Art Farm, artist and writer residency in rural Nebraska, artist residencies
Residency Application Deadline
March 1
Internship Application Deadline
March 15

2016 Visual Arts(and others)
Residency Application Form
Deadline March 1, 2016

2016 Writers (and others)
Residency Application Form
Deadline March 1, 2016
Art Farm’s mission is to support artistic vision, which may be impractical, obscure, and independent of commercial recognition—where failing is no less welcomed than succeeding. To offer artists, writers, performers, and others: studios, time, and resources for pursuing their range of expression, for experimenting, for developing projects, but most of all, for distilling the promise and potential of their creative enterprise, while working and living in a rural environment.
Art Farm's physical presence is in its buildings and land. More elusive to describe is the ambiance—the subtle influence of the environment's impact on time and space. The sun and stars measure your time, not clock and calendar. Space is shaped by proximity to sound and silence. The sky: your eyes: your ears will fill with the sound and shapes of an incredible number of birds and bugs. And, like it or not, the weather will be your collaborator in all undertakings.

artists residencies
writers residencies
1306 West 21 Road, Marquette, NE 68854-2112, USA
Art Farm is a 501(c)(3) tax-exempt non-profit organization registered with the State of Nebraska

Call for 2016 Residency and Intern Applications now open

intern app
2013 Intern Application Form
Deadline March 15, 2013

Some say we are assigned the life we live: fundamentally deterministic; others say our lives are prevented from unraveling because we have the will to choose, linked to cause: guided by reason during periods of difficult reflection and uncertain direction. Both are improvisational illusions: their functionality a matter of faith, part of social and cultural necessities: structures to measure and recognize through conscious subjective experience what is perceived as real and give regard for what is important. From individuals to nations, these inductive collections of perceptions are accepted as principles for living: prescriptions for defending the present in hope of a brighter future or preventing a dark abyss once lived in from reappearing.

Our values is the certainty we believe is reliable scaffolding for the moral decisions and priorities we make when building relationships between individuals, cultures: the world and it is the driver of what we feel is positive obligatory behavior: kindness; proof of trust; the gain of respect and loyalty. Equally, values animate less constructive features of profoundly impaired and constricted elements of brittle and unrepentant retribution thought as necessary to cleanse life of contaminants—asymptotic realities of farce and tragedy plotted from misconceptions, sometime crossing over, but never closing towards compromise. Whether our decisions be to condemn or defend: to love or loathe, a fragile equilibrium of balance is created that make values a tricky tightrope trail to travel on, prone to slipping.

From quarks to the edge of our universe, we search with protocols of reason and evidence, to grasp the bewildering perplexity of life and know who we are by probing the mysteries of what lies between our ears and between our thighs in an effort to locate the value of our worth, but this is scarcely more than kite and key science with offerings of rhapsodic technical euphemisms as proof of its capability to rout ignorance and delusion. The alternative outside the rational model with a chance to restructure the direction of humanity and bequeath us insight and perspective are the arts: like a lit match, though its light seems dim and distant, art can set ablaze every shadowed corner in the living tissue of our culture as reliable reconnaissance to expose unpredictable probabilities of consequences from the actions of our convictions.

We live in a world where facts are hallucinogenic and approximate realities and our emotions are occasionally the equivalent of our behaviors and beneath our unconscious motives, truth is just another rumor. This is our world, where beauty and hope is entwined with terror and despair. Can we perceive with any confidence what is on and which is more brilliant: the light above or the light from within: what you will see might depend on how you hypothesize what is light...
more to read>>

red barn gallery

It is to the disquiet of today's emerging artists, confronted by art's variety of denominational terrains, in searching for their strategic call to contemplation and expression: do they choose abstract cognition versus subjective experience; form a relationship to process or objects produced, or simply apply their principles to the business of art. Where might artists look or listen to assuage their anxieties, laying them into the everlasting calm. Should they elect to grope their way through the business of art world, it may require some major aesthetic gym time to train for competing in this 3-part sequential endurance career event, as in the order below.

Academia is the institutional structure, through which aesthetic styles tend to pass, with its mission of mentoring visionaries within mainstream orthodoxy and inculcating in them skills of spontaneous self-invention under scholarship's shroud of accumulated, athletically linguistic narrative, with curriculum corrections inserted as needed to assure students that they backed the best horse in the gallop to the galleries.

Commercial galleries are the perfected aesthetic arm of the capitalist state, their existence bankrolled by patrons to benefit the higher levels of investment interests, while they provide the hierarchical value of art in gold plated perspectives through the electrolytic bath of publicity polished with a propagandist's optimism, phrased to burnish brands.

Critics complete the triad of commercial grasp, with their glittering credentials of collected wisdom and aesthetic authenticity, authoring firewalls of exalted standards to preserve a sparse firmament of stars, as well as being the Disembodied Hand scribbling the necessary documents for posterity's investment concentration.

What is the herd bewildered to do, those who ran the race, but fail to be embraced by this trinity at the finish line? Perhaps it's the Idiomaticalness of their aesthetic witness perceived as containing overabundant zesty zeal or crimped and stunted in their provincialism: their membership bestrewn with flinty eccentrics and their existence seemingly too bereft of aesthetic bequest to be ribboned winners. As their night draws nigh and shadows lengthen, they wonder if ever they'll be seen—consider that it depends on who holds the light and upon whom its narrow beam is aimed, not the race.

In a world that fetishistically venerates the allure of money, for those artists in Icarian fall from the cutting-edge of this economic contingency it often means landing in the zone of artistic extinction, but there does exist a wider universe of creative flourishing and the intrinsic glow it gives life: in it you find that the exhilaration of discovery, the empowerment of independent thinking, the immersion into concentrated effort, and the denial of self are characteristics which stir into our souls greater humanity each time we encounter and recognize these in others and ourselves: it's possible this might be when you're the sharpest you'll ever be...only a few more>>

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If your flame of concentration is snuffed out by the dense screed of syntactic complexity above, you may wish to select individual rollovers or move higher to the menu items where verbal de-escalation and other thrills of aesthetic sensation abound.