The Role of Art Colonies in Local Development Through the Example of Cered Art Colony
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The Arts & Letters of Rocky Neck in the 1950S
GLOUCESTER, MASSACHUSETTS TheArts & Letters of Rocky Neck in the 1950s by Martha Oaks have received the attention they deserve. Four Winds: The Arts & Letters of Rocky With this exhibition, Four Winds, the Cape Neck in the 1950s is on view through Sep- ocky Neck holds the distinction as Ann Museum casts the spotlight on one of tember 29, 2013, at the Cape Ann Mu- R one of the most important places in those interludes: the decade and a half fol- seum, 27 Pleasant Street, Gloucester, American art history. Since the mid-nine- lowing the Second World War. Not so far Massachusetts, 01930, 978-283-0455, teeth century, its name has been associated in the past that it cannot be recollected by www.capeannmuseum.org. A 52-page soft with many of this country’s best known many, yet just far enough that it is apt to cover catalogue accompanies the exhibition. artists: Winslow Homer, Frank Duveneck, be lost, the late 1940s and 1950s found a All illustrated works are from the Cape Theresa Bernstein, Jane Peterson and Ed- young and vibrant group of artists working Ann Museum unless otherwise noted. ward Hopper. From the mid-1800s on the Neck. through the first quarter of the twentieth Although it is one of Cape Ann’s painter William Morris Hunt and his pro- century, the heyday of the art colony on longest-lived and best known art colonies, tégé, Helen Mary Knowlton. Hunt was Rocky Neck, the neighborhood was awash Rocky Neck was not the first. One of the one of the first art teachers to welcome with artists. -
Grand Marais Art Colony Residency Series & Studio Access
Grand Marais Art Colony Residency Series & Studio Access The Art Colony provides artists with independent work space in professional studios amidst the backdrop of a stunning landscape. An environment of creative freedom supports the process and development of new works, allowing for a combination of aesthetic inquiry, creative risk-taking, experimentation, and artistic development. See the options below and contact the Art Colony with any questions. Juried Artists-in-Residence | March 4 – 17 Two concurrent juried residencies are available in 2019, one in the Founders Hall multi-use Studio and one in the Eco-friendly Printmaking Studio. Juried residents are provided with two weeks of independent studio access, lodging, and a weekly stipend. Residents may choose to provide a community engagement component (optional) for an additional stipend. An optional critical response critique session is also available. Eco-friendly Printmaking Studio Founders Hall Multi-use Studio 1 Invited Residencies Invited residencies are granted to an artist who is mature in practice and has experience with residencies and/or working on in-depth independent projects. The artist is selected as part of a committee process and offers a community engagement component, introducing the community to a specific aspect of their expertise and artistic practice. There is no application process for this residency. Independent Residencies Select dates are available for independent residencies or cooperative studio access on a daily, weekly, and monthly basis for Art Colony members. Experience our professional studios (clay, glass, printmaking, and painting/multi-discipline) and find uninterrupted space and time to focus, rejuvenate, and be inspired. Artists are encouraged to call for availability and cost and other media are also welcome, including literary arts, sculpture, mixed media, photography, etc. -
List of Unesco Creative Cities by Creative Field
LIST OF UNESCO CREATIVE CITIES BY CREATIVE FIELD Film: Bradford (United Kingdom of Great Britain and Northern Ireland) Busan (Republic of Korea) Galway (Ireland) Sofia (Bulgaria) Sydney (Australia) Craft and Folk Arts: Aswan (Egypt) Fabriano (Italy) Hangzhou (China) Icheon (Republic of Korea) Jacmel (Haiti) Jingdezhen (China) Kanazawa (Japan) Nassau (Bahamas) Paducah (USA) Pekalongan (Indonesia) Santa Fe (USA) Suzhou (China) Design: Beijing (China) Berlin (Germany) Bilbao (Spain) Buenos Aires (Argentina) Curitiba (Brazil) Dundee (United Kingdom of Great Britain and Northern Ireland) Graz (Austria) Helsinki (Finland) Kobe (Japan) Montreal (Canada) Nagoya (Japan) Saint-Étienne (France) Seoul (Republic of Korea) Shanghai (China) Shenzhen (China) Turin (Italy) Gastronomy: Chengdu (China) Florianopolis (Brazil) Jeonju (Republic of Korea) Östersund (Sweden) Popayan (Colombia) Shunde (China) Tsuruoka (Japan) Zhale (Lebanon) Literature: Dublin (Ireland) Dunedin (New Zealand) Edinburgh (United Kingdom of Great Britain and Northern Ireland) Granada (Spain) Heidelberg (Germany) Iowa City (USA) Krakow (Poland) Melbourne (Australia) Norwich (United Kingdom of Great Britain and Northern Ireland) Prague (Czech Republic) Reykjavik (Iceland) Media Arts: Dakar (Senegal) Enghien-les-Bains (France) Gwangju (Republic of Korea) Linz (Austria) Lyon (France) Sapporo (Japan) Tel Aviv-Yafo (Israel) York (United Kingdom of Great Britain and Northern Ireland) Music: Bogota (Colombia) Bologna (Italy) Brazzaville (Congo) Glasgow (United Kingdom of Great Britain and Northern Ireland UK) Ghent (Belgium) Hamamatsu (Japan) Hanover (Germany) Mannheim (Germany) Seville (Spain) . -
Mapping the Creative Industries: a Toolkit
Creative and Cultural Economy series ⁄ 2 MAPPING THE CREATIVE INDUSTRIES: A TOOLKIT 2 Creative and Cultural Economy series ⁄ 2 – Mapping the Creative Industries: A Toolkit 3 Creative and Cultural Economy series ⁄ 2 MAPPING THE CREATIVE INDUSTRIES: A TOOLKIT by BOP Consulting British Council’s Creative And Cultural Economy Series ⁄ CONTENTS Published by The British Council 10 Spring Gardens, London SW1A 2BN, England 07 – PREFACE www.britishcouncil.org 09 – 1 ⁄ MAPPING THE CREATIVE INDUSTRIES All rights reserved ISBN 978-086355-640-1 13 – 2 ⁄ THE CREATIVE INDUSTRIES Author: BOP Consulting ⁄ 23 – 3 ⁄ THE MAPPING TOOLKIT 24 – STEP 1 ⁄ WHY DO MAPPING? BOP Consulting is an independent research and 28 – STEP 2 ⁄ WHICH POLIcy QUESTIONS CAN MAPPING ADDRESS? strategy consultancy specialising in culture and 36 – STEP 3 ⁄ HOW ARE THE CREATIVE INDUSTRIES DEFINED? the creative industries. They are based in London. 40 – STEP 4 ⁄ WHO IS IN CHARGE? WHO DOES THE WORK? www.bop.co.uk 41 – STEP 5 ⁄ WHICH RESEARCH APPROACH SHOULD BE ADOPTED? 47 – STEP 6 ⁄ HOW CAN THE PROJECT’S FINDINGS CONNECT WITH KEY AUDIENCES AND POLIcy AGENDAS? 50 – STEP 7 ⁄ HOW CAN MOMENTUM BE MAINTAINED? Editors ⁄ Pablo Rosselló 52 – 4 ⁄ WHERE NEXT? Shelagh Wright 56 – APPENDIX 1 - THE BRITISH COUNCIL’S CREATIVE EcONOmy UNIT Publication Design ⁄ 58 – APPENDIX 2 - CREATIVE INDUSTRY SIC CODES YCE Brand guidelines by BB Saunders Design by Érika Muller Photo Credits ⁄ © Aldeguer, Jay: page 56a © Burns, Josephine: page 26 © DCMS/BIS: page 32 © Gauteng Provincial Government: page 43 © Noon, Frank: pages 56b, 57 © Rossello, Pablo: pages 1, 2-3, 8, 12, 18, 20, 22, 31, 33, 35, 38, 48, 50, 54-55 © Slade, Jon: page 42 © Szynkarczuk, Olga: pages 60-61 © Vaz, Gaurav Joshua: page 6 © Zetu, Dragos: page 45 © British Council 2010 Creative Economy Unit The United Kingdom’s international organisation for educational opportunities and cultural relations. -
The Story of Miss Florence and the Lyme Art Colony the Story of Miss
The Story of Miss Florence and the Lyme Art Colony The story of Miss Florence and the Lyme Art Colony begins in the village of Old Lyme, Connecticut, located where the Connecticut River flows lazily into Long Island Sound. Florence Ann Griswold was born on December 25, or Christmas Day, in 1850. She was the youngest of four children. Florence grew up in a big yellow house with green shutters on Lyme Street, the main street of the town, with her two sisters, Helen Adele and Louise Augusta, and one brother Robert Harper, Jr. Their father was Captain Robert Harper Griswold, a sea captain who sailed packet boats from New York to London. Their mother, Helen Powers Griswold, took care of the family when her father was away at sea for weeks at a time. At school, Florence developed a great talent for music. She learned to play the guitar, piano, and harp quite well. After one of his voyages to London, her father surprised her with a fancy golden harp. As she grew older, friends and family began to call her “Miss Florence.” After the Captain retired from the sea, the family began to suffer from lack of money. To help out, the mother and daughters opened up the Griswold Home School to teach young ladies. Sadly, her brother died years before from an illness he caught at sea. The Home School was open for 14 years. At the school, Miss Florence taught mostly music. She and her sisters never married nor had any children. By the time she celebrated her 50th birthday, Florence was the only family member living in the house. -
SELLING ART in the AGE of RETAIL EXPANSION and CORPORATE PATRONAGE: ASSOCIATED AMERICAN ARTISTS and the AMERICAN ART MARKET of the 1930S and 1940S
SELLING ART IN THE AGE OF RETAIL EXPANSION AND CORPORATE PATRONAGE: ASSOCIATED AMERICAN ARTISTS AND THE AMERICAN ART MARKET OF THE 1930s AND 1940s by TIFFANY ELENA WASHINGTON Submitted in partial fulfillment of the requirements For the degree of Doctor of Philosophy Dissertation advisor: Anne Helmreich Department of Art History CASE WESTERN RESERVE UNIVERSITY JANUARY, 2013 CASE WESTERN RESERVE UNIVERSITY SCHOOL OF GRADUATE STUDIES We hereby approve the dissertation of __________Tiffany Elena Washington_________ candidate for the __Doctor of Philosophy___ degree*. (signed) _______Anne L. Helmreich________ (chair of the committee) ______Catherine B. Scallen__________ ________ Jane Glaubinger__________ ____ _ _ Renee Sentilles___________ (date) 2 April, 2012 *We also certify that written approval has been obtained for any proprietary material contained herein. 2 For Julian, my amazing Matisse, and Livia, a lucky future artist’s muse. 3 Table of Contents List of figures 5 Acknowledgments 8 Abstract 11 Introduction 13 Chapter 1 46 Chapter 2 72 Chapter 3 93 Chapter 4 127 Chapter 5 155 Conclusion 202 Appendix A 205 Figures 207 Selected Bibliography 241 4 List of Figures Figure 1. Reeves Lewenthal, undated photograph. Collection of Lana Reeves. 207 Figure 2. Thomas Hart Benton, Hollywood (1937-1938). Tempera and oil on canvas mounted on panel. The Nelson Atkins Museum of Art, Kansas City. 208 Figure 3. Edward T. Laning, T.R. in Panama (1939). Oil on fiberboard. Smithsonian American Art Museum. 209 Figure 4. Plan and image of Associated American Artists Gallery, 711 5th Avenue, New York City. George Nelson, The Architectural Forum. Philadelphia: Time, Inc, 1939, 349. 210 Figure 5. Thomas Hart Benton, Departure of the Joads (1939). -
Brown County Art Colony Papers, Photographs, Graphics 1884-2005
Collection # M 1303 BROWN COUNTY ART COLONY PAPERS, PHOTOGRAPHS, GRAPHICS 1884-2005 Collection Information Historical Sketch Scope and Content Note Contents Processed by Jessica Erin Fischer September 2017 Manuscript and Visual Collections Department William Henry Smith Memorial Library Indiana Historical Society 450 West Ohio Street Indianapolis, IN 46202-3269 www.indianahistory.org COLLECTION INFORMATION VOLUME OF 2 manuscript boxes, 1 OMB folder graphics; 1 folder COLLECTION: photographs COLLECTION 1884-2005 DATES: PROVENANCE: Henry H. Gray, Bloomington, Indiana, 2017 RESTRICTIONS: None COPYRIGHT: REPRODUCTION Permission to reproduce or publish material in this collection RIGHTS: must be obtained from the Indiana Historical Society. ALTERNATE FORMATS: RELATED HOLDINGS: ACCESSION 2017.0159 NUMBER: NOTES: HISTORICAL SKETCH Between 1890 and 1910, artist colonies were forming all across the United States, Indiana included. Artists, primarily from Chicago, migrated to Brown County in Nashville, Indiana starting in the late 1800s in search of inspiration. Brown County was an ideal location, remote enough to feature rustic cabins, vistas, forests, and creeks, yet close enough to larger markets for art such as Indianapolis, Chicago, Louisville, and Cincinnati. Though other artists had regularly visited Brown County, T.C. Steele (1847-1926) was the first major artist to settle in Brown County, buying property and building his home 'House of the Singing Winds' in 1907. Steele used the remote location as inspiration for his landscape work. During Steele's time here, he built studios and guest houses for friends and clients and is credited with founding the Brown County Art Colony. Other artists followed suit, such as Adolph and Alberta Schulz who were regular visitors up until 1917 when they officially relocated to Brown County from Wisconsin in search of landscapes untouched by the dairy industry. -
Creative Cities in Central and Eastern Europe – Examining the Position of Győr from the Creative and Cultural Aspects of This Macro-Region
Creative cities in Central and Eastern Europe – Examining the position of Győr from the creative and cultural aspects of this macro-region Dávid Fekete The European Union is paying increasing Széchenyi István University, more attention to the creative sector, ac- Hungary knowledging the economic significance of the E-mail: [email protected] sphere and appreciating the social benefits of creative and cultural activities. Its latest inno- vation is the Cultural and Creative Cities Szabolcs Morvay Monitor (CCCM), which shows the creative Széchenyi István University, vibrancy of 168 European cities, thus enabling Hungary a comparison and ranking in terms of differ- E-mail: [email protected] ent creative and cultural aspects. Győr has been included in this platform’s list besides Budapest, Pécs, and Szeged. In this study the creative position of Győr, in relation to similar mid-sized Central and Eastern European cities is examined, thus estimating the creative po- tential of Győr. The analysis enables us to ob- serve the elements and indicators of a creative city that are used to measure and show crea- tivity. Exploring the city’s strengths and weaknesses provides guidance as the CCCM annually renews its evaluation and changes the ranking. With conscious initiatives Győr may become more creative, both internationally and locally. Based on the CCCM scores Győr has numerous strengths: favourable geograph- ic location, adequate amount of cultural offer- ings, strong economic potential, cultural vi- brancy, and a high level of participation in cul- tural life. However, the city has weak features Keywords: too, that require strengthening. The aim is for creative cities, the cities to become more creative, but this culture, requires analysis from the creative and cultural urban development, aspects. -
Sharing Participating Contributing Taking Part Promoting Engaging Sharing Participating Contributing Taking Part Promoting Enga
Sharing Participating Contributing Taking Part Promoting Engaging Sharing Participating Contributing2018 Taking Part Promoting Engaging UNESCO SharingANNU ParticipatingAL Contributing Taking Part PromotingREPO R EngagingT Sharing Participating Contributing Taking Part Promoting Engaging Sharing Participating Contributing Taking Part Promoting Engaging Sharing Participating Contributing Taking Part Promoting Engaging Sharing Participating Contributing Taking Part Promoting Engaging Sharing Participating Contributing Taking Part Promoting Engaging Sharing Participating Contributing Taking Part Promoting Engaging Sharing Participating Contributing Taking Part Promoting Engaging Greetings from the Creative City of Paducah, a small city with a large personality! Paducah is a creative community, and sometimes creativity shows up in the most surprising ways. The cornerstone of creativity is a willingness to explore new or challenging ideas. The citizens of Paducah recently embraced two difficult conversations, one about race and the other about gender identities, worldwide concerns. This compassionate city had these conversations with dignity and respect. I attended my first UNESCO Creative Cities Network meeting in Enghien-les-Bains (Media Arts). I enjoyed blogging about the experience and sharing options for participating in the Network, including film festivals, literary contests and opportunities to engage in international arts festivals. In September 2017, Paducah welcomed the Creative Cities of Crafts & Folk Art for the first annual meeting of the sub-network and the first UNESCO Creative Cities meeting to be held in the United States. Focused on the 2030 Agenda for Sustainable Development, speakers led discussions on topics from tourism to economic development and natural resources. Paducah has “leaned in” to the Creative City designation, taking flight after five years with UNESCO as our guiding post. -
Call for Entries FRESH Rocky Neck Art Colony and Backyard Growers
FOR IMMEDIATE RELEASE – CALL FOR ENTRIES December 8, 2016 CONTACT: Suzanne Gilbert Lee 978-515-7004 617-872-7633 cell [email protected] Call for Entries FRESH Rocky Neck Art Colony and Backyard Growers partner to offer FRESH— an artists’ exhibition and series of programs focused on fresh foods and their origins. The Rocky Neck Art Colony (RNAC) invites artists to submit work to be considered for inclusion in FRESH, a six-week exhibition at the Cultural Center at Rocky Neck, 6 Wonson Street, Gloucester, MA 01930. Juror: TBD Submissions: Online, via https://client.smarterentry.com/rnac Deadline for Submissions: 11:59 PM, January 15, 2017 Exhibition Dates: February 2-March 12, 2017 Gallery Hours: Thursday-Sunday, 12:00-4:00 PM Opening Reception: Saturday, February 4, 5:00-7:00 PM The Call: Artists are urged to submit exciting, unusual works on the theme of FRESH. We are looking for artworks that explore food origins and systems, the idea of “freshness” and “newness,” the act of growing food, our connections to earth’s growing cycles, and our love of fresh, delicious foods. We are seeking a mix of contemporary, experimental, and traditional works of art. All media are welcome including painting, photography, prints, pastels, assemblage, small sculpture, and mixed media. This theme is inspired by our partnership with Backyard Growers. Backyard Growers is a grassroots organization helping to reshape Gloucester's relationship with food. They provide support and resources to establish vegetable gardens at homes, housing communities, organizations, and schools. Their mission is to create life-long gardeners inspired by the power of growing one's own food. -
Creativity of Regions and Its Monitoring in Region of Žilina
A Service of Leibniz-Informationszentrum econstor Wirtschaft Leibniz Information Centre Make Your Publications Visible. zbw for Economics Mocková, Miriam; Kunertova, Petra Conference Paper Creativity of Regions and its Monitoring in Region of Žilina 52nd Congress of the European Regional Science Association: "Regions in Motion - Breaking the Path", 21-25 August 2012, Bratislava, Slovakia Provided in Cooperation with: European Regional Science Association (ERSA) Suggested Citation: Mocková, Miriam; Kunertova, Petra (2012) : Creativity of Regions and its Monitoring in Region of Žilina, 52nd Congress of the European Regional Science Association: "Regions in Motion - Breaking the Path", 21-25 August 2012, Bratislava, Slovakia, European Regional Science Association (ERSA), Louvain-la-Neuve This Version is available at: http://hdl.handle.net/10419/120768 Standard-Nutzungsbedingungen: Terms of use: Die Dokumente auf EconStor dürfen zu eigenen wissenschaftlichen Documents in EconStor may be saved and copied for your Zwecken und zum Privatgebrauch gespeichert und kopiert werden. personal and scholarly purposes. Sie dürfen die Dokumente nicht für öffentliche oder kommerzielle You are not to copy documents for public or commercial Zwecke vervielfältigen, öffentlich ausstellen, öffentlich zugänglich purposes, to exhibit the documents publicly, to make them machen, vertreiben oder anderweitig nutzen. publicly available on the internet, or to distribute or otherwise use the documents in public. Sofern die Verfasser die Dokumente unter Open-Content-Lizenzen (insbesondere CC-Lizenzen) zur Verfügung gestellt haben sollten, If the documents have been made available under an Open gelten abweichend von diesen Nutzungsbedingungen die in der dort Content Licence (especially Creative Commons Licences), you genannten Lizenz gewährten Nutzungsrechte. may exercise further usage rights as specified in the indicated licence. -
Creative Cities. Mapping Creativity Driven Cities
Creativity has become a mantra of our age, endowed almost exclusively with positive virtues. At the last count, over 160 cities worldwide called themselves “creative city” from Creative Manchester to Creative Bristol and, of course, Creative London, in Britain. And ditto Canada: Toronto with its Culture Plan for the Creative City; Vancouver and the Creative City Task Force and Ottawa’s plan to be a creative city. In Australia we find the Brisbane Creative City strategy and there is Creative Auckland. In the United States, there is Creative Cincinnati, Creative Tampa Bay and the welter of creative regions such as Creative New England. This document aims to bring together the experience of cities which have developed successful projects in order to achieve urban transformation, social inclusion, economic development and cultural prosperity through creativity. We are looking for the City 360° where the change has been driven by creativity. Milica Matovic, Anartz Madariaga Hernani & Roberto San Salvador del Valle Mapping creativity driven cities 12 good practices from UNESCO Creative Cities Network Supported by Milica Matovic Anartz Madariaga Hernani Roberto San Salvador del Valle Mapping creativity driven cities ner group 1 Cities Lab Katedra Milica Matovic Anartz Madariaga Hernani Roberto San Salvador del Valle Creative Cities Mapping creativity driven cities 12 good practices from UNESCO Creative Cities Network 2018 Deusto Cities Lab Katedra University of Deusto Bilbao Creative Cities Mapping creativity driven cities 12 good practices from