Artist Residency Reviews

First of all, the city Istanbul is very unique and inspiring. The centre is located in Kadikoy, on the Asian side, with lots of artists living and working around. ArthereIstanbul might not have all the facilities but the team will always think of a way to make things work. They also have a team of cats (resident cats) ready to give all visitors some love.

As the residency is a no outcome residency, I was able to spend time on my own practice and was well-supported. Being the invited artist, I did have to host a number of workshops and events, but these were well organised and supported by the organisation. The structure of the feedback sessions was innovative and very useful, and the other residents were all amazing people that I have established lasting relationships with. The residency was also extremely well funded, and I felt duly compensated financially for my time. I can't think of anything bad about the residency - it was certainly the best I've ever done. I suppose the environment is quite isolated, which could be challenging for some, but I appreciated being away from city life for the two months. The most difficult part was getting there, as I chose the eco travel option and so did not fly. The journey took me 3 days! Overall I would recommend it to any artist.

This residency is good if you have a project in mind and would need the infrastructure and support to execute it. They have large live-work studios, and the duration of 2-3 months can be used effectively.

This is an amazing experience, with great shared living houses in the east fjords village, and a spacious shared studio building (with many options for workshops and studio). The cost is very low, especially for Iceland.

This residency is well worth the cost. The experience of living and working so close to the heart of Havana is priceless.

Incredible location on an island in New York with a very generous stipend including a chef that cooks you dinners nightly. Serene landscape and ocean view studios, though small and limited shop facilities.

Having participated in numerous artist residencies around the US and abroad, the program that Bemis offers is truly unparalleled—it is by far the most transformative and supportive residency I have done in my career. Bemis is unique in bringing incredible national and international artists in a collective cohort, all of whom I have a strong relationship to this day from our time together at Bemis. The facilities of Bemis’s incredible personal studios, housing, common areas for exhibitions and gatherings, sculptural facilities, sound studio, gallery space, and libraries offer an immediate landscape of ease and accessibility for artists to succeed while in residence. Bemis is by far the most organized, well-run residency, overflowing with resources to complete any project imagined—and, with the help of its warm staff, an artist can approach and workshop new ideas to execute during their residency. If it’s not available directly through the fabulous fabrication facilities, such as working in another material like glass, large-scale printing, bronze, their team will connect you to the greater Omaha creative community which is rich with makers from many backgrounds. Similarly, if you want to collaborate with a particular member in the Omaha community for your artist project, the Bemis team is available to help you channel those resources. I was able to continue my oceanic research with the Omaha Aquarium and created a podcast episode detailing my time with the scientists in their coral conversation lab and other restoration efforts that the aquarium was doing behind the scenes. In the greater Omaha community, Bemis is unique in bringing artists from around the world to connect and forge lasting relationships with local artists and creatives through their extensive public programing, such as music and sound art events in their Low End performance space. It was at a performance that I met many local artists and musicians who I continue to have deep friendships with to this day. One ceramist I connected to in my first week at a Bemis Center Low End performance has become an invaluable friend who assisted me in developing my first ceramic glazes. Because of the generous stipend an artist receives while being in residence, I was able to later hire her as my glaze technician to learn alongside her in the glaze laboratory at the University of Nebraska Lincoln.

Staff is amazingly supportive and all are fantastic creatives themselves. Beautiful rural landscape surrounding with necessary stores within comfortable distance. With the building structures being old repurposed barns and a huge grain mill, studios feel very home-y (not in a bad way, gets the job done with ample space and the facilities/tools necessary). Fair warning, you’ll definitely be getting your steps in with all the stairs.

They take really good care of you. I've always had meaningful change in my work when I'm there. It's way out in a rural area, which is what makes it great but also difficult to get around if you don't have a car. They do help out with that, however. The visit does cost money; it's a reasonable $800, but they are very forgiving and will work with you on a case-by-case basis.

The residency provided the perfect environment and materials to deeply explore pigment sticks and encaustic paints in new ways. In order to make the most of the experience, the artist should have a prior interest in working with these materials and processes, as well as have a fairly strong existing studio practice. Whilst the area boasts a large community of artists, it is very much up to the artist to engage that community beyond a few core members.

The folks at R+F are lovely; friendly, knowledgeable, communicative, helpful, and welcoming.

Residency feel very balanced. Good mix of studio visits, production time, social opportunities, etc.

One challenge is to stay focused on the work in this beautiful environment. You won’t like all peers, and you gotta be patient and kind with them. However, I found most of my peers there to be awesome.

The studios are not so comfortable, but the environment is beautiful and inspiring.

This residency was a perfect location to do focused, inspired work. The diverse ecosystems and natural beauty of Vancouver Island, and this residency's proximity to nature makes it particularly valuable for artists whose work is engaged with the natural world. You can walk to a lake, river, streams and many trailheads from the house, and drive to many other ecosystems and environmental wonders. The living situation is a comfortable house with different options for studio space, both shared and private, that will meet a wide range of needs; the town is walkable and convenient with groceries and other shops only a few blocks from the house. The host, Brad, is a multi-talented visual artist who offers optional training and professional development in his fields of expertise as well as studio visits and trips around the Island. Artists from all disciplines are welcome (I'm a musician and felt well-accommodated) and all activities are optional, so you have a lot of autonomy. The host does not live on site but is easily accessible for any questions. He and fellow residents create a lovely interdisciplinary artistic community for living and working.

A tremendous place to go off-grid, in every sense of the word, and connect with one's creative priorities. Both without external interference, but also in the company of other creatives from many walks of life and different disciplines. Created by two working artists, the campus is very inspirational and affords all residents ample personal space but also wonderful communal spaces to navigate this dialogue between personal and public development. The site is about as isolated as it is possible to be in Iberia, but well worth the effort to reach.

Incredible equipment, very kind, helpful, and passionate staff. It was a wonderful space and environment to dive into your craft and imagination.

Benefits: It was great to be with all the other artists and just be focused on art for a time. It was very meaningful for me to spend so much time in Crete. Challenges: We lost a lot of time to presentations of everyone's work and didn't have enough time for our own work. The residency is much more adapted to visual artists than writers. No one really knew what to make of me or how to support me. I was always an afterthought. Practical Advice: It's so packed with activities and workshops and trips, there really isn't much time for making art. I'd say choose a project that engages with the environment there and something you can do quickly without too much concentration. (From what I saw, the studio was very busy and overwhelmed by wind. A lot artists seemed to take their work back to their rooms.) Costs vs. Gains: I crowdfunded to be able to afford to go. I can't do that again and so, while I might enjoy being able to return (especially now that I've learned more Greek) I couldn't. Also - I'm not sure I got any measurable rewards. I mostly felt like the redheaded stepchild - though I did meet a lot of nice artists. The most reward-like thing I got out of it was the status boost back home of having gone to a residency.

I paid for studio space, and it was worth it. Having regular studio visits with professionals and connecting with artists from different backgrounds helped expand my ideas. Plus, events like visiting museums with fellow residents were amazing experiences too.

The setting, a mountain village with stone alleys flanked by wild grapevines and olive trees, is adventurous and inspiring. My accommodation was very pleasant. I met new artists who became my friends. The wind keeps things somewhat cool, but be prepared for heat and mosquitoes. The organizers are helpful and friendly. Participants should be prepared to be in a cohort of up to 17 artists, which is far too many. Be prepared for a lot of mandatory group time (two meals a day, PowerPoint presentations at night, and field trips during the weekend). In my session, there was an alienating and competitive art school vibe, and juvenile cliques emerged—which the organizers were not inclined to abate. There is an East Coast focus to the demographics (particularly Syracuse University Department of Art and NYC), with some West Coasters and a few international artists mixed in. The visual art studio is a shared room with desks, no running water, and only a few basic materials—visual artists should plan on a minimal setup. The environment is maybe better suited for writers, so consider applying with a writing project and skipping the studio if that resonates. Overall, this is a great setting to find inspiration and a good introduction to Mediterranean/Greek culture, but don't expect to complete a major project unless you hit the ground running. The food is good and the restaurant is charming (run by a family), but the fare is a somewhat limited sampling of Greek cuisine. The focus on group activities is risky if you don't end up with a supportive group, and I would be less inclined to recommend the residency to introverts due to the hours of daily group time. At $1,000+ per week with room and board, the residency is just barely a better value than an Airbnb, so applicants should consider what their goals are. When airfare is added, I would say extending your trip by a week or two is highly recommended, or you might regret missing out on Crete beyond a few field trips and two scheduled trips to the beach. If you do go, do yourself a favor and book a night at the Megaron Hotel in Heraklion that the residency recommends. The island and country are absolutely fascinating, and if you can swing it, the residency offers a fairly straightforward pay-to-play experience that works well as an intro to Crete.