All Discussions Tagged 'community' - crafthaus2024-03-29T13:20:19Zhttp://crafthaus.ning.com/group/mfaguidebook/forum/topic/listForTag?tag=community&feed=yes&xn_auth=noCommunity Engagement & Social Practice | Alliance of Artists Communities Annual Conference in Portland, Oregontag:crafthaus.ning.com,2016-10-28:2104389:Topic:5584522016-10-28T17:46:48.124ZJessica Toddhttp://crafthaus.ning.com/profile/JessTodd
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<p><span style="color: #333333;"><i>Postcard by Sharita Towne for the Exhibition</i> Our City in Stereo<i>, presented by Newspace Center for Photography in partnership with c3:initiative. Sharita spoke in the session, “Arts and Equity in the Neighborhood.” …</i></span></p>
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<p><span style="color: #333333;"><i>Postcard by Sharita Towne for the Exhibition</i> Our City in Stereo<i>, presented by Newspace Center for Photography in partnership with c3:initiative. Sharita spoke in the session, “Arts and Equity in the Neighborhood.” <span style="text-decoration: underline; color: #3366ff;"><a href="http://www.c3initiative.org/sharita-towne--c3studio-residency.html" target="_blank"><span style="color: #3366ff; text-decoration: underline;">http://www.c3initiative.org/sharita-towne--c3studio-residency.html</span></a></span></i></span></p>
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<p><span style="color: #333333;">Community engagement and social practice are becoming more common in the art world and, frankly, have become something of a trend. The topic has been spoken about increasingly as an important initiative for artists communities, and I see it frequently in the practices of the artists-in-residence where I work. The craft community is seeing glimpses of it as well – in the Jewelry/Metals field, which I am most familiar with, at the <span style="text-decoration: underline;"><span style="color: #3366ff;"><a href="http://www.snagmetalsmith.org/conferences/impact-looking-back-forging-forward/home-2/"><span style="color: #3366ff; text-decoration: underline;">2015 SNAG conference in Boston</span></a></span></span> with the “Social Impact” presentations by Sam Aquillano (speaking about <span style="text-decoration: underline; color: #3366ff;"><a href="http://designmuseumfoundation.org/boston/"><span style="color: #3366ff; text-decoration: underline;">Design Museum Boston</span></a></span>), <span style="text-decoration: underline; color: #3366ff;"><a href="http://gabrielcraigmetalsmith.com/"><span style="color: #3366ff; text-decoration: underline;">Gabriel Craig</span></a></span>, <span style="text-decoration: underline; color: #3366ff;"><a href="http://www.michaeljstrand.com/"><span style="color: #3366ff; text-decoration: underline;">Michael Strand</span></a></span> (a ceramicist), and Jason Talbott (speaking about <span style="text-decoration: underline; color: #3366ff;"><a href="http://afhboston.org/"><span style="color: #3366ff; text-decoration: underline;">Artists for Humanity</span></a></span>). It’s a great trend – artists connecting with the community is an excellent vehicle for social change – but it’s one that can be not-so-great or even harmful when approached superficially or without careful consideration.</span></p>
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<p><span style="color: #333333;">During the session in my previous post, “Self-Declared: Practice and Politics of DIY Artist Residencies in Portland,” our group discussed the difficulty of reaching the underserved members of our communities. I was particularly impacted by the words of <span style="text-decoration: underline; color: #3366ff;"><a href="http://18thstreet.org/staff-and-board/"><span style="color: #3366ff; text-decoration: underline;">Betty Marín</span></a></span> of <span style="text-decoration: underline; color: #3366ff;"><a href="http://18thstreet.org/"><span style="color: #3366ff; text-decoration: underline;">18th Street Arts Center</span></a></span>. Betty emphasized that effective community engagement should not necessarily come in the form the artist envisions – which often comes from a place of social, racial, or economic privilege – but rather should come from the underserved community members themselves. This may manifest in more practical ways, such as providing childcare for community engagement events, or by providing art education in the form of skill-building services to support career growth.</span></p>
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<p><span style="color: #333333;">Her words opened my eyes to the meaning of social practice. I realized that artists who desire a practice of community engagement cannot decide themselves what the community needs or how they can best engage. The artist needs to invite the community members they wish to reach into the discussion, and allow <i>them</i> to define their needs and how they’ll best be served. That should be the starting point, and the rest should grow from there.</span></p>
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<p><span style="color: #333333;">Another session I attended, “Arts and Equity in the Neighborhood,” expounded upon this theme. A major focus in the session was gentrification and how each of us are individually implicated. We were instructed to be honest with ourselves about the role we play, and to speak from “I” statements, rather than making assumptions about others’ experiences. It was pointed out that even an arts organization in a gentrifying neighborhood can play a negative role in the fact that it appeals to a comparatively wealthy white population, and that it is important for those organizations to partner and collaborate with existing community organizations that directly serve the original community in a constructive way. A reverberating quote from the session was, <span class="font-size-3"><b>“If you’re not at the table, you’re on the menu,”</b></span> meaning that if members of the underserved population are not included to have a voice and an input – if you’re making assumptions about what they desire and need – then they are being <i>consumed</i>, meaning both drowned out and profited from.</span></p>
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<p><span style="color: #333333;">This is so important to keep in mind, <i>particularly</i> when we have the best of intentions. If you are creating work or working in the realm of social practice – no matter how loosely defined – make sure you are either speaking from your own experience, or bringing those with the experience to speak for themselves. Be open to the fact that your initial ideas may not work, and that you may have to adapt or hand over control completely. If you can’t do that, then consider why you are making the work. If you’re making it for yourself, then make work for yourself and call it what it is. There’s room for that kind of work, too. But if you’re making work to benefit someone else, make sure it is actually achieving that goal.</span></p>
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<p><span style="color: #333333;"><i>Check out the other conference topics I covered: <strong><span style="text-decoration: underline;"><span style="color: #0000ff;"><em><a href="http://crafthaus.ning.com/group/mfaguidebook/forum/topics/redefining-the-residency-alliance-of-artists-communities-annual" target="_self"><span style="color: #0000ff; text-decoration: underline;">Redefining the Residency</span></a></em></span></span><span> </span></strong>and<strong><span> <span style="text-decoration: underline;"><span style="color: #0000ff;"><em><a href="http://crafthaus.ning.com/group/mfaguidebook/forum/topics/diversity-versus-inclusion-alliance-of-artists-communities-annual" target="_self"><span style="color: #0000ff; text-decoration: underline;">Diversity Versus Inclusion</span></a></em></span></span><i>.</i></span></strong></i></span></p> DIY Artist Residency: In Residence at Hometag:crafthaus.ning.com,2015-12-14:2104389:Topic:5290612015-12-14T12:36:03.168ZJessica Toddhttp://crafthaus.ning.com/profile/JessTodd
<p><span style="color: #333333;">I work full time as the Residency Coordinator at the <span style="color: #3366ff;"><a href="http://www.rauschenbergfoundation.org/residency" target="_blank"><span style="color: #3366ff;">Rauschenberg Residency</span></a></span> in Captiva, Florida. Seven times a year I watch a group of wide-eyed artists arrive with brainfuls of possibilities, work intensely for five weeks, and emerge at the end marveling at all they’ve achieved and reflecting upon a…</span></p>
<p><span style="color: #333333;">I work full time as the Residency Coordinator at the <span style="color: #3366ff;"><a href="http://www.rauschenbergfoundation.org/residency" target="_blank"><span style="color: #3366ff;">Rauschenberg Residency</span></a></span> in Captiva, Florida. Seven times a year I watch a group of wide-eyed artists arrive with brainfuls of possibilities, work intensely for five weeks, and emerge at the end marveling at all they’ve achieved and reflecting upon a life-changing experience. It’s fulfilling, inspiring, and the very thing that makes my job more than a desk job. But, as an artist, it’s a tad bittersweet. Working a full-time, nine-to-five, Monday-to-Friday desk job has left me with less creative energy than I imagined it would. Despite the fact that I worked far longer hours in grad school – between studio time, teaching, assistantship duties, art sales, my Etsy shop, and waitressing – I felt far more creative and was far more productive. It had flow. It was flexible. Something about my regimented week curbs that flow, and I’ve talked to enough fellow creative nine-to-fivers to know I’m not alone.</span></p>
<p><span style="color: #333333;">This led me to think: Why not do my own residency, for myself? This fall I attended the <span style="color: #3366ff;"><a href="http://www.artistcommunities.org/" target="_blank"><span style="color: #3366ff;">Alliance of Artists Communities</span></a></span> annual conference in Providence and learned that artist communities come in an incredibly diverse range of forms, but there is one common thread: The offering of time and space. It’s that simple. So rather than gazing enviously at residencies I can’t attend for various reasons – work schedule, cost, qualifications, etc. – I realized it would be quite easy to create my own. I also realized that now, thanks to my job, I’m pretty well-versed in what it takes to create a residency and that I can help others to build their own “DIY Artist Residency.” And so, this holiday break, I’m signing up for the Jess Todd Residency – live/work space included, no travel costs to cover, low-cost meals available, no fees – a no-pressure residency with all the comforts of home.</span></p>
<p><span style="color: #333333;">So, how do you transform “home” into “residency”? I looked to my job and thought about all of the components that come together to create the magical residency experience:</span></p>
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<p><span style="color: #333333;"><strong><u>THE DAY-TO-DAY</u></strong></span></p>
<p><span style="color: #333333;"><b>Find the Time</b>: This can be challenging for some, but is actually easier than you think. If you were offered the residency opportunity of a lifetime, would you be able to make the time for it? Of course! You would find a way and make it happen. The advantage of your DIY Residency is that it’s extremely flexible. I’m doing mine during a holiday break I already have from work – 11 days – but it can be any length of time, from a long weekend to a month or more depending on your schedule.</span></p>
<p><span style="color: #333333;"><b>Prepare for Departure</b>: If you were leaving home for the length of your DIY Residency, what would you need to get done? Get the everyday stuff out of the way - clean, do the laundry, pay bills – in short, clear your to-do list. Get a partner, friend or sitter to watch the kids or pets, and tell friends and family you’re on a stay-cation… that doesn’t include them. Again, imagine you finally got the residency opportunity of your dreams – it’s a time you’re allowed to be selfish!</span></p>
<p><span style="color: #333333;"><b>Plan Meals</b>: Many residencies offer meals because grocery shopping and cooking are time consuming. Cook up a freezable-meal storm and portion out dinners for the length of your residency. Get quick, easy meals for breakfast and lunch – sandwiches, canned soups, take-out – whatever you’re into. Unless you’re a rare gem who’s inspired by cooking, it’s just a distraction.</span></p>
<p><span style="color: #333333;"><b>Power Off</b>: Get the Netflix and Facebook out of your system beforehand. Put an away message on your email or online shop. Limit your work-related and social/entertainment-based use of technology as much as possible.</span></p>
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<p><span style="color: #333333;"><strong><u>THE WORK & STUDIO</u></strong></span></p>
<p><span style="color: #333333;"><b>Plan Ahead, or Don’t</b>: Some artists like to go into a residency with a clear idea of a body of work they’ve been wanting to get to for years, and others come completely open to experimentation and whim. It’s up to you and how you operate best, but it’s a good idea to allow for a little of both structure and freedom.</span></p>
<p><span style="color: #333333;"><b>Studio Space</b>: If you have a studio space that typically serves as your place of work (i.e., you create work to sell, for example), clear everything work-related out. The same goes if your studio doubles as a home office, laundry room, or junk storage unit – find a temporary home for distractions. If you don’t have a dedicated studio, set up a workspace – no matter the size – that is void of your everyday life. Add things that help it feel new, separate, and peaceful, such as artwork, room dividers, hanging sheets, lighting, music, etc.</span></p>
<p><span style="color: #333333;"><b>Materials & Equipment</b>: Even if you don’t have an exact plan, think about what you may be interested in working on. Find, collect, buy, borrow, or rent the materials and equipment you need and have them ready and waiting for you on the first day of your DIY Residency.</span></p>
<p><span style="color: #333333;"><b>Funding</b>: Your DIY Residency’s “stipend” can come from a variety of sources: application-based grants, sponsorship from a gallery, crowdsourcing, sales of all varieties (yard, bake, art, etc.), cashing in spare change, or your bank account, for example. But just because you don’t have a big wad of cash doesn’t mean you can’t conduct meaningful research and experimentation, or even create complete works, with free or low-cost materials.</span></p>
<p><span style="color: #333333;"><b>Studio Assistance</b>: Unless you have a studio assistant already or a reliable and talented friend open to bribery, this could be tricky. You don’t want to waste time training someone, so consider avenues for outsourcing – laser or plasma cutting, 2D or 3D printing, CNC routing, fabrication services, or handwork by local tradespeople.</span></p>
<p><span style="color: #333333;"><b>Local Research</b>: Many artists find inspiration in the physical location of a residency. Is your work influenced by place? Plan trips to local museums, libraries, or educational/cultural centers to conduct research. Depending on your practice, this may be integral to your work time or may occur ahead of time. Take time to notice your neighborhood and surroundings with fresh eyes – walk, talk, sketch, collect, and think as if you are there for the first time.</span></p>
<p><span style="color: #333333;"><b>Other Research</b>: Gather reading materials online, at a local library, or via interlibrary loan so that you have everything on hand to start research. Plan trips for site-specific research prior to the residency.</span></p>
<p><span style="color: #333333;"><b>Community Outreach</b>: Many artists find community outreach to be an important aspect of their time at a residency. Will your work go further with community connections? If so, plan any meetings or outreach programs ahead of time with local schools, organizations, artists, etc.</span></p>
<p><span style="color: #333333;"><b>Fellow Resident Artists</b>: Interaction and collaboration with fellow resident artists is a big part of artist communities. Unless you have a guest bedroom and a big studio you’re willing to share, you’ll need to get creative with this one. Challenge an artist friend or colleague to do his/her own DIY Residency concurrently. Set up meeting times throughout – in person or via Skype – to discuss your research and progress.</span></p>
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<p><span style="color: #333333;">This concept of “time away” is something I hear about over and over and over at my job – how invaluable that simple thing is to one’s work. Rather than waiting around for the opportunity to do a residency – whether the restriction is time, money, family obligations, or the competitive nature/availability of artist communities – create your own opportunity. Award yourself the residency you’ve always wanted.</span></p>
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<p><span class="font-size-3" style="color: #ff0000;">Comments and suggestions are welcomed and encouraged!</span></p>