the Foundation supports this goal by providing an extensive coaching and support program to help artists maintain momentum, focus on their work, and grow it into a sustainable business. This will involve workshops and tutorials focused on business development, marketing, financial planning, and legal support.

Our goal is to give as many artists as possible the resources they need to build an independent career. With that in mind, we will publish all the resources we produce, making them freely available in our online library for future creators to access. Our ultimate aim is to help remove barriers for any artist who could be making a sustainable career out of their work.

Applications will open later this year. If you’re interested in learning more, follow us on Twitter, or sign up for our mailing list.

Thanks to MailChimp, Intercom, and our private benefactors for their support. If you’d like to help, or you’re interested in becoming a benefactor, email

— Andy McMillan"
art  economics  funding  artists  andmcmillan  residencies 
june 2017 by robertogreco
Soulellis: Artistic Practice in 24-Hour Light Rhode Island...
"Artistic Practice in 24-Hour Light
Rhode Island School of Design
Reykjavík, Iceland
14 June – 4 July 2017

Artistic Practice in 24-Hour Light is a course for 13 students in Reykjavík, Iceland. The three-week program is modeled as an artists’ residency and collaborative creative practice, culminating in a public happening. Students will develop their own work, with guidance and support from the instructors and visiting artists. We begin with a series of open prompts, developed as a collaborative teaching tool with Sal Randolph, to bring city/landscape/place into the studio. The course encourages seeing, writing, thinking, and making, towards the development of a new work (or a small body of work).

Continuous solstice light and a vibrant artists’ community will be the context for on-site experimental making, engaging with public, and performing publishing. Our studio will be located at Iceland Academy of the Arts. This intensive course investigates new ways to make poetic work in response to place, using wild terrain, white nights, public space, the street, studio practice, the internet, and one of the world’s oldest continuously functioning democracies as our studio at large. 

With visits to Hveragerði, Snæfellsnes, Vatnasafn, and Hvalfjörður. 

The program concludes with a performative event, to be staged at Mengi on our final night.   

With guidance from Bryndís Ragnarsdóttir, DIspersed Holdings (Sal Randolph & David Richardson), guest artists, and writers. 

[via: "trying to run it like an artists' residency, with guidance but lots of freedom."
2017  paulsoulellis  iceland  risf  reykjavík  art  design  residencies  openstudioproject  lcproject  classideas  salrandolph  happenings  creativity  writing  travel  collaboration  making  workinginpublic  thinking  poetry  artbooks  aritistsbooks 
june 2017 by robertogreco
Artist in Residence Program
"About the Recology Artist in Residence Program
The Artist in Residence Program at Recology San Francisco is a unique art and education program that provides Bay Area artists with access to discarded materials, a stipend, and a large studio space at the Recology San Francisco Transfer Station and Recycling Center. By supporting artists who work with recycled materials, Recology hopes to encourage people to conserve natural resources and promote new ways of thinking about art and the environment.

Since 1990, over 100 professional artists and twenty student artists have completed residencies at this one-of-a-kind program and have made art from discarded materials. The studio is located at the San Francisco Solid Waste Transfer and Recycling Center (Recology San Francisco), a 47-acre facility that includes the trash transfer station (where trash goes before being sent to landfill), the Household Hazardous Waste Facility, the Organics Annex, the Public Disposal and Recycling Area ("The Dump"), and other recycling areas. The facility, which is located west of Highway 101 near Candlestick Park, also is home to a three-acre sculpture garden containing work by former artists-in-residence.

During their residencies, artists have scavenging privileges and 24-hour access to the company's well-equipped art studio. Artists speak to elementary school classes and adult tour groups about the experience of working with recycled materials. At the conclusion of their residency, Recology hosts a two-day public exhibition and reception for the artists featuring the artwork made during their residency. When the residency ends, artists contribute artwork to the program's permanent collection and these pieces continue to be shown in off-site exhibitions that promote recycling and reuse."
sanfrancisco  residencies  art  via:lizette  recycling  ecology  glvo  recology 
september 2016 by robertogreco
Sitka Fellows Program | Island Institute
"The Sitka Fellows Program brings together some of the most exciting, promising talent across all fields and disciplines to spend a summer residency at the Sheldon Jackson Campus in Sitka, Alaska. We look for visionaries of all stripes: frame-busting, independent thinkers who wish to immerse themselves in their work alongside smart, enthusiastic young people from radically different backgrounds.

Entering its third year as a program this summer, the Sitka Fellows Program incubates the talents of the intellectually, artistically, and socially entrepreneurial. It was borne of the belief that highly promising young talent has few opportunities to remove themselves from the commotions of daily life and focus, fully and intentionally, on innovative and ambitious ideas.

Assembling diverse, perceptive minds in one place cultivates a creative energy not easily achieved in a more insular, disciplinary environment. (To wit, the 2012 session saw a computer game designer residing across the hall from an alternative comic book artist, who both made and shared their meals with an engineer-turned-sculptor – all of them living together as peers and collaborators.) Similar to programs like TED and the Santa Fe Institute, we believe that great ideas will shape our future, and that building a community to foster such cross-disciplinary dialogue and action is one of the best ways to transform theoretical ideas into significant forces of change and impact.

Backed by a commitment from the Sitka Fine Arts Camp and the Sheldon Jackson Campus, the Sitka Fellows Program will award six residency fellowships to the most promising emerging talent under the age of 30. Fellows will live for seven weeks on Sitka’s 133-year-old Sheldon Jackson Campus, a National Historic Landmark, and will be provided with studio and research space, meals, and a community environment in which they can interact with each other as well as with local Sitkans. In sum, residents will be free to dedicate themselves fully to their work."
alaska  sitka  residencies  art 
april 2016 by robertogreco
"Lenka Clayton is currently the official Artist in Residence in Motherhood.

Artist Residency in Motherhood is an unusual artist residency that was created by the artist, is funded by the Pittsburgh Foundation and is taking place inside the artist’s own home and life as a mother of a one-year old child.

Lenka Clayton, conceptual artist and full-time mother created Artist Residency in Motherhood as both a personal and political statement. Artist residencies are not usually intended for artists who have families. Mostly, they are designed as a way to let artists escape from the routines and responsibilities of their everyday life. Artist Residency in Motherhood is different. Set firmly inside the traditionally “inhospitable” environment of a family home, it subverts the art-world’s romanticisation of the unattached (often male) artist, and frames motherhood as a valuable site, rather than an invisible labor, for exploration and artistic production.

Artist Residency in Motherhood provides the artist with a studio, materials, a travel allowance, monthly stipend, studio assistance, mentorship and accountability. For the 227 days of the residency the fragmented mental focus, exhaustion, nap-length studio time and countless distractions of parenthood as well as the absurd poetry of time spent with a young child will become the artist’s working materials and situation, rather than obstacles to be escaped from. Stories from the intersection of art and motherhood and reports from Lenka Clayton’s studio will be published to the Studio Diary. Finished work and proposals will be posted to the Portfolio.

At the end of the residency the artist will release a publication that documents and shares the blueprint of the residency to allow other parents to replicate the residency in their own homes. If you are interested in undertaking your own Artist Residency in Motherhood please get in touch."
residencies  art  artists  motherhood  parenting  lenkaclayton 
july 2015 by robertogreco
An Artist in Every Library — Medium
"A large-scale residency program placing an artist in every library, archive and museum would rejuvenate institutions and promote critical engagement with information."

"Zach Lieberman has famously said that ‘art practice is the R&D lab for humanity’. In an age where many of our most important challenges lie in our relationship with information, it’s vitally important for artists to be engaging at this intersection. Indeed, it is happening: Deep Lab, a congress of artists and researchers recently held at Carnegie Mellon offers a good survey for the variety of methods, materials an approaches that are being used by artist to engage with information issues."

"First, two ground rules:

The Artists is not cheap labor. Some librarians reading this post might be thinking: this is an excellent idea! We need poster making / data visualization/ <insert useful task here>. We can get an artist to do it! This is not how it works. To get full benefit from these engagements, the work done must be artist-driven and free from constraints.

The Library is not a free studio. While artists should be encouraged to bring projects and ideas into the residency, it’s important that the work done is not just in the institution, but with the institution. Artists should be expected to collaborate with staff, and to immerse themselves in the communities and expertise of the host organization.

The focus here is on symbiosis, on the creation of a relationship where the artist and the institution, along with the community at large, benefit. It is not about bringing art into libraries, but art making, and all of the messiness and rigor and criticality and questioning that comes with it."
art  residencies  libraries  museums  2015  zachlieberman  collections  archives  jerthorp  glvo 
january 2015 by robertogreco
[via: “An Artist Residency Aboard a Cargo Ship” ]

"Project Outline:

Container is a unique artist residency that will invite artists to travel on commercial container carriers to worldwide destinations along existing shipping routes. The selected shipping line will host artists, providing them with a unique studio space in available cabins, as well as the exciting opportunity to travel internationally. Through a selective application process visual artists will encounter the maritime shipping industry firsthand, and create artwork that responds to this inspiring travel experience.

This proposal addresses shipping lines that are potential facilitators of the project and outlines a full calendar year as its first term. Each month a different artist will be a resident onboard a vessel (the details and length of stay to be determined in conjunction with the hosting company). At the end of the year, the artwork produced by the twelve artists will be presented in a final show accompanied by an exhibition catalogue, related events, screenings, and artist lectures. In addition, each guest artist will contribute one artwork to the facilitating company, and the rights for complete use of that image.

Contribution and Impact:

Through this special project, the enabling company will make an unprecedented contribution to contemporary art and culture worldwide as well as to its international public image. This should cost the company very little while garnering international intrigue and positive attention to the company within the world of contemporary art and its high profile network of collectors, curators, renowned artists, as well as the general public.

Artists require solitude, beauty, the natural sublime and global travel. They crave extended stretches of time, free of any interruption, in order to create new work. All of this can be found on a container ship. The shipping line easily has the potential, without much effort or expenditure, to give the world’s top artists the gift of “the world is your oyster”. This powerful gesture will provide artists with exceptional conditions to make artwork and will present a new perspective on artistic production within the broader global economy.

The global impact through this project could be enormous. Through this initiative, the brand can achieve positive presence at the world’s most important contemporary art and culture gatherings and institutions, like the Venice Biennial, Documenta and various museums and art venues across the globe.

Onboard Artist Residency: Ideas and Goals

The Container Residency takes place on a commercial freighter and offers a number of exciting and meaningful possibilities for the contemporary artist working within our global economy. Through its exceptional setting, Container challenges the traditional idea of studio residencies and invites artists to work within a unique, dynamic intersection of industry, culture and technology. The residency’s geographic location can only be defined in relation to the various international shipping routes and the nexus of destinations that is the backdrop of global trade. Anchored in a context yet without a fixed physical location, the residency foregrounds global commerce as the artist’s own immediate work environment.

Container grants the artist a journey behind the scenes of international commerce – a world as vast as the expanse of the ocean. This backstage pass is an opportunity for the artist to peer into the world of shipping, an encounter that presents both a personal and a professional challenge. The artist is required to adapt their creative practice to a non-traditional studio space in a ship’s cabin. Beyond this professional aspect, the temporary displacement challenges the artist’s familiar day-to-day experience by introducing them to a fascinating environment; a completely unfamiliar setting that is nonetheless the foundation of our global economy. The very setting of the residency calls attention to the fact that the shipping industry facilitates our economy, and in turn, contemporary art.

Today, artists are constantly confronted with an endless array of visual, cultural, and technological networks. Overwhelmed perhaps by the increasing digitalization of society, artists often create artworks that examine the various ways in which digital media influence our socio-economic conditions. It might stand to reason that the ever-expanding process of digitalization will bring about a reduction of physical objects in the world; however, a closer examination of this logic (onboard a freight ship) reveals a different reality. The proliferation of digital media and increasingly sophisticated digital technologies accelerates physical industries, in compliance with the growing demand for goods and commodities, which these new technological networks bring about.

Equally, much of retail and advertising’s appeal makes it difficult to trace products’ national origin, either as goods or as raw commodities. The contemporary artist with his or her unique status as producer (traditionally creating objects from the beginning to the end of the production line) must look beyond the horizon of retail and industry on the mainland and elsewhere, towards maritime and global shipment. The highly organized network of sea routes illustrates the connections between global markets on which production, distribution, and consumption are based. The Container Residency distils both global commodity transport and art, in a powerful juxtaposition of these two spheres. Container also highlights the fact that the artist is a producer, however small, and a valuable extension of this global network.

The multiple challenges that Container embodies are in fact the central challenges that face contemporary artists. If the artist's role is to process his or her experience within the world as a crystallization of a historic and cultural context, then Container underlines that larger economic forces dominantly shape the future of artistic production. A commercial shipping lines’s endorsement of artistic production in the specific context of Container demonstrates how economic and cultural spheres might interact, but more specifically suggests that contemporary artworks have a culturally significant role that should not be distinguished from other forms of productive labor and commodities.

In other words, Container encourages artists to consider their creative processes not simply as that of removed commentators, but as active producers. In order to promote this understanding, it is essential that a new context or setting emerge. Container introduces this approach to the larger art community and implements the approach by assisting individual artists in practical terms. Providing a platform for global exchange, the hosting company can perfectly render this perspective by inviting artists to bridge the gap between individual practices and vast global networks.

Container takes the maritime shipping industry to be the embodiment of the infrastructures on which contemporary art relies. In the 1960s Andy Warhol called his studio The Factory, and Claes Oldenburg named his studio The Store. Following this tradition, Container identifies the shipping industry as today’s dominant cultural-economic force, and invites artists to rethink their practice in these terms. Container’s objective is to ensure the fulfillment of the potential vitality of global artistic exchange and, ultimately, art’s potential to be a socially integrated practice."
residencies  containers  containterships  shipping  cargo  cargoships  2014  maayanstrauss 
december 2014 by robertogreco
Artist-in-Residence - North Cascades National Park (U.S. National Park Service)
"Just as national parks have become a crucial part of American culture, so has the art inspired by these special places.

The jagged mountains of the North Cascades divide the park into a wet west and a dry east: Skagit and Stehekin. Their landscapes vary in natural features, remoteness, and park community but, for the past decade, both have welcomed and inspired visiting artists.

Whether you're an interested artist or just interested in the arts, learn more about:

• North Cascades Arts and Past Resident Artists
• Art in Stehekin
• Art in the Skagit
• Current Artist-in-Residence Program"

"Art in Stehekin
The Stehekin community is in a small, remote valley in the Lake Chelan National Recreation Area, part of North Cascades National Park Complex. This narrow valley lies in rugged mountains east of the Cascade crest. You can't drive to Stehekin. Travel is by foot, floatplane or passenger boat.

The Stehekin valley has 13 miles of interior road leading to North Cascades National Park, and three wilderness areas. It is home to a rich variety of wildlife and 95 year-round human residents. Stehekin's landscape is animated by a restless river and forests where fire is restoring the diversity of plant and animal communities. Stehekin's history can be experienced in century old buildings at the Buckner Orchard and the one room log school house built in the 1920s. The Stehekin valley has been an inspiration to artists for centuries beginning with the unknown painters of our pictographs.

Stehekin's isolation will not be comfortable for everyone. Services are limited: one small and very limited convenience store, a post office, a summer season bakery, one public phone, limited internet access, and no cell phone service. All groceries and supplies must be brought in or ordered from the town of Chelan or via mail order.

Learn more about Stehekin here.

Residency is envisioned as a partnership. Artists present a minimum of two public programs. These can be workshops, talks, or other educational presentations.

Please submit all proposals and documentation with the Stehekin Artist-in-Residence application.

Potential proposals should consider one or more of the following:
1) Landscape and the geological forces that continue to shape it
2) Surrounding wilderness
3) Varied and abundant populations of plants and animals
4) Human history and its stories
5) Role of natural processes including fire and flood in our seasonal dramas
Spring - January 15
Fall - June 15

Stehekin Artist-in-Residence Coordinator
Mark Scherer
360-854-7365, ex 12
e-mail us"
washingtonstate  lakechelan  cascades  stehekin  residencies  art  skagit  northcascades 
august 2014 by robertogreco
ICA’s Excursus: Interview with Alex Klein and Mark Owens — The Gradient — Walker Art Center
"Emmet Byrne: What is Excursus and how did it come about?

Alex Klein and Mark Owens: Excursus was a two-year, four-part initiative at the Institute of Contemporary Art, University of Pennsylvania in Philadelphia positioned at the intersection of art and design, programs and exhibitions, and the archive and the museum. It took the form of a rotating installation on the ICA mezzanine, a curated series of intimate events, and an online residency on the Excursus website, which also acted as a form of real-time documentation. Each of the four invited participants— Reference Library, East of Borneo, Ooga Booga, and Primary Information—work in a space between artistic domains that don’t always have a comfortable place within a traditional gallery setting, such as publication, distribution, archival research, and programming.

Alex was hired in 2011 as ICA’s newly-created program curator, and Excursus was a way to explore and activate the “discursive space” of the museum as it approached it’s 50th anniversary and to challenge the notion of how a program could function and how we might gauge its success. ICA is a non-collecting institution with a long history of ground-breaking exhibitions—Andy Warhol, Paul Thek, and Martin Kippenberger each had their first U.S. solo museum shows at ICA, for example—and thus ICA’s extensive archive is in a very real sense its collection. Each of the participants was thus invited to delve into the ICA archive and to make connections both with their own concerns and the exhibitions currently on view in the main galleries.

An “excursus” is a literary term describing a digression or supplement to a primary text, and the project was conceived very much in that spirit, with every element, from the installation to the programming, emerging from these conceptual and material connections. The aim was to provide a platform that could be responsive and flexible–both in terms of form and authorship–and that could could bridge the gap between extra-institutional and institutional activities while still maintaining a strong framework and a grounding in the physical space of the ICA.

EB: The project has a very strong design sensibility, from the participants selected, to the design of the space, to the design of the ephemera, and of course the catalogue. Was there a philosophy at work behind the design of the whole program?

AK & MO: Certain binaries seemed to anchor each season of the project: East Coast vs. West Coast, black-and-white vs. color, social vs. contemplative, etc. Although each iteration of the project revolved around a kind of kit of parts–a flexible space for discussion, a display system for the event broadsides, a set of flat file drawers to display archival material, an auratic object of some kind, and a projection in the lobby–each of the invited participants contributed a strong visual aesthetic that was linked to the thematic of each of their installations. Thus, the form of each installation, from the materials used to the seating and furniture, reflected a distinct sensibility that changed radically from project to project and sat apart from the rest of the museum identity and the exhibitions in the main galleries. For example, Reference Library’s Andy Beach used custom-designed furniture in unpainted wood in combination with Martino Gamper’s bright plastic Arnold Circus stools in shades of blue and a Wharton Esherick Hammer Handle Chair on loan from the Hedgerow Theater in nearby Rose Valley. This then gave way to East of Borneo‘s exploration of California arts pedagogy circa 1970 with seminar tables, vintage David Rowland 40/4 chairs in period colors, and an actual Metamorphokit table, designed by Peter de Bretteville and Toby Cowan, shipped directly from the CalArts library. For her installation Ooga Booga’s Wendy Yao recreated the unmistakable look and feel of her two Los Angeles stores, complete with a hammock, bookshelves, and a custom table and benches designed by Manuel Raeder, which are now installed at her Mission Road space. Finally, Primary Information drew inspiration from ICA’s seminal 1975 Video Art exhibition with a more spare, conceptualist, black-and-white aesthetic, punctuated by Sarah Crowner’s dramatic Vidas Perfectas curtain (2011), originally produced for a Robert Ashley performance, which created a literal backdrop for the activities that ensued. In this way, the design of the projects themselves marked out a distinct physical space that was at once rich with material and metaphor, but also flexible and open."
alexklein  markowens  oogabooga  referencelibrary  andybeach  walkerartcenter  2014  excursus  ica  design  publishing  books  art  artbooks  artistsbooks  curation  interviews  primaryinformation  eastofborneo  commonpress  othermeans  museums  events  residencies  onlineresidencies  discursivespace  authorship 
august 2014 by robertogreco
"A SHIP IN THE WOODS is a non-profit art entity working to engage critical art and cultural dialogues through curated events within a domestic setting.

These events, the residency program, and other shared initiatives are the primary components in WSOHOIDPS's platform for supporting a community of artists, designers, musicians, filmmakers, writers, researchers and other creatives dedicated to advancing an ever evolving experience of the world."

"In the fall of 2010, a group of artists and creative professionals sought out residency in a mid-century home in the hills of Del Mar, CA with the notion of creating an environment for critical dialogues in art and culture. Set on an acre of densely vegetated land, the house presented an opportunity to have these discussions in a unique setting and after a substantial renovation project, the property was transformed into a venue worthy of displaying world-class works from both established and up-and-coming artists.

The house was originally built as a summer home for the actor George Brent. It then served as a satellite to the North County Repertory Theatre company, offering lodging to visiting actors and performers. After decades spent quietly as a domestic dwelling, the property was purchased and it's structures scheduled for eventual demolition. It was with this inevitable future already in place that a new collection of individuals would move in to conceive of the house's final iteration and initiate its' last life as A SHIP IN THE WOODS.

Today the SHIP continues to function as a home and venue for art, music, lectures, communal dinners, and various gatherings in pursuit of critical discourse. The HELM solo project series, running through February 2014 will be among the final events at our current location.

While a pending future location is still undetermined the WSOHOIDPS mission remains steadfast and on course - building a community and platform to support artists, designers, and other cultural researchers as they extend their own creative visions into the physical world."
galleries  sandiego  delmar  art  glvo  residencies 
july 2014 by robertogreco
LAND (Los Angeles Nomadic Division)
"LAND (Los Angeles Nomadic Division) is a non-profit art organization founded in 2009 as a public art initiative committed to curating site- and situation-specific contemporary art projects in Los Angeles and beyond. LAND believes that everyone deserves the opportunity to experience innovative contemporary art in their day-to-day lives. In turn, artists deserve the opportunity to realize projects, otherwise unsupported, at unique sites in the public realm.

LAND supports dynamic and unconventional artistic practices using a tripartite approach:

• Commissioning public projects of site- and situation-specific works with national and international contemporary artists

• Collaborating with a variety of institutions and organizations, such as universities, museums, and theaters as well as other types of spaces, industries, and entities

• Offering additional programs such as performances, workshops, residencies, discussions, and publications

LAND’s innovative exhibitions and programming structure features three main types, or scales, of programming:

1. Large-scale, multi-site, multi-artist exhibitions (group thematic shows that exist over time and space)

2. Monographic exhibitions or discrete group exhibitions

3. One-night ephemeral performances and durational events"
losangeles  art  publicart  performance  ephemeral  openstudioproject  residencies  performances  publications  ephemerality 
may 2014 by robertogreco
YouTube Space Los Angeles - YouTube
"The flagship location for YouTube Space is designed especially for creators to produce video content, learn new skills, and collaborate with the YouTube creative community."

"Nonprofits: Calling all nonprofits! Produce your next video campaign at YouTube Space LA. Eligible organizations may apply to shoot and edit using Space resources.

Collaboration days: Work with at least one other channel to submit a script or treatment for a collaboration video and earn cash to use towards your production. Offered the last week of every month.

Residencies: For creators with an ambitious project, but without the resources to execute it. Propose an innovative production idea to earn large-stage and set construction resources."

[spaces also in London, Tokyo, NYC]

[via: ]
losangeles  youtube  videoproduction  lcproject  nyc  london  tokyo  openstudioproject  youtubespace  residencies 
march 2014 by robertogreco
Museum as Hub: Interview with Beta-Local by Ruba Katrib :: New Museum
[See also:
and ]

"Beta-Local is a nonprofit center for contemporary art initiated in 2009 and located in the heart of Old San Juan, Puerto Rico. I met the three cofounders, Beatriz Santiago Muñoz, Michy Marxuach, and Tony Cruz in 2010 in their storefront space, which was filled with long tables and chairs, surrounded by bookshelves packed to the brim, sofas, and a small kitchen. While Beta-Local doesn’t exhibit art, it is an essential site that fosters interdisciplinary production and dialogue within Puerto Rico. While I was there, international visitors (myself included) were using the space to have studio visits with local artists; meanwhile, the São Paulo-based artist Carla Zaccagnini led a course. In a time when the university system in Puerto Rico is especially volatile, Beta-Local has become a safe haven for artists and others interested in education and exchange. I was invited to interview Beta-Local for Museum as Hub, who feature the space in their Art Spaces Directory.

Ruba Katrib: Can you talk a little bit about why you started and what you consider to be the central focus of your program?

Beatriz Santiago Muñoz: Beta-Local grew out of our interest in rethinking aesthetic thought and artistic practice from our local context. We began the project in 2009, during the economic crisis. We viewed the lack of local institutional support structures, such as contemporary galleries, museums, and art schools—along with the crisis in traditional modes of production and art economies—as an opportunity to develop alternative support structures for art and vernacular pedagogies. We insist on artistic practice and aesthetic thought as an essential social and political practice part of life.

Beta-Local is organized around three main programs: La Práctica, a nine-month production-based program, The Harbor, a residency program, and La Ivan Illich, an open school through which anyone can propose a class that they want to take or teach. These three programs generate many independent projects from performances to seminars, concerts to collective meals.

Our most important role is to support artists in making work. This making/thinking happens in the midst of projects, classes, lectures, and research. The multiple directions that the conversation can take can be disorienting, but we think this is a good thing.

We wanted to create a space that supported art-making—very broadly defined—and we wanted to do this while responding to and rethinking our physical context, the places where we live, our relationship to the people we collaborate with, their abilities and interests, as well as their imaginative visions of what was possible. We wanted to think about and create links across disciplines, and find connections between artistic practice and other ways of thinking and doing.

When we began the project, it was important for us to emphasize the lack of functionality in institutions, not a lack of exhibition space. We really looked to bring home the point that if there was no functionality in institutions, if the museums provided neither the resources, the relationship to a public, nor the critical context, than your living room—a street corner or a factory was just as good or perhaps an even better space for exhibition/presentation. We also wanted to de-emphasize the exhibition as the only point of contact between public and artist by opening up the process of production to the public, and allowing it to be challenged and enriched in the process.

We do actually orchestrate exhibitions/presentations when that is the logical end result of a project. We have brought in Alia Farid, a young curator living in Barcelona and Kuwait, to work with artist Rosalin Suero on the exhibition “Almacén/Habitación,” which took place in an industrial park. We also collaborated with the local Association of Architects to present Ashley Hunt’s lecture/performance Notes on the Emptying of a City and we presented Jeanine Oleson’s performance La Gran Limpia in contested public spaces and published a related text—these are just some examples. Generally, we don’t present work in our space; this forces us to create collaborations and open up other spaces for art. In general, these spaces have the resources, the space, and the electricity bills, they just don’t have the programming.

RK: With these different components comprising your structure, how do you balance the courses and workshops that are initiated by Beta-Local (that have your interests in mind) with the more “user-generated” elements of the program? Do these aspects of the program correlate or do you see them as separate initiatives entirely?

BSM: It is very hard to disentangle the two as there is a certain flow and synchronicity between them. Beta-Local has some clear interests—they are evident in the structure of Beta-Local, in the physical space, in our personal work as artists and cultural producers—but as the community of participants grows, those interests also grow, overlap, and meander. We follow our interests, but we leave all sorts of doors open for others to do the same. We are moved by the commitment of others to their own work and vision.

For example, we have received a lot of proposals related to bike culture, from mapping routes to bike mechanics. There is also a community of architects who are interested in experimental practices and architecture as research who participate regularly in programming, proposing, and leading classes; we have had classes and lectures proposed by economists, neuroscientists, ninety–year-old cooks, and teenagers. During 2011–12, we had a movement researcher participating in La Práctica. She initiated a project that involved the participation of many dancers, improvisers, and other movement researchers. This project opened the door to a local history of movement practices and all of a sudden we were in the middle of the dance community—not a place we could have anticipated at all. Similar instances have happened, all branching out in many directions—the space attracts like-minded people from other disciplines.

On the other hand, we also have found ways to pursue a sustained investigation into ideas of interest to Beta-Local. This year, we have begun a new series of intensive seminars anchored in our specific geography, local knowledge, and emerging art practices. This January, we are holding our first two-week session on the subject of land, place, and its visual representation. The ways in which our landscape is read and reinscribed through images is a subject that has come up a lot in the work of artists that we admire. The seminar puts together geographers, artists, and others who have been working on these ideas, including Chemi Rosado, Javier Arbona, and many others. We hope it will be the first of many. We have also pursued research and collaboration into experimental pedagogy, and have sustained long-term collaborations with artists and researchers whose work we are interested in exploring more in-depth.

In the most practical sense, we can do this because we are wiling to literally and figuratively lend them the keys. During our first and second year, we had so many proposals for courses (interesting ones!) and programming that we had to decide early on how to handle this. We would have collapsed if one of the three of us had to be there for everything. Andrea Bauzá, an architect who participated in La Práctica during our first year, organized an eight-week course on architecture, public space, and activism. We gave her the key to the space and from that point on we have done it many other times. On the one hand, it solves a practical problem, on the other, it really gives programming autonomy to the public school project. Also, all La Práctica participants have the ability to program the space and pursue their interests through programming. As we bring more people in, we have more and more reliable collaborators who can run programs, create projects, and teach classes.

RK: How do you believe Beta-Local’s program is perceived locally? There is a dynamic community of artists, curators, and collectors in Puerto Rico, what role do you think your program plays in the local art scene?

BSM: We have been very lucky to have the support and collaboration of the local community of artists and curators—as well as architects, designers, and non-art neighbors. They create programs and are our main audience and participants. Without their support and participation this simply would not work. This, in part, has to do with the fact that the public or La Práctica participants propose at least half of our programming. Establishing a steady connection with collectors is a bit trickier. We are not a traditional presenting institution. Some unconventional collectors avidly support our programs and regularly participate in events. We have also collaborated with Espacio 1414, a private collection, in creating a public program, which was very successful. But more conservative collectors may still be working on figuring out what we do and how this supports a healthy art community. Our place in the local ecosystem is as an engine through which new art and other relationships are forged, tested, and experimented with.

RK: Beta-Local is very integrated into the regional fabric; much of your program is a direct response to the immediate needs of the community in San Juan. But you also have international aspects to your program, how do you connect and communicate your activities to a broader contemporary art context?

BSM: We invite artists to Beta-Local whose work has interesting ties to or challenges local practices, Ana María Millán/Helena Producciones, Amílcar Packer, Carla Zaccagnini, Pablo Guardiola, Adriana Lara, Alia Farid, Center for Land Use Interpretation, Felipe Mujica, and … [more]
via:javierarbona  2014  beta-local  sanjuan  puertorico  beatrizsantiagomuñoz  art  openstudioproject  lcproject  glvo  tonycruz  michymarxuach  studios  studioclassroom  freeschools  education  community  ivanillich  residencies  rubakatrib  funding  fundraising  galleries  local  pedagogy  vernacularpedagogies  openschools  open  place  interdisciplinary  crossdisciplinary  transdisciplinary  multidisciplinary 
march 2014 by robertogreco
"Beta-Local es una organización sin fines de lucro dedicada a apoyar y promover la práctica y el pensamiento estético a través de varios programas:

La Práctica, una programa post-académico centrado el pensamiento estético y la producción artística mediante el cual becarios de diversas disciplinas llevan un proyecto desde conceptualización hasta presentación mediante procesos abiertos y frecuentemente colaborativos.

The Harbor, un programa de residencias artísticas, a través del cual artistas, arquitectos y otros hacedores residen en Beta-Loca y desarrollan proyectos o talleres.

La Ivan Illich, una plataforma mediante la cual cualquier persona puede proponer una clase que puede ofrece o que quiere tomar,

y un nutrido programa público de exhibicions, charlas, Pin-ups (críticas abiertas), muestras, exhibiciones y publicaciones.

Nuestra biblioteca de consulta, La Esquina está abierta al público un día a la semana y por cita."

[video (in English): ]

"Beta-Local is a non-profit organization dedicated to supporting and promoting aesthetic thought and practice through various programs:

La Práctica, a post-academic study and production program, through which Fellows coming from diverse disciplines take a project from concept to production.

The Harbor: a residency program for visiting international artists, architects, designers and other cultural producers. Visitors to Beta-Local, develop projects, workshops and offer lectures on a variety of subjects related to art and other creative disciplines to the general public and to La Práctica Fellows.

La Ivan Illich, an open experimental school through which the participating public suggests, requests and creates courses and workshops.

and a full schedule of public programming which includes exhibitions, lectures, Pin-ups (open critiques), screenings and publications.

We also have a small reference library, La Esquina, focused on art and designopen once a week to the general public."
puertorico  ivanillich  education  art  arts  learning  colearning  via:javierarbona  studios  residencies  lcproject  freeschools  artmaking  materials  society  research  workinginpublic  tonycruz  pabloguardiola  michymaxuach  toolsforconviviality  conviviality  bosqueauxiliar  tooltotool  collaboration  socialpracticeart  walking  politics  beta-local 
december 2013 by robertogreco
Oregon College of Art and Craft
"Oregon College of Art and Craft (OCAC), a principal center for education, dialogue, and the mastery of contemporary Craft, is dedicated to excellence in teaching art through Craft. Founded in 1907 by Julia Hoffman as the Arts and Crafts Society to educate the public on the value of art and craft in daily life, OCAC today is committed to studio practice as making with materials in a sophisticated conceptual framework.

OCAC is a private, independent, non-profit college offering the Master of Fine Arts degree, the Bachelor of Fine Arts degree, and two certificate programs in Craft, as well as continuing education for adults and classes and workshops for youth. An integral part of the Portland ethos of the hand-made and sustainable, the OCAC campus, nestled in the West Hills, features the new LEED Silver Jean Vollum Drawing, Painting and Photography and Bonnie Laing-Malcolmson Thesis Buildings as the result of a $14.7 million dollar capital and endowment campaign. For more than three decades, OCAC has attracted nationally and internationally recognized artists, makers and thinkers to Portland through the robust and diverse Artists-in–Residence program, annual lecture series, and Hoffman Gallery exhibitions."
oregon  portland  art  education  residencies  glvo  ocac  craft  crafts  arts 
august 2013 by robertogreco
"school for poetic computation is an artist run school launching this fall in New York. A small group of students and faculty will work closely to explore the intersections of code, design, hardware and theory -- focusing especially on artistic intervention. It's a 10 week program, a hybrid of residency and research group, that will happen multiple times per year to be a powerboost for creativity. Our motto is: more poems less demos."

[From the Mission]

"The school for poetic computation is a school organized around exploring together the creative and expressive nature of computational approaches to art and design. The school’s focus is on writing code like creative writing — focusing on the mechanics of programming as well as demystifying as much as possible the tools, techniques and strategies for making art via code.

We are interested in how to program things that leave the screen and move into physical space, interacting with people through material-tactile expression. In this way, the school will focus on hardware, experimental interaction design, and computational ways of sensing movement, touch and gesture.

We are interested in craft, and the idea that every writer needs space and time to hone their trade. Our school aims to provide a safe haven – so you could get acquainted with the craft at your own pace, make it your own, find that part between your true creative process and the craft. This takes time, encouragement, the right push at the right time, conversations with colleagues, and more time.

This is a school for teaching. Every student who comes here will be asked to also teach, both to their classmates, but also in the form of workshops and outreach. We want to spread the things we care about as far and as wide as we can.

The goal of the school is to promote completely strange, impractical and magical work. We value aesthetics and poetics over efficiency and usefulness. It may not be the sort of things that are about building a portfolio for finding a job, but the sort of things that will surprise and delight people and enable you to be creative without the structure of school or job. However, we like to think employers will appreciate this kind of work as well.

This is not a program to get a degree, there are large programs for that. This is not a program to go for vocational skills, there are programs for that. This is a program for self initiated learners who want to explore new possibilities. This is a program for thinkers in search of a community to realize greater dreams."

[from the FAQ]

"Does the School issue certificate for graduation?
The school does not accredit any formal degrees but the group of alumni will grow into a lively community that will collaborate in the future. We hope students experience at the school and skill will be a validation for them to pursue a creative career."

"What are the core principles the school stands for?
Hacking, exploration, open source, publish everything and often, tools for building, deep understanding through hands on experience and so on…

What kind of students are you looking for?
We want to work with students who are creative at heart and dedicated to learning and teaching code and technology in general. We like students who are kind to help one another.
Where did this idea come from?

We have been teaching and organizing workshops at schools and festivals around the world. We want to create a safe haven for others to develop ideas into reality. We want to bring all of our experience and knowledge to make a sustainable system for learning and teaching code, electronics, installation, performance, user experience, data visualization and etc.

What is the teaching philosophy?
We celebrate failure and collaboration. Our classes are going to be a mix of lecture, demo and lab hours. We respect our students and support them as artist and educator. We hope our students will have the experience to create projects on their own and to teach after the program.

Why do you teach?
Teaching inspires to continue to learn. We love meeting new people and we often make our best work in collaboration with others."
hackerspaces  education  art  computing  programming  coding  altgdp  openstudioproject  lcproject  residencies  jenlowe  amitpitaru  zachliberman  taeyoonchoi  schoolforpoeticcomputation  time  slow  process  certification  accreditation  conversation  sharing  collaboration  teaching  learning  sfpc 
april 2013 by robertogreco
Future - Enough Room for Space
"Enough Room for Space (ERforS) is a non-profit organization that stimulates the creation of physical, virtual and mental space for cultural initiatives by initiating and coordinating events and residency / research projects. ERforS tries to act as freely as possible, always putting the context and the idea before the medium, challenging the barriers between different disciplines (artistic, scientific or activist). Every project is initiated and coordinated by different artists and / or curators.

ERforS wants to expose, manipulate and invent different processes being part of this constant changing world. How do we position ourselves, as Homo Sapiens Sapiens, towards emerging social, political and ecological issues, now and in the future? By working in different cultural contexts worldwide, ERforS tries to find its position and generate discussion. Because these aims often depend on unexpected and unpredictable combinations of people, institutions, locations and disciplines, ERforS also supports these processes in becoming productive, more solid and long-term working relationships.

As a continuous support behind the different temporary projects, ERforS Head Quarters in Belgium provides a constant space for production, presentation and research, including two residency spaces and a work / presentation space. (under construction until the spring of 2013)"
erfors  enoughroomforspace  events  residencies  temporary  ephemeral  architecture  art  culture  community  communities  mountainschoolofarts  lcproject  openstudioproject  ephemerality 
march 2013 by robertogreco
LA Game Space ▸ Art × Design × Research
"LA Game Space is a nonprofit, interdisciplinary center for Art ✕ Design ✕ Research—

Our upcoming space in Los Angeles will explore the potential and expand the possibilities of video games through residencies, exhibitions, research labs, speaker series, and workshops."

[Kickstarter project is here: ]

[Tumblr: ]

[Twitter: ]
videogames  gaming  research  design  art  openstudioproject  lcproject  losangeles  play  games  lagamespace  residencies  edg  srg  learning 
november 2012 by robertogreco
Art Workshops in Aspen Snowmass Colorado | Anderson Ranch Arts Center
"Anderson Ranch Arts Center Anderson Ranch celebrates artists, art-making, critical dialogue and community. We promote personal and professional development of artists of all levels of expertise through year-round workshops in ceramics, sculpture, photography, new media, painting and drawing, printmaking, woodworking, furniture design and more. Our artists residencies for emerging and established artists, summer internships, visiting artists and critics, community outreach, and public events offer a full spectrum of opportunities to creative people of all levels. The facilities feature fully-equipped art studios and galleries. Anderson Ranch programs and activities including art auctions and artist slide lectures, attract thousands of artists, art-lovers, students, faculty and patrons annually to this historic Rocky Mountain ranch dedicated to the fine arts."
furnituredesign  furniture  woodworking  drawing  painting  newmedia  photography  sculpture  ceramics  workshops  aspen  education  community  design  colorado  residencies  art 
august 2012 by robertogreco
"AFFECT is a self-organized program where the participants share their projects in order to challenge themselves within the inputs of other artists – the process is facilitated by Agora Collective.

7 artists from different backgrounds are placed in the same space to affect each others work.

PURPOSE to challenge artistic projects within a collaborative context

PRINCIPLES AFFECT is a skill-sharing program based on collaborative artistic practices developed by and for young professionals who want to challenge a specific project

CONCEPT 7 artists from different backgrounds are placed in the same space to affect each other’s work.

STRUCTURE Period of 4 weeks Art Space at Agora’s top floor – 120 sq. meter in a industrial building in Neukölln Berlin 7 artists are selected through open call 4 variety of interventions with 2/3 facilitators per week…"
agoracollective  art  via:cervus  glvo  2012  residencies  berlin 
july 2012 by robertogreco
"threewalls is a 501(c)3 organization dedicated to increasing Chicago’s cultural capital by cultivating contemporary art practice and discourse. Through a range of exhibition and public programs, including symposiums, lectures, performances and publications, threewalls creates a locus of exchange between local, national and international contemporary art communities."
art  events  exhibitions  galleries  residencies  chicago  threewalls 
may 2012 by robertogreco
phonebook :: threewalls
"PHONEBOOK 3 is a directory of independent art spaces, programming, and projects throughout the United States and a collection of critical essays and practical information written by the people who run them. PHONEBOOK 3 includes artist-run spaces, public programming, unconventional residencies, alternative schools, and community resources; all of the projects that form and support art ecologies across the nation, as well as historical documents marking their past. Featuring essays and documents from Group Material, Renny Pritikin, Susan Sakash, FEAST Brooklyn, Ox-bow, Faheem Majed, Chances Dances, Paul Durica, Dara Greenwald, Amy Franceschini, Pilot TV, Jon Brumit and Sarah Wagner, PLAND, Andy Sturdevant, Robby Herbst and more."
us  nyc  threewalls  kickstarter  artistresidencies  robbyhebst  andysturdevant  pland  sarahwagner  jonbrumit  pilottv  daragreenwald  pauldurica  chancesdances  faheemmajed  feastbrooklyn  susansakash  rennypritikin  groupmaterial  amyfranceschini  ox-bow  resources  communityresources  education  schools  alternativeeducation  alternative  publicprogramming  artist-run  artspaces  art  glvo  residencies  directories  phonebook3 
may 2012 by robertogreco
Headlands Center for the Arts
"Headlands Center for the Arts is a multidisciplinary, international arts center dedicated to supporting artists; the creative process; and the development of new, innovative ideas and artwork.

Where we are is as important as what we do. Our campus comprises a cluster of artist-rehabilitated military buildings, just north of the Golden Gate Bridge at historic Fort Barry in the Marin Headlands, a part of the Golden Gate National Recreation Area.

Headlands artists programs support artists of all disciplines—from visual artists to performers, musicians, writers, and videographers—and provide opportunities for independent and collaborative creative work. Our impact is evident in the lives and careers of the artists who have participated in our programs and the experiences of our visitors."
via:javierarbona  headlandsartcenter  headland  fortbarry  museums  galleries  residencies  community  art  marin  sanfrancisco  bayarea  glvo  marincounty 
april 2012 by robertogreco
Move arts Japan
"In recent years, and personal art projects and regions worldwide has led to an international exhibition was held in various parts of Japan, while there are regional ties and art.

Move arts Japan is, connect the (AIR) Artist-in-Residence program throughout Japan, as well as information for artists, curators as the target, researchers, art coordinator, also an art fan, a journey in the wake of Art AIR is a portal site of Japan's first provides a wide range can be carried out until the reservation."
artAIR  glvo  via:chrisberthelsen  japan  residencies  art 
february 2012 by robertogreco
Proteus Gowanus: An Interdisciplinary Gallery and Reading Room
"…interdisciplinary gallery & reading room…Exhibits of art, artifacts & books organized around a yearlong theme are exhibited in The Proteus Room, our central gallery space.

In adjacent spaces, eight additional projects-in-residence have grown out of our thematic exhibitions & partnerships. These projects share with Proteus a love of books, a wide-ranging intellectual curiosity, & a desire to engage the community in their multifarious investigations.

Like Proteus, the Greek sea god who could change form, PG is an ever-changing organism…located at the edge of the Gowanus Canal, a similarly evolving post-industrial waterfront area with a thriving artistic community & history dating to the Revolutionary War & before…

…seeks to create an alternative, culturally rich environment designed to stimulate the creative process; a place where the boundaries between the artist & non-artist fade, where images & ideas from disparate disciplines are juxtaposed to create new meanings…"
brooklyn  nyc  art  venues  lcproject  glvo  interdisciplinary  culture  exhibitions  proteusgowanus  galleries  crossdisciplinary  residencies  projectideas 
november 2011 by robertogreco
Outside the mainstream | independent project spaces and artist-run initiatives in Japan |
"Japan has major contemporary art museums, but also very interesting smaller independent art initiatives and exhibition spaces, which play an important role in the creation of discourse in the field of contemporary art. It is particularly difficult to start and run such initiatives in Japan, usually reliant on the commitment of dedicated individuals. This article aims to give an insight into some of those non-commercial art spaces. How is it to work in such a space? How are they financed? And why do these people put their energy and money into such projects?"
glvo  japan  art  tokyo  ongoing  youkobo  cas  osaka  itoshima  studios  studiokura  residencies  independent  2011  lcproject 
november 2011 by robertogreco
"…started as a summer camp in the mountains. The idea was to bring kids w/ limited opportunities, both from the city & country, together to make art. Turns out it was a pretty good idea. Kids who said they couldn’t draw found out they were artists. Students who were at risk of dropping out of school kept w/ it, graduated from high school, won college scholarships & came back to work at Caldera.The artists who worked w/ the kids found the experience made them better artists, so we invited them back during the winter to work on their own projects. & because art isn’t just for summertime, we started working w/ students every week, expanding our activities into their schools & communities in Portland & Central Oregon. Today, we work year-round w/ thousands of students, & we invite artists from all over the world for month long residencies at our arts center near Sisters. Caldera’s mission is to be a catalyst for transformation through innovative art & environmental programs."
residencies  oregon  portland  sisters  wk  wieden+kennedy  lcproject  education  art  writing  youth  teens  srg  edg  glvo  caldera  creativity  arts  expression  learning  apprenticeships  mentorships  danwieden  mentorship 
august 2011 by robertogreco
InCUBATE [Quotes from the 'about' page]
"InCUBATE is a research group dedicated to exploring new approaches to arts administration and arts funding. We at InCUBATE act as curators, researchers and co-producers of artists projects. These activities have manifested in a series traveling exhibitions called Other Options, an artist residency program, and various other projects such as Sunday Soup (a monthly meal that generates funding for a creative project grant). We don’t have non-profit status, instead we are interested in what kinds of organizational strategies could provide more direct support to critical and socially-engaged art and culture beyond for-profit or non-profit structures. Our core organizational principle is to treat art administration as a creative practice. By doing so, we hope to generate and share a new vocabulary of practical solutions to the everyday problems of producing under-the-radar culture. Currently we do not have a physical location and we work together on an ongoing project basis."

"Finally, it is worth noting how various models such as a labor unions, community centers, block-clubs, or religious institutions seem to resolve some of the key problems facing our concept of the slow build. Consider how these institutions provide space and resources, exert political influence, and allow for the participation of wider demographics. Our task for the future is to produce these effects without instituting a rigid hierarchy or overtly moralizing and dogmatic system in order to affect a more equitable, participatory, and democratic future."
art  economics  social  community  collaboration  anarchism  incubate  randallszott  lcproject  openstudio  curation  curating  hierarchy  flatness  slow  chicago  democracy  culture  culturehacking  activism  administration  engagement  organizations  organization  equity  participatory  residencies  pop-upculture  exhibitions  projects  horizontality  horizontalidad  ncm  participatoryart  everyday  amateurs 
may 2011 by robertogreco
"Skowhegan, an intensive nine-week summer residency program for emerging visual artists established in 1946, seeks each year to bring together a gifted and diverse group of individuals who have demonstrated a commitment to art-making and inquiry to create the most stimulating and rigorous environment possible for a concentrated period of artistic creation, interaction and growth."
glvo  maine  skowhegan  residencies  artists 
february 2011 by robertogreco
Sushi Performance & Visual Art
"Sushi Performance and Visual Art, founded in 1980, is a San Diego-based nonprofit multi-disciplinary presenting organization, which cultivates alternative voices in the contemporary arts. Sushi is committed to providing its artists and audiences with a laboratory where creative exploration, community engagement, and new ideas flourish."
sandiego  art  music  performance  galleries  community  residencies  glvo 
december 2010 by robertogreco
Museum of Science and Industry | Month at the Museum | The Details
"The Museum of Science & Industry, Chicago is looking for "you." & by "you," we mean an adventurous, outgoing person with a strong interest in learning about science & the world around her or him, plus the ability to write engagingly about your experiences. Ideally, you're also the web-savvy sort who can keep your thumb out of frame when taking photographs. If that "you" sounds like you, or if you are simply curious about this intriguing endeavor, then you should read on.

We're looking for someone to take on a once-in-a-lifetime assignment: spend a Month at the Museum, to live & breathe science 24/7 for 30 days. From October 20 to November 18, 2010, this person's mission will be to experience all the fun & education that fits in this historic 14-acre building, living here & reporting your experience to the outside world. There will be plenty of time to explore the Museum & its exhibits after hours, with access to rarely seen nooks and crannies of this 77-year-old institution."

[video submission:
via: ]
museums  chicago  residencies  oddjobs  science  tcsnmy  classideas  topost  toshare  msichicago 
september 2010 by robertogreco
Human/Nature: Artists Respond to a Changing Planet
"pioneering artist residency & collaborative exhibition project that, for the 1st time on this scale, uses contemporary art to investigate the changing nature of some of the most biodiverse regions on earth & the communities that inhabit those regions. Organized by UC Berkeley Art Museum & Pacific Film Archive (BAM/PFA), Museum of Contemporary Art San Diego, in partnership with international conservation organization Rare, Human/Nature sent eight of the world’s most thoughtful and innovative artists to eight UNESCO-designated World Heritage sites around the globe for two mini-residencies. Through harnessing the power of art, we hope to build global support for the protection of environmental biodiversity, & to create a new model promoting conservation worldwide. The project will address many themes, including: the relationship between the natural environment & human culture; assumptions about the value of preserving biological & cultural diversity; & global exploration & exchange."
art  environment  sustainability  activism  nature  artists  consumption  residencies  glvo  earth  exhibition  installation  mcasd  sandiego  conservation  contemporary  photography 
august 2009 by robertogreco
What You Should Consider Before Education Graduate School - On Education (
"If you're thinking about going into teaching, take heed of this message from Katherine Merseth, a senior lecturer and director of the teacher education program at Harvard University: "The dirty little secret about schools of education is that they have been the cash cows of universities for many, many years, and it's time to say, 'Show us what you can do, or get out of the business.'"" No new news here, but I wish more people were aware of this fact.
teaching  credentials  academia  gradschool  education  wasteofmoney  cashcows  cv  residencies  deschooling  waste  corruption  worstpractices  via:cburell 
march 2009 by robertogreco
"AS220 is a non-profit community arts space located in downtown Providence. Our mission is to provide an unjuried and uncensored forum for the arts. If you live in the state of Rhode Island, you will get an opportunity to exhibit or perform at AS220.

AS220 has evolved into kind of an anti-institutional institution. We've done our best to present the various facets of the organization without using the word "program" to box in what are simply organized human activities in pursuit of a common mission."
tinkering  lcproject  learning  art  architecture  workspace  music  space  community  residencies  gallery  rhodeisland  workspaces 
september 2008 by robertogreco
Art + Science = Inspiration
"problem starts early, about the time each of us chooses between mathletes and drama club...encouraged to take our place on one side of the art/science divide...stifles creativity & innovation as we move through higher edu & beyond"

[Utne Reader: ]
science  paris  technology  design  france  art  collaboration  convergence  crossdisciplinary  interdisciplinary  experience  lcproject  creativity  residencies  glvo  lelaboratoire 
july 2008 by robertogreco
New Space Promotes Intersection of Art, Science : NPR
"A new creative space dedicated to experimental collaboration between artists and scientists opens in Paris. Le Laboratoire is the brainchild of Harvard bio-medical technology professor David Edwards."
science  paris  technology  design  france  art  collaboration  convergence  crossdisciplinary  interdisciplinary  experience  lcproject  creativity  residencies  glvo  lelaboratoire 
july 2008 by robertogreco
:: Le Laboratoire ::
"New creative space dedicated to experimental collaboration between artists and scientists located in the heart of Paris, Le Laboratoire opens its door to the public on October 19, 2007."
science  paris  technology  design  france  art  collaboration  convergence  crossdisciplinary  interdisciplinary  experience  lcproject  creativity  residencies  glvo  lelaboratoire 
july 2008 by robertogreco
Lux Art Institute
"See art differently. See art happen...redefining museum experience to make art more accessible & personally meaningful. At Lux, you don’t just see finished works of art; you see the artistic process firsthand, engaging with internationally recognized a
academia  art  residencies  glvo  sandiego  museums  encinitas 
march 2008 by robertogreco
Kevin Kelly -- Artist In Residence
"a list of organizations that offer opportunities for artists to collaborate with scientists, technologists, or professionals in business or industry. Many are experimental laboratories where artists collaborate with scientists. Several are university bas
residencies  art  artists  glvo  crosspollination  creativity  technology  science  culture  innovation  business  industry  reference  kevinkelly 
october 2007 by robertogreco
"Trans Artists is an independent foundation that informs artists of any discipline about international artist-in-residence programs and other opportunities for artists to stay and work elsewhere 'for art's sake'."
activism  art  community  creative  housing  jobs  resources  travel  work  glvo  yearoff  residencies 
may 2007 by robertogreco

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