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Transcript of Residencies Research 1. Contents Background3 Glossary4 Literature review5 Interview Findings7...
1
Residencies Research
2
Contents
Background 3
Glossary 4
Literature review 5
Interview Findings 7
Topline Survey Findings 10
Artform Snapshot 32
Career Stage snapshot 45
Model Snapshot 52
Broker and Mentor Snapshot s 59
3
Background
The aim:to create an evidence base on the range of residency models funded by the Australia Council, exploring their impact on artists’ careers and the factors which support a successful residency experience
The purpose:to enable Council to reflect on what role we should play in providing residencies, and ensure our activities are efficient and effective in maximising the value and impact of residencies for artists.
Specific objectives:to measure the impact on artists’ careers of the residencies that Council funds and develop an evidence base to understand their value.to analyse the factors needed to have a successful residency experience.
Method:• Interviews with artists and stakeholders• Review of the literature• Survey of artists
4
Glossary
Residency: a professional development opportunity for an artist or arts worker which provides space and time to devote to their arts practice. A residency can last a minimum of a week and up to one year.
Mentor: an experienced artist that partners with a less experienced artist to provide guidance and advice. Mentors can also introduce artists to others in the sector.
Broker: plays a significant role in brokering market opportunities or connections with a company, other artists or a mentor.
Host: the organisation that delivered one or more of: the residency creative space; the accommodation; the residency program (the set of activities that make up the residency).
Australia Council - time and place: a residency where our support is mainly for the location (e.g. Rome studio)Australia Council program: a residency that comes with a specific program of activities (e.g. Nashville)
Australia Council funded organisation: a residency run through an organisation we fund specifically for that purpose (e.g. Varuna)
Other Australia Council funding (indirect): a residency supported through our regularly funded organisation (but where funding was not directly for the residency)
Self organised: a residency that has been arranged by an artist, who has then applied to us for funding (through the grants process)
5
Residencies ResearchLiterature Review
6
Literature Review – key findings
• Not much research• The findings are similar to the artist survey:
• Benefits of residencies include time and space, support from host, development of contacts, development of new work and increased opportunities
• Different requirements at different career stages (which highlights the need for flexibility and not a one size fits all model)
7
Residencies ResearchInterviews with artists and stakeholders
8
Interviews – key findings
Artists• Nature of residencies varies according to:
• Degree of outcomes required• Number of artists involved, and emphasis on interaction and
collaboration• Whether there are organised connections/introductions• Whether it is attached to an institution
• Benefits of residencies are that artists made work and connections that they wouldn’t have made otherwise
• Characteristics of a successful residency include:• Clear and shared expectations• A degree of flexibility in how expectations are achieved (+ time)• Knowledge about how to make the most of the experience • Hosted well (including having a broker/connector)• Adequate resources (information, materials, financial, income,
family)• Location can be useful for inspiration, access to resources/ institutions.
But must be more than just a place.• Opportunities for Australia Council:
• Role of connectors/brokers• Support for arts workers (e.g. curators)• Helping to disseminate learning
9
Interviews – key findings
Stakeholders• Similar benefits to residencies as artists (outcomes and flow on effects),
but also saw their role in:• Being a place for r&d• Development of artistic practice• Career development• Self-esteem and confidence• Beneficial to communities• Beneficial connection developed between the host and artist long
term• Traction in key markets (where that is an aim e.g. Nashville)
• Opportunities and ideas:• Support for arts workers (e.g. curators)• Interdisciplinary• Collaborations and cultural exchange• Provide a wide spectrum of support (accommodation, travel,
infrastructure, stipend, local host, connections)• Allow residency providers more freedom to respond to artist needs
• Host international residencies in Australia
10
Residencies ResearchTopline Survey Findings
11
Why do a Residency?
Time and space for your practice
Developing your artistic practice
Furthering your professional career
Connecting with other artists
Interest in the host institution
Opportunity to exhibit, perform, present or publish
Stipend or financial supportAccess to specialised resources e.g. archives or
equipmentConnecting with new markets
Prestige and recognition of being selected
Learning a new skill or technique
Other
62%
51%
37%
29%
19%
17%
14%
13%
12%
11%
9%
9%n=244Q:What was your motivation for undertaking your most recent residency?
Artists do residencies because it gives them time and space, and allows them to develop their artistic practice
12
Residency experience - satisfaction
n=244Q: How satisfied were you with your residency overall?Q: How satisfied were you with the following elements of your residency?
Overall Satisfaction
Accommodation
Artistic materials & equipment
Residency program (the set of activities that
make up the residency)
Rated 0-4 Rated 5-6 Rated 7-8 Rated 9-10 n/a
Total Satisfied
(rated 8-10)
84%
77%
71%
76%
Overall, artists are satisfied with their residency experience.
13
Residency experience - objectives
n=244Q: Prior to going on your residency, did you feel the residency objectives and expectations were clear?Q: How were the residency objectives agreed on prior to your residency?
8% 26%
64%
Not at all clear Not really clear Somewhat clear Mostly clear Completely clear
I set them myself
I discussed and set them with the host/funding organisation
The host/funding organisation set them for me
No specific objectives were set
Unsure
41%
30%
19%
9%
0%
Clarity of objectives
Setting of objectives
The majority of artists on residency are clear about their objectives and expectations. This was highlighted as a crucial part of a residency in the qualitative research.
14
Ideal program of activities
n=244Q: Ideal structure or program of activities, if any?
Self organised/ initiated/ managed
Networking/ social activities/ introductions/ interactions with local artists
Opportunity to present work/ give back to host community
Structured studio/ writing time
Mentoring
Workshops
Flexible structure
27%
15%
12%
9%
7%
6%
5%
“3 phases - getting to know the place and people, creating new work and
staging/presenting the work”
“Self-directed with support from host organisation”
“Prefer to work alone but good to have some contact with a host - a publisher
or an advisor from organisation”
“Development residency could include workshops with local community /
students / professional artists, talks and seminars. Culminating in public showing
of work-in-progress.”
“Focussed work alone with readings every second day to a group of artists. Dinner together. Working with a mentor
would be lush.”
Many artists like the idea of organising their own program of events while on residency.
15
Had
Very/ incredib
ly valuabl
e
A local contact person e.g. studio manager
66% 63%
Other artists in residence with you
62% 77%
A mentor 30% 82%
A broker 7% 84%*
Someone who gave you introductions to local artists and arts organisations
49% 71%
Contacts and Networks
“Ideal support would be to have already established links with organisations
internationally or residency spaces that have very good/connected hosts.”
“The long-running relationship with the host organisation meant that meaningful
connections were easily formed”
“I would have liked support with introducing me to local artists and the
support of a mentor.”
“The opportunity to connect internationally with a network of artists... These connections continue to grow and
expand opportunities for new work following the residency.”
* Note only 17 artists had a broker, so this percentage is an estimate onlyQ: During your stay, did you have any of the following:Q: How valuable were the following relationships?Q: Did you have someone who gave you introductions to local artists and arts organisations?Q: How valuable was having someone who gave you introductions to local artists and arts organisations?Q: What other support would you have liked and from whom?
While not many artists had a broker during their residency, those that did found them very valuable. 14% of artists wanted additional support to organise local connections and introductions, and 7% wanted a mentor/ better mentor.
16
Ideal type of interaction
n=244Q: Ideal type and level of interaction with others?
Connections with local artists/curators/other residents/ mentors
Connections with arts/industry organisations/ galleries/ ARIs/ universities
Minimal / restricted interaction (e.g. scheduled times)
Flexibility in level of interaction (offered but not mandatory)
Invitations to events (social or professional)
Introductions
Collaborations
Other
54%
33%
23%
8%
7%
5%
4%
16%
“Ongoing, flexible interaction with industry organisations. Ongoing, flexible interaction with local artists and other
residents.”
“Yes, of course one would like to meet local artists, cultural
groups, galleries, writers, publishers etc. However,
these introductions need to be initiated - ideally by the Australian government or
diplomatic service or Australia Council, through
their contacts on the ground.”
“Local artists, curators and industry people ideally
accessed through a local interface such as an
artspace”
Connections with other artists and arts organisations are part of the ideal interaction artists want on their residency. However, many also mentioned that they wanted these interactions to be flexible.
17
Location
Australia
USA
UK
France
Italy
Spain
Japan
China
Indonesia
India
45%
13%
10%
5%
3%
3%
3%
2%
2%
2%
n=244Q: Where did you stay during this residency?
Around half of residents stayed in Australia, and around one in ten went to USA and UK most recently. USA, Australia and UK are also the top 3 areas artists want to go to do a residency, however Germany, France, Japan and Italy are also popular.
Most recent residency
Ideal residency
USA
Australia
UK
Germany
France
Italy
Japan
China
Iceland
India
Indonesia
Spain
36%
33%
22%
15%
13%
11%
11%
6%
5%
5%
5%
5%
n=244Q: Ideal residency locations? (up to 5)
18
Location – most recent residency
108
Australia, the USA, and UK are the key regions people went to on their most recent residency
19
Location – most recent national residency
Within Australia, most of the artists surveyed went to the Blue Mountains
20
Location – where do artists want to go?
21
Location – why go there?
I thought it would inspire creativity
It’s a hub for artists in my field of practice
I thought it would inspire artistic content
I had a personal interest in that location
For access to the appropriate space, equipment or resources
I thought it would boost my national or international recognition
The location was not pivotal to my residency; another place may have worked just as well.
I wanted to access new markets
There are lots of organisations in my field of practice
Other
41%
40%
39%
37%
32%
20%
10%
9%
7%
20%n=244Q: Why did you want to go to this location?
Artists choose the location of their residency based on inspiration and because it is an artistic hub
22
Location – what role did it play?
Being away from everyday responsibilities gave me time and space to focus on my practice
It provided inspiration
I met artists in my field of practice
I made connections with organisations in my field of practice
The location was not pivotal to my residency; another place may have worked just as well.
I felt too socially isolated
I felt too physically isolated
Other
78%
70%
59%
36%
10%
5%
2%
23%n=244Q: What role did the location actually play in your residency?
The main role of the location was to give them time and space, provide inspiration and allow them to connect with other artists and organisations
23
Length of time
Ideal length
Length of most recent residency
This was…
33%
15%
11%
29% 7% 5%
Less than one week 1-2 weeks Over 2 to 4 weeks 5 to 8 weeks 9 to 12 weeks
1 month = 48%Over 1 year = 12%
11%
20%
32%
20% 5%2%3% 6%
Up to 2 weeks Up to 1 month Up to 3 months Up to 6 months Up to 12 months
27%
68% 2%
Too short The right length Too long Unsure
1 month = 31%
Overall, the current length of residencies is perfect. Some shorter residencies could be increased.
24
Financial support
n=244; Q: How well did the financial support provided for the residency meet your needs?n=56; Q: Why did the financial support not meet your needs?
The funding only covered part of the costs (e.g. just accommodation)
I did not have enough money to live off and create work with
The funding did not cover the cost of my time/ had no income
Rent/living costs were very expensive/ were not covered
Did not cover ongoing costs at home (e.g. rent, childcare)
48%
23%
16%
13%
7%
“Whilst the financial support covered the basics of what was
luckily a very affordable environment the time away
from work (freelance) and the adjustment back on return left quite a financial hole that I'm still trying to find my way out
of”
“The cost of making work and my time added up to much
more than the stipend available”
Three in four residents felt that the funding they received met most or all of their needs. Where needs weren’t met, this was often because funding only covered part of the costs.Level of financial support
1% 22% 41% 30% 3%4%
Did not meet any of my needs Met some of my needs Met most of my needsMet all of my needs Exceeded my needs Unsure
Reason needs unmet
25
Level of Support
n=244Q: Overall, when thinking about your residency, how would you rate the level of support you received from the following?
Host organisation (i.e. the organisation deliver-ing the residency pro-
gram)
Mentor
Australia Council for the Arts
Residency manager
Very poor Poor Neither Good Very good n/a
Good/ Very good (exl. n/a)
89%
87%
84%
83%
Overall, residents received a very high level of support from their host organisation and mentor
26
Support required
n=244Q: What other support would you have liked and from whom?
Assistance to organise local connections/ Introduce me to the right people
Funding/ monetary support
Access to a mentor/ better mentor
Better/ more dedicated host/ studio manager/ more communication with host
More information/communication from my host/ broker beforehand
More communication from Australia Council before, during and after the residency
None
14%
12%
7%
6%
2%
2%
14%
“I would have liked support with introducing me to local artists and the support of a mentor.”
“A stipend for the duration of the residency to cover living
costs would have been of assistance.”
“More appropriate mentoring in my field, more motivation from
host to cater for special needs/physical limitations of
artists”
“I would enjoy more follow up after the residence in terms of
contacts with publishers etc but that's probably a pipe dream.”
The main type of support people needed on their most recent residency was assistance with brokering relationships and having a mentor
27
Ideal support from Australia Council
n=244Q: Ideal type of support from Australia Council or other funding/host organisations, if any?
Financial (general)
Flights/ travel
Accommodation/ studio costs
Living allowance/ per diem/ stipend/ artist fees
Connections to other artists/ organisations
Provide host organisation/broker/ mentor
Regular/ consistent/ more/ earlier communication/ information
35%
28%
28%
20%
12%
10%
5%
“Assistance with networking opportunities by providing some
potential contacts.”
“Funding, connections with artists, continued
communication and support”
“Accommodation/ studio provision; stipend for living/ materials; assistance with programming work - many residencies are attached to
great exhibition spaces, which the resident artists are unable
to use”
“Contribution to accommodation and on-the-ground costs,
coverage of airfares. Artist fees, and modest development
budget needed to steer towards public outcomes”
Most artists look to the Australia Council to provide some sort of financial or material support for their residency – this is likely because this has been the role we have played historically.
28
Outcomes achieved
Expanded your network of contacts
Improved or expanded your practice
Gained confidence in yourself as an artist
Created a new work
Increased your public profile
Presented or published work
Been invited to collaborate
Been commissioned to create work
Increased sales of your work
73%
71%
64%
55%
39%
35%
17%
10%
5%
47%
57%
45%
50%
48%
50%
19%
20%
12%
42%
51%
44%
45%
41%
44%
19%
19%
18%
1 year or more after complet-ing your resi-dency
Within 12 months of completing your residency
By the end of your residency
n=244Q: Have you experienced any of the following as a result of completing your residency?
The key outcomes achieved by the end of the residency were expansion of networks, improvement of artistic practice and increased confidence. Increased public profile and presentation/publication outcomes took a little longer to emerge. While sales and commissions are not a key aim of the residency, they do grow over the long term.
29
Ideal outcomes
n=244Q: Ideal expected outcomes, if any?
Created/developed work
Presentation/ publication/ exhibition/ showcase
Increased contacts/networks
Collaboration/engagement/partnerships (possibly ongoing)
Professional skills development
Research/ knowledge growth/ growth of cultural understanding
None/ outcomes optional
Development of arts practice in international context
Flexible/artist led outcomes
Career development/ Increased profile
28%
23%
20%
8%
8%
7%
7%
7%
5%
5%
“Exhibition of work produced during the residency; new
friendships both personal and professional; increased
awareness of the people, place and culture of the
residency location; new skills; increased professional artistic
profile; opportunities to collaborate or exhibit with
other resident or local artists”
“Time to re-think ideas, create new ones and ideally produce
and present them”
“A good exhibition with mixed local and international artists
together to encourage the exchange”
Many artists would like the creation or presentation of work to be an outcome of their residency. The development of networks was also important.
30
Barriers to undertaking residency
n=244Q: Why were you unable to undertake a residency?
Inadequate financial support
It was the wrong time in my life for me to go on residency
I needed more support for my family responsibilities
It was the wrong time in my career for me to go on residency
I needed more space to accommodate my family
It did not accommodate for my carers duties
The accommodation or residency structure was not physically accessible for me
Other
36%
18%
15%
11%
10%
7%
1%
12%
57% have wanted to undertake a residency but couldn’t. These are the reasons why…
“Opportunities for curators n/a”
“Difficult to take time of paying work when the
residency can be quite expensive”
31
Profile
Artform
Literature
Visual art
Emerging and experimental art
Theatre
Dance
Community arts
Music
Aboriginal and Torres Strait Islander art
Other
40%
38%
14%
10%
9%
6%
8%
1%
5%
40%
40%
16%
12%
9%
7%
7%
2%
7%
Currently
When you were on your most recent residency
Aboriginal or Torres Strait
Islander
Age
Career stage
Under 2525-3435-4445-5455-6465-74
FemaleMale
1%19%
38%22%
17%3%
71%29%
Gender
Beginning/ starting out
Becoming established
Established
Established, but working less than before
21%
48%
30%
1%
8%
54%
35%
3%
Currently During residency
Yes
No
Prefer not to say
Yes
No
Prefer not to say
Australia
United Kingdom
United States
Other (NESB)
Other (English speaking)
1%
97%
2%
5%
93%
2%
78%
8%
2%
8%
3%
Artist with disability
Country of birth
32
Artform Snapshot
33
CACD Dance E&ELiteratur
eMusic Theatre
Visual Arts
n= 15* 21* 35 98 19* 24* 92
Interest in the host institution 40% 24% 40% 7% 11% 25% 25%
Access to specialised resources e.g. archives or equipment
7% 5% 11% 6% 16% 4% 24%
Time and space for your practice 40% 67% 46% 85% 53% 58% 45%
Developing your artistic practice 33% 57% 37% 46% 42% 58% 58%
Furthering your professional career 60% 33% 43% 28% 53% 38% 46%
Connecting with new markets 27% 0% 11% 9% 16% 17% 16%
Connecting with other artists 47% 29% 20% 42% 16% 29% 17%Prestige and recognition of being selected
0% 0% 0% 20% 5% 4% 7%
Stipend or financial support 0% 33% 23% 9% 16% 25% 12%
Opportunity to exhibit, perform, present or publish
20% 19% 29% 7% 37% 8% 24%
Learning a new skill or technique 20% 14% 17% 9% 21% 17% 7%
Other 7% 5% 17% 5% 11% 8% 13%
Motivation
*Note small sample size, therefore results should be read with caution. ATSIA not shown due to very small sample size, n=2)Q: What was your motivation for undertaking your most recent residency?
Motivations to undertake a residency vary by artform. Literature residents are motivated by time and space, while Visual arts are more motivated to develop their artistic practice.
34
CACD Dance E&ELiteratur
eMusic Theatre
Visual Arts
n= 15* 21* 35 96 19* 24* 91
Improved or expanded your practice
80% 86% 83% 57% 74% 79% 84%
Expanded your network of contacts 80% 76% 80% 77% 84% 71% 74%
Created a new work 33% 24% 63% 47% 58% 33% 78%
Been invited to collaborate 40% 19% 29% 8% 32% 29% 22%
Been commissioned to create work 20% 5% 14% 4% 11% 13% 15%
Presented or published work 27% 29% 51% 20% 32% 25% 52%
Increased your public profile 60% 43% 40% 29% 37% 42% 46%
Gained confidence in yourself as an artist
73% 57% 49% 70% 47% 50% 63%
Increased sales of your work 0% 0% 3% 3% 0% 0% 8%
Other 0% 0% 3% 2% 11% 0% 2%
Outcome – by the end of your residency
*Note small sample size, therefore results should be read with caution. ATSIA not shown due to very small sample size, n=2)Q: Have you experienced any of the following as a result of completing your residency?
Residencies have slightly different outcomes for different artforms. Expansion of networks is a key outcome for Music, while improved practice is a major outcome for Theatre.
35
CACD Dance E&ELiteratur
eMusic Theatre
Visual Arts
n= 15* 21* 35 98 19* 24* 92
Beginning/ starting out 0% 5% 20% 36% 11% 13% 14%
Becoming established 40% 43% 49% 45% 58% 54% 52%
Established 53% 48% 29% 17% 32% 29% 34%
Established, but working less than before
7% 5% 3% 2% 0% 4% 0%
Career stage (at time of residency)
*Note small sample size, therefore results should be read with caution. ATSIA not shown due to very small sample size, n=2)Q: Which of the following best defines your career stage?
CACD and Dance residents are more likely to be established when going on residency, while over one third of Literature residents are just starting out.
36
CACD Dance E&ELiteratur
eMusic Theatre
Visual Arts
n= 15* 21* 35 98 19* 24* 92
Australia Council - time and place only
7% 5% 9% 4% 11% 4% 22%
Australia Council program 33% 0% 17% 0% 16% 0% 25%
Australia Council funded organisation
13% 14% 14% 73% 21% 25% 13%
Other Australia Council funding (indirect)
7% 57% 14% 6% 11% 21% 4%
Self organised 33% 24% 40% 11% 37% 50% 29%
Residency type
*Note small sample size, therefore results should be read with caution. ATSIA not shown due to very small sample size, n=2)
37
CACD Dance E&ELiteratur
eMusic Theatre
Visual Arts
n= 15* 21* 35 98 19* 24* 92
Australia 33% 31% 76% 73% 26% 58% 12%
USA 13% 17% 0% 7% 21% 17% 20%
France 0% 3% 5% 3% 5% 4% 5%
UK 13% 14% 5% 3% 5% 8% 20%
India 13% 3% 0% 2% 0% 4% 1%
Indonesia 0% 9% 5% 1% 5% 0% 2%
Spain 7% 3% 0% 0% 0% 0% 9%
Austria 7% 3% 0% 0% 5% 0% 1%
Cambodia 7% 3% 5% 1% 0% 0% 0%
South Korea 0% 0% 5% 0% 5% 4% 0%
Italy 0% 3% 0% 1% 0% 0% 8%
Sri Lanka 0% 3% 0% 1% 5% 0% 1%
Timor Leste 7% 0% 0% 0% 0% 0% 0%
Japan 0% 0% 0% 0% 0% 0% 7%
Location – most recent residency
*Note small sample size, therefore results should be read with caution. ATSIA not shown due to very small sample size, n=2)Q: Where did you stay during this residency?
Literature and Emerging and Experimental arts practitioners are most likely to have gone on a residency in Australia during their most recent residency.
38
Location – ideal CACD
*Note small sample size, therefore results should be read with cautionQ: Ideal location (up to 5)
39
Location – ideal Dance
*Note small sample size, therefore results should be read with cautionQ: Ideal location (up to 5)
40
Location – ideal Emerging and Experimental
41
Location – ideal Literature
42
Location – ideal Music
*Note small sample size, therefore results should be read with cautionQ: Ideal location (up to 5)
43
Location – ideal Theatre
*Note small sample size, therefore results should be read with cautionQ: Ideal location (up to 5)
44
Location – ideal Visual Arts
*Note small sample size, therefore results should be read with cautionQ:
45
Career Stage Snapshot
46
Beginning/ starting out
Becoming established
Established
n= 52 116 73
Interest in the host institution 15% 21% 21%Access to specialised resources e.g. archives or equipment
6% 14% 18%
Time and space for your practice 69% 60% 59%
Developing your artistic practice 52% 52% 49%
Furthering your professional career 37% 38% 38%
Connecting with new markets 2% 11% 22%
Connecting with other artists 52% 22% 23%
Prestige and recognition of being selected 17% 13% 3%
Stipend or financial support 10% 12% 21%
Opportunity to exhibit, perform, present or publish 12% 22% 14%
Learning a new skill or technique 12% 9% 8%
Other 4% 13% 8%
Motivation
*Note small sample size, therefore results should be read with cautionQ: What was your motivation for undertaking your most recent residency?
Connecting to other artists is a particularly large driver for residents early on in their career.
47
Beginning/ starting out
Becoming established
Established
n= 52 116 73
Improved or expanded your practice 60% 73% 75%
Expanded your network of contacts 84% 72% 71%
Created a new work 50% 59% 53%
Been invited to collaborate 14% 18% 18%
Been commissioned to create work 6% 16% 4%
Presented or published work 28% 41% 32%
Increased your public profile 36% 41% 40%
Gained confidence in yourself as an artist 86% 66% 47%
Increased sales of your work 2% 3% 8%
Other 0% 6% 1%
Outcome – by the end of your residency
*Note small sample size, therefore results should be read with cautionQ: Have you experienced any of the following as a result of completing your residency?
Increased confidence as an artist is a key outcome of residencies for early career artists.
48
Beginning/ starting out
Becoming established
Established
n= 52 116 73
Australia Council - time and place only 8% 4% 21%
Australia Council program 36% 65% 18%
Australia Council funded organisation 12% 4% 16%
Other Australia Council funding (indirect) 9% 6% 15%
Self organised 28% 19% 26%
Residency type
*Note small sample size, therefore results should be read with caution
Artists in the process of becoming established are the ones most likely to apply for a residency through an Australia council program (e.g. Nashville)
49
Location – ideal Beginning/ starting out
50
Location – ideal Becoming Established
*Note small sample size, therefore results should be read with cautionQ:
51
Location – ideal Established
*Note small sample size, therefore results should be read with cautionQ:
52
Model Snapshot
53
Why do a Residency?
Time and space for your practice
Developing your artistic practice
Furthering your professional career
Connecting with other artists
Interest in the host institution
Opportunity to exhibit, perform, present or publish
Stipend or financial support
Access to specialised resources e.g. archives or equipment
Connecting with new markets
Prestige and recognition of being selected
Learning a new skill or technique
39%
47%
56%
13%
35%
19%
10%
24%
16%
8%
19%
59%
65%
46%
17%
15%
17%
15%
20%
20%
2%
4%
Australia Council resi-dencySelf organised
Self organised n= 62; Australia Council residency, n=54Q:What was your motivation for undertaking your most recent residency?
Artists have somewhat different motivations for doing a self organised residency vs. an Australia Council residency.
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Residency experience - satisfaction
Self organised n= 62; Australia Council residency, n=54Q: How satisfied were you with your residency overall?
Overall Satisfaction
Self organised
Australia Council residency
Rated 0-4 Rated 5-6 Rated 7-8 Rated 9-10
Total Satisfied
(rated 8-10)
84%
82%
80%
Satisfaction is high among both self organised and Australia Council run residencies
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Self Organised Australia Council residency
HadVery/
incredibly valuable
HadVery/
incredibly valuable
A local contact person e.g. studio manager 55% 79% 83% 53%
Other artists in residence with you 44% 78%* 44% 63%*
A mentor 42% 92%* 9% 100%*
A broker (plays a significant role in brokering market opportunities or connections with a company, other artists or a mentor)
10% 100%* 13% 72%*
Someone who gave you introductions to local artists and arts organisations
58% 83% 54% 62%
Contacts and Networks
*Note, based on small sample sizes so percentages are an estimate onlySelf organised n= 62; Australia Council residency, n=54Q: During your stay, did you have any of the following:Q: How valuable were the following relationships?Q: Did you have someone who gave you introductions to local artists and arts organisations?Q: How valuable was having someone who gave you introductions to local artists and arts organisations?
Artists on a self organised residency were much more likely to have a mentor than those on an Australia Council run residency. Given the value of mentors, this is an opportunity to add value to our residencies.
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Location
Australia
USA
UK
France
Italy
Spain
Japan
China
India
29%
21%
18%
3%
0%
5%
0%
2%
2%
0%
22%
22%
17%
15%
9%
9%
0%
0%
Australia Council resi-dencySelf organised
Self organised n= 62; Australia Council residency, n=54Q: Where did you stay during this residency?
The USA, UK, Australia and Western Europe (excluding UK) are the most common ideal residency locations for artists on both self organised and Australia Council residencies
Most recent residency
Ideal residency
USA
Australia
UK
Germany
France
Italy
Japan
China
Iceland
42%
23%
34%
21%
10%
15%
13%
6%
3%
65%
19%
41%
26%
19%
24%
24%
11%
11%
Self organised n= 62; Australia Council residency, n=54Q: Ideal residency locations? (up to 5)
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Outcomes achieved – by end of residency
Expanded your network of contacts
Improved or expanded your practice
Gained confidence in yourself as an artist
Created a new work
Increased your public profile
Presented or published work
Been invited to collaborate
Been commissioned to create work
Increased sales of your work
69%
77%
53%
60%
45%
40%
29%
18%
3%
70%
74%
66%
72%
43%
49%
15%
15%
8%
Australia Council res-idency
Self organised
Self organised n= 62; Australia Council residency, n=54Q: Have you experienced any of the following as a result of completing your residency?
Australia Council residencies are slightly more likely to lead to increased artistic confidence. Self organised residencies are more likely to lead to collaborations.
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Ideal outcomes
Self organised n= 62; Australia Council residency, n=54Q: Ideal expected outcomes, if any?
Created/developed work
Presentation/ publication/ exhibition/ showcase
Increased contacts/networks
Collaboration/engagement/partnerships (possibly ongoing)
Professional skills development
Research/ knowledge growth/ growth of cultural understanding
None/ outcomes optional
Development of arts practice in international context
Flexible/artist led outcomes
Career development/ Increased profile
27%
24%
23%
13%
16%
10%
0%
5%
2%
6%
13%
22%
26%
4%
0%
11%
11%
15%
7%
6%
Australia Council residency
Self Organised
Those who recently were on a self organised residency were more likely to feel that the creation of a new work was an ideal outcome than those on an Australia Council residency.
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SnapshotBrokers and Mentors
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Brokers/ connectors
Qualitative research• One of the key benefits of residencies
identified in the qualitative research was that artists make connections that they wouldn’t have made otherwise.
• The artists we spoke to also highlighted that there was an opportunity for Australia Council to develop the role of connectors/ brokers
Artist survey• Only 7% of respondents had a broker.• However, the majority of those said
they were very/incredibly valuable (84%)
• Expansion of networks is a key outcome of residencies
• When asked what the ideal support from Australia Council would be, 12% of respondents said that they wanted support to make connections with other artists and organisations – this was higher among those on a time-and-place residency
• 10% wanted a broker/ mentor/host
“I had no one to help or support me during the project. No one who could introduce me or pave a path for me to approach
others.”
“I found it challenging because I was making arrangements by myself and often
had nobody else to bounce off”
“Collaborations and networking is solely the artists responsibility. This is
problematic because the artist is in a new environment and may not have easy access to people working in the arts.”
“It is useful as a foreigner to be understood as connected to a local
organisation and for that organisation to connect you with local people.”
“I was able to take advantage of the different connections my host organisation had, but direct myself how I proceeded.”
“Even thought I have my own connections with the Australian Embassy in Seoul … it
would be good for there to be some official communication for such a significant
residency.”
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Mentors
• 30% of respondents had a mentor.• The majority of those said they were very/incredibly valuable (82%) • When asked what the ideal support from Australia Council would be, 10% wanted
a broker/ mentor/host
“A mentor would have been great - even just for a single critique meeting.”
“Engagement with local and other national artists. A mentor from an appropriate national organisation (local or interstate) who can assist in structuring the
development and provide feedback from progress showings and performances.”
“I feel like I did a good job myself, but it would have been really helpful to have a mentor to ensure I meet local artists / curators / organisations and make sure I was
aware of all of the exhibitions and performances happening.”
“There should be some kind of mentor or liaison person set up for the Barcelona residency…Barcelona is very isolating art scene wise, having a person to introduce
the studio artist to local galleries/opportunities would be helpful.”
“The host (Varuna) linked me with an excellent mentor who had expertise in my writing genre, and so was able to give me clear direction for the work I undertook
during the residency.”
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