Artist Residency Reviews

The residency was a great experience for me, and I'd love to do it again! I could have used some more support during the residency to get community involvement and/or more promotion, or participated in the residency for 2-3 months to really allow the project to gain momentum. One month goes by really quickly! It's a great residency program; plan ahead to make sure you get the most out of your time there and in Savannah. If you can get in and attend the First Friday event before you start, it will help you get acclimated and meet people and many artists working in the studios. Having a place to stay, a place to work, and the support of the residency is fantastic—I've recommended this residency to several artist friends.

Benefits, rigorous reading and lively and honest discussions. Readings were tailored to my interests and personal experience. Challenges, as with any residency what to bring? Practical advice, go deep as you like! Great food, friendly small city. Costs and gains are entirely related to the kind of work when I exited. Travel was expensive, however the cost of the city, meals, etc., was more than reasonable.

Arquetopia Residency seems to be best suited for those who are interested in a research-based, material/technique specific, site and culture specific, and academic experience. I joined this residency specifically to learn a technique in weaving that is similar to a weaving technique practiced in the Philippines, where my family is from. This was a part of material research I was investigating and continue to investigate. I was also drawn to the residency for the rigorous academic readings and critical discourse provided re: themes of colonization and art. This residency fulfilled very specific research and technical development desired in my personal practice. For the weaving residency, I was paired with a master weaver who I learned immensely from. We had a small group of 4 artists, and we all became close and traveled to Cusco together, but this is not a big “networking” residency since there are no art galleries or contemporary art spaces (except for spaces that are artist-owned and run and only exhibit and sell their own work) in the town that the residency is located. It is a great space for specific, culture-based research. It is quite expensive of a residency (including travel to the residency) and there is no financial aid, but daily cleaning and meals (except for the weekend) are provided which really help to give residents more freedom with their time. The price also covers the materials and mentorship for the specific technical residency I applied for: Andean weaving. I was provided a backstrap loom and thread for 2 weavings. I ended up purchasing more thread to continue a 3rd weaving at home. One thing I was surprised by was the absence of basic tools. Be sure to bring tools that you absolutely need for your own practice. There are no facilities that would support big personal projects if you do not provide tools for yourself. The work space is also quite small and shared with no real walls — it’s a tented space outdoors. I personally loved my experience with Arquetopia and I continue to benefit and learn from readings shared as well as continued dialogue with Francisco, who is the director of the program.

I really loved my time there! Emily and Jon were super pleasant to work with and very helpful. I recommend this residency for any emerging artists. There was no fee for attending. I don’t believe there is a stipend, but I do think they now offer housing, which is a plus. Because I also had two jobs outside of the residency, I did find it a challenge to balance all three. However, this residency is great if you need a studio space and want the opportunity to engage with a community. Everything is sort of on the artist to get the work going and make an impact, but everyone at Sulfur is there to support you as needed! It’s a great step to help you learn how to work independently in a creative career.

The staff has weekly meetings to discuss the assigned reading, it was a process of deconstruction for me. The Natural Pigments professor is a master and has much knowledge in the field, she taught me in depth different techniques. I'm very grateful for my stay in Puebla, MX.

The residency is geared towards networking, so not to produce new work. Though you can, and join a group show at the end of the residency. In terms of curators to meet, wish there was more access to local curators or curators with similar interests. Overall, it’s a good starting point to get acquainted with the art scene in New York.

There is a strong community of artists at the residency which is very supported by the organization by putting emphasis on creating a lot of get-togethers, lectures, gallery visits, etc. The staff is very helpful, and I always felt I could rely on them to help me solve any problems that occur. It is a good idea to find people or institutions that you want to connect with and then ask staff at the residency if they can arrange a meeting because often times they can. During the residency, I tried to make as many contacts possible and step out of my comfort zone. The benefit of this residency is the community of artists that are very open and supportive, as well as the residency's connections with many curators and gallerists. The downside is that many meetings with curators and other contacts are not really tailored to each artist. Overall, this residency is a great opportunity for someone who wants an art career in New York.

Advice: the structure of the residency is self-based. If you want networking and artistic opportunities, schedule them as part of your residency—as in talks or critiques.

Ok networking residency, in cool location.

The staff is stellar at Wassaic Project; they’ll go out of their way to make sure you have everything you need and are comfortable. The residency costs money, but it’s a very small amount compared to what you get in terms of accommodations, studio access, outdoor space, and precious studio visits by esteemed guests.

Joya is a wonderful retreat to spend time making art in beautiful remote surroundings. I made great friends there too. The accommodation, food and studios provided are really great quality too.

I can actually only say positive things about the residence. I/we felt very comfortable, and we received very good support. I was able to develop very well artistically and successfully achieved my goals. The added value for me was certainly very good. I also really appreciated the relaxed and very beautiful location and the short distances to the old town/harbour. As a future artist, I would think about the time of year when I want to visit the residency. (Spring, Summer,...)

If you like busy city life, this is not for you.

This was an amazing opportunity to develop my project, supported by a great network of professionals. RU put me in touch with a huge number of curators, dealers and artists, and it was really important to my artistic growth and a step further in my career.

I had a great experience at Fabrikken.

Opened up many opportunities at home.

I think this residency is perfect for a US based artist needing good production facilities. I came from Ireland and it would have been costly to ship large or heavy work home. There are amazing facilities both at Bemis and in Omaha. The Low End gig venue at Bemis is brilliant, I went to so many great concerts while I was at Bemis. The art community in Omaha is wonderful. Some of the warmest and nicest people I've met in the USA. Challenges were more based around the city, getting to the grocery store for example you need to drive the Bemis Van which I found terrifying but in the long run meant I ate less snacks from Trader Joe's which was a good thing. The sound bleed between the studio apartments can be tricky if your neighbor is making louder sounds. Overall Bemis is great.

Just a very great residency opportunity.

Would be good if they had different timings to suit everyone internationally because on my time zone the class was at 2 am. Loved the variety of workshops and the dynamic of the program; it covers what an artist would need in terms of art history, techniques, critique, mentorship, specific assignments tailored to each individual, and professional practice to help our career when it comes to opportunities, open calls, gallery representations, grants, and much more.

Bemis is an incredible place. The studios are fantastic and Okada was an amazing place for me to work. I was able to weld 24/7 there and build some really big sculptures. I loved my loft studio which was flooded with gorgeous natural light every day. And the sound studio was amazing—so much tech and equipment to experiment with! I was able to record an entirely new body of work in that space. The studio techs and residency staff were so helpful and wonderful.