Residencies ask a lot of you before you make a single mark.
How Susan Philipsz, a Glasgow-born sculptor with an untrained voice, made sound installations from folk songs, bridges and station platforms, and what her method offers artists.
How painters from Caravaggio and Clara Peeters to Chardin and Cézanne used food in still life, what the objects meant, and how to read a painting.
Drawing can be more than illustration. In research, it can slow observation, test ideas, and make uncertain thinking visible.
From Chladni's sand figures and Kandinsky's concert painting to graphic scores and Christine Sun Kim's charcoal charts: how artists turn listening into marks.
What an art colony is, how Nida on the Curonian Spit went from painters' retreat to Vilnius Academy of Arts residency, and how to plan a stay with Vilnius.
What a sounding sculpture is, from Harry Bertoia's ringing rods and the Baschet brothers' glass instruments to wind, wave and motor-driven sound art.
How to plan art vacations in Iceland: choosing between a short drawing retreat and a longer residency, picking a town, and timing light, weather and travel.
How artists can approach Karl Johan as a thoughtful urban residency site through repeated walks, careful observation and ethical documentation.
A fieldwork guide for researchers using trails: plan research windows around weather, access, ethics and a repeatable observation method.
Artist retreat or artist residency? How the two differ on cost, selection, structure and expectations, and where to look for residencies in Norway and the Nordics.
A thoughtful artist residency wardrobe balances studio comfort, changing weather and everyday life, without turning a short stay into an overpacked suitcase.
A practical guide to documenting creative work: studio notes, file systems, images, recordings, references, access and reflection.
Participatory and socially engaged art research involves real people, not just materials. A practical look at what informed consent should cover before fieldwork starts.
