Friday, April 19, 2019

12th C Romanesque Architecture and Sculpture



  • 315-750 (1300) CE Early Christian/Byzantine (some sources say the Byzantine style survived all the way to 1450) 
  • 800-1150  Romanesque 
  • 1150-1350 Gothic 

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The Romanesque style, according to Stokstad, means "in the Roman manner." In essence, it merely refers to the fact that many of the cathedrals built in this time period had the appearance of Roman architecture.
  • Tympanum: the surface enclosed by the arch and lintel of an arched doorway, frequently carved with relief sculptures.
  • Archivolt: the molding fram an arch. In Romanesque and Gothic architecture, each one of a series of arches framing the tympanum of a portal.
  • Lintel: a horizontal beam spanning an openings, as over a window or door, or between two posts.
  • Trumeau: doorpost supporting lintel.
  • Jamb: the side of a doorway or window frame. The jambs of the portals of Romanesque and Gothic churches are frequently decorated with figure sculpture.




 
St. Lazare, Autun Cathedral, Burgundy France 
West Portal, sculpted by Gislebertus c1130CE

Form: St. Lazare Cathedral. Romanesque.  This is a large relief carving that was originally painted.  The composition is symmetrical and organized using hieratic scale.  The picture plane is also organized according to horizontal bands each filled with figures that are pushed up against the front of the picture plane.  There is no creation of deep space in this relief sculpture.

According to the Brittanica,

Typically, the figure of Christ appears in the centre of the composition, dominant in size and usually enclosed in a mandorla (an oval, nimbus-like form). At his right and left are the four Evangelists, sometimes represented or accompanied by their animal symbols. To the sides, smaller figures of angels and demons weigh sins of the resurrected dead, who are ranked along the lowest and smallest section of the tympanum, directly above the lintel.

Iconography: What makes St. Lazare an interesting example of Romanesque architecture and art is the fact that the west portal, which depicts  a "sermon in stone," was originally painted. It is exceedingly well organized and stylized. This means that the figures represented in the relief sculpture are non naturalistic, this is akin to what one would see in Byzantine art. The figures relative size is based not on reality, but  on their spiritual importance. 

Jesus, as the central figure is shown impossibly huge the figures around him are depicting judgment, heaven and hell, and good and evil. The organization of the composition is designed so that all of the other figures relate in some way to the central figure of Jesus.  Figures who are to the right of Christ are literally on his good side while the figures to his left are not.  Likewise there is a hierarchy according to placement in the three bands.  The correlation between left and right (good and evil) does not exist in the topmost band.  Anything placed in the uppermost register of the composition is "good" or heavenly.

Around this interior depiction of a sermon one can see the various signs of the zodiac, which brings forth one of the main differences between the Romanesque and the Gothic style of art within a cathedral, in a Romanesque cathedral one can easily find depiction's of events and symbols that are not necessarily related to what is found in the bible. In a Gothic cathedral, by contrast, the emphasis is put mainly on biblical scenes, and scenes with Jesus in particular.

Context: In Romanesque art, the emphasis to the followers was teaching. The scenes shown in almost all of the artwork found at St. Lazare are intended to teach a morality lesson, tell a story, or establish a sort of religious iconography of good and evil. For example, almost everything in this piece is representative of something else. The arch above Jesus and the scene surrounding him is representative of heaven. The sinners are always found to the left of Jesus, and the believers to the right. Everything in Romanesque art and architecture is highly organized and made to to make it easy for the followers to read the meaning and the message that the church intends.

According to a former student, Maureen Lara, 
From first glance, one could already see the hierarchy established through the use of three separate levels as well as the scale involved in placing the relatively large sculpture of Jesus in the center enclosed in a glorifying mandorla.    (The topmost level is an exception in the hierarchy since it represents the heavens; the entire band consists of "good" people.  )  The symmetry of the art, to my perspective, expresses the way the world and one's fate after death revolves around how well one learns from and lives their lives according to the teachings of Jesus.

The art overall exhibits no deep space and is stylized rather than naturalistic.   Interestingly, the art is organized in such a way that the figures considered good and worthy of the kingdom of God are to Jesus' right and those who fail the last judgment because of sinfulness are to His left.   The smaller size of the figures in the bottom-most band indicates those who await their judgment before the Lord.   The sizes of the figures as well as their placement in the hierarchy are done in accordance to their religious importance.   This can be scene in St. Peter, who is said to be the gatekeeper of Heaven; he is larger in size than the other believers as well as the angels.   The main storyline of the scenes is centered around the battle between good and evil and triumph of one or the other during the weighing of souls after death.   The consequences of being good are illustrated, for instance, by the faithful children joyfully playing with angels to Jesus' right.   The rewards of goodness are also expressed by the graceful appearance of the angels, a persuasive element in the art that urges people to be righteous.

According to the Brittanica, 
Christianity, further developing the concept of the Last Judgment, teaches that it will occur at the Parousia (the Second Coming, or Second Advent, of Christ in glory), when all men will stand before a judging God. In early Christian art the scene is one of Christ the judge, the resurrection of the dead, the weighing of souls, the separation of the saved and the damned, and representations of paradise and hell. Romanesque artists produced a more terrible vision of the Last Judgment: Christ is shown as a stern judge, sometimes carrying a sword and surrounded by the four mystical beasts--eagle, lion, ox, and winged man--of the apocalypse; the contrast between paradise and hell is between the awesome and the ferocious. In the gentler, more humanistic art of the Gothic period, a beautiful Christ is shown as the Redeemer, his right side undraped to reveal the wound of the lance, and both wounded hands raised high in a gesture that emphasizes his sacrifice. He is surrounded by the instruments of his Passion--cross, nails, lance, and crown of thorns. The intercessors are restored, and the scene of the Judgment is treated with optimism. In the 16th century, Michelangelo produced a radically different version of the Last Judgment in his fresco in the Sistine Chapel in Rome (1533-41): a vengeful Christ, nude like a pagan god, gestures menacingly toward the damned.


The "elect" rising. 
According to Gardener's, "Art History" the figure at the bottom far right has a bag ornamented with a cross and a shell,  
symbols of pilgrims who have journeyed to Jerusalem  
and Santiago de Compostela. The iconography found on select parts of the tympanum clearly show what happens to the 'good' believers. The smaller figures beneath represent the righteous and the faithful, which includes the children, seen playing with an angel. The Angels are always depicted as elegant, benevolent, beautiful, and kind. This was to give the impression that heaven was a wonderful place, and would inspire the believers into being good and faithful servants of the church.
Peter and the elect

Here, on the right side of Jesus is St. Peter with the faithful. Note again how he depicted as larger than the followers, and even larger than the angels. This shows his relative importance in the spiritual hierarchy.

Pulled to judgment.

Though at first one would think this was a depiction of suffering, in truth its meant to show that after the death of this believer, the hands of an angel reach down to pull him heavenward, assuring that his soul has been saved.

The Judgment 
The Damned and the weighing of the souls

On the left side of Jesus is Evil, the Devil and his minions who are participating in the weighing of the souls. In this judgment scene, one can see the Devil and the Archangel Michael both taking part in the judgment. While it appears that the Devil is trying to pull the scale downward in order to be able to claim another soul, Michael appears to be attempting to lift the soul upward, in order to claim the soul for heaven. Though it is a small vignette, it illustrate rather succinctly the struggle of good and evil in the souls of mankind. Note how in contrast to the angel Michael, the Devil is portrayed as emaciated, grotesque, and as terrifying as the stone masons could portray. This was to remind the members of the church how awful hell was, and frighten them into submission. 


Paul makes a last attempt

Here, though it is technically the left, or 'bad' side of Jesus, We see St. Paul and the Angel make a last attempt to pull the damned souls to redemption. Hoping that through the call of the heavenly trumpet, man will be swayed to the side of God. 

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Sleeping Magi

Thursday, April 18, 2019

Art and the Feudal System



For all the videos in order with a textbook and study guides please visit:
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Jacob Wrestling the Angel
The Vienna Genesis, 
Probably made in Syria or Palestine.
Early 6th century. 
Tempera, gold, and silver paint 
on purple-dyed vellum,
approx 9"x12"
Osterreiche Nationalbibliothek, Vienna
Byzantine Stylesee also Stokstad fig 7-35
Page with Rebecca at the Well
continuous narrative

 

  
  
 
Virgin and Child with Saints and Angel
icon second half of 6th century
Encaustic on wood, 27x18"
Monastery of Saint Catherine,
Mount Sinai, Egypt
Abbot of Cluny/Bishop Odo of Cluny and the Cluniac ReformsWikipedia:
The Cluniac Reforms (also called Clunian Reforms) were a series of changes within medieval monasticism of West focused on restoring the traditional monastic life, encouraging art, and caring for the poor. The movement is named for the Abbey of Cluny in Burgundy, where it started within the Benedictine order. The reforms were largely carried out by Saint Odo (c. 878 – 942) and spread throughout France (Burgundy, Provence, Auvergne, Poitou), into England, and through much of Italy and Spain.[1]
The impetus for the reforms was corruption within the church, particularly simony and concubinage. These abuses were thought to be a result of secular interference in the monasteries and of the Church's tight integration with the feudal and manorial systems.[2] At the same time, the Papacy wished to reassert control of all clergy and to stop the investiture of bishops by secular rulers.[3] Since a Benedictine monastery required land, it needed the patronage of a local lord. However, the lord would often demand rights and assert prerogatives that interfered with the operation of the monastery.[4] The Cluny reform was an attempt to remedy these practices in the hope that a more independent abbot would better enforce the Rule of Saint Benedict.
Brittanica:
When Berno drew up his will in 926, he split the small collection of monasteries under his authority into two parts, leaving Odo the half that included Cluny, Massay, and Déols. Upon Berno's death in 927, Odo became abbot of Cluny and began to appeal to kings and popes for privileges to guarantee the provisions of Cluny's charter. In his very first year as abbot, he obtained a charter from the West Frankish king Rudolf (923–936) to this effect. In 931 he gained one from Pope John XI that went further, granting Cluny the right to receive any monk of any other monastery, because most of the others “swerve from their purpose.” Thus, Odo cultivated the image of Cluny as a model monastery, and he was soon called upon to reform or even take over (as abbot himself) a number of other monasteries and bring them to the observance of the Benedictine Rule. These were Romainmôtier (929), Aurillac (c. 930), Fleury (c. 930), Sarlat (c. 930), Tulle (c. 930), Saint-Allyre of Clermont (c. 933), Saint-Pierre-le-Vif (Sens) (c. 938), St. Paul Major (Rome) (936), St. Elias in Nepi (c. 940), Farfa (c. 940), St. Mary on the Aventine (c. 940), Montecassino (c. 940), and Saint-Julien of Tours (942). In general, these monasteries were expected to adhere to the requirements regarding diet, silence, prayer, chastity, and enclosure enjoined by the Rule as interpreted by the Cluniacs, whose particular emphasis was on prayer.

S. Gall Benedictine Abbey, St. Gall Switzerland 7th-8th C
http://www.stgallplan.org/phase1/en/manuscript.html
CHURCH.
A. High altar.
B. Altar of St Paul.
C. Altar of St Peter.
D. Nave.
E. Paradise.
FF. Towers.
MONASTIC BUILDINGS
G. Cloister.
H. Calefactory, with dormitory over.
I. Necessary.
J. Abbot's house.
K. Refectory.
L. Kitchen.
M. Bakehouse and brewhouse.
N. Cellar.
O. Parlour.               (over.
P1. Scriptorium with library  k,
P2. Sacristy and vestry.
Q. House of Novices--1.chapel;
2. refectory; 3. calefactory;
4. dormitory; 5. master's room
6. chambers.
R. Infirmary--1--6 as above in
the house of novices.
S. Doctor's house.
T. Physic garden.
U. House for blood-letting.
V. School.
W. Schoolmaster's lodgings.
X1X1. Guest-house for those of superior rank
X2X2. Guest-house for the poor.
Y. Guest-chamber for strange monks.
MENIAL DEPARTMENT.
Z. Factory.
a. Threshing-floor
b. Workshops.
c, c. Mills.
d. Kiln.
e. Stables.
f Cow-sheds.
g. Goat-sheds.
h. Pig-sties. i. Sheep-folds.
k, k. Servants' and workmen's sleeping-chambers.
l. Gardener's house
m,m. Hen and duck house.
n. Poultry-keeper's house.
o. Garden.
q. Bakehouse for sacramentals, s, s. Kitchens.
t, t, t. Baths.

  
  
  
  

Monday, April 15, 2019

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CAC seeks partner in fellowship for arts leaders of color

The California Arts Council is now accepting applications for a partner organization to develop and administer a new statewide pilot fellowship program for emerging arts leaders of color. The program is aimed at strengthening the field of arts and culture in California by uplifting an inclusive workforce and supporting the vibrancy of organizations that create and preserve the cultural identities of all California communities. More details are available in our press release.

It's not too late! Support arts ed on your CA tax return

Today's the day! Last-minute tax filers, don't forget to show your support for arts education with a tax-deductible donation of $1 or more to the Keep Arts in Schools Fund, found in the Voluntary Contribution Section of your state return. Learn more at keepartsinschoolsfund.org.

Arts Plate marketing consultant wanted

The California Arts Council is seeking a qualified full-service marketing agency or consultant to develop and execute a marketing campaign for the California Arts License Plate. The selected contractor will provide comprehensive marketing services in order to build awareness and increase sales of the California Arts Plate, including branding positioning, messaging, graphic design, marketing and media planning, digital strategy, advertising and website management. Proposals are due May 14 at 5 p.m. Details and how to submit can be found here.

Funding for prison arts program development - apply by 4/22

Is your organization interested in getting involved with our Arts in Corrections program, but you aren't fully there yet? This opportunity is for you! Up to $25,000 is available in support for innovative projects, training, and mentorship opportunities intended to break down the barriers of prison arts programming and work in state correctional settings. Funding is available both to current Arts in Corrections Coordinating Organizations and organizations interested in providing arts programming through the California Arts Council's Arts in Corrections program in the future. The deadline for proposals is April 22. Learn more here.

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Date: 2019-06-17

Audio Revery Cub, lithograph crayon on archival sketchbook paper, 9x12 inches by Kenney Mencher

Saturday, April 13, 2019

One of our furnished sunny studio spaces, shared or private

Morocco Artist Residencies | Green Olive Arts

Green Olive Arts is an international art studio and urban art residency in Tetouan, Morocco, specializing in connecting the creatives of the world with the culture, beauty and creatives of Morocco.
Our mission is to resource creative individuals of both emerging and established artistic talent from around the world in seasons of inspiration, production, collaboration and cultural exchange here in Morocco.
We invite artists from a wide range of disciplines and mediums to apply for residencies of 2-8 weeks for specific seasons throughout the year. We accept visual artists, writers, filmmakers, poets, curators, scientists, choreographers, puppeteers, and more. Our local Selection Panel awards residencies based upon artistic excellence of current work and intended residency proposal. Artists are encouraged, but not required, to engage the local community as part of their residency through workshops, mural projects, performances, readings, round tables, and other collaborations to bridge cultures and nurture creativity.
Green Olive Arts provides a space for artists to travel away from normal settings to do research and produce new works in a context offering an abundance of fresh inspiration and engagement with local creatives. GOA offers fully equipped production spaces, and opportunities for interaction and collaboration with other artists.
In addition to providing production space for groups and individuals, GOA offers resident artists a wide array of concierge services including arranging housing, custom designed and artisan focused tours, gallery connections, and personal connections with Moroccan artists.
Green Olive Arts was started by artists for artists as the culmination of the vision of American artists Jeff McRobbie and Rachel Pearsey. Having spent several years each creating art in Morocco, a shared dream began to emerge of how they could create a collaborative art space, where foreign and local artists could experience the richness of creating art alongside each other in a multicultural environment.
We are currently taking applications for the following residency periods:
  • WINTER – January 14 – February 23, 2019 – 2-6 week resourced, self-directed residencies - Apply
  • SPRING – March 21 – April 17, 2019 – UPROOTED: Convergence 2019 – A one-month curated group residency for up to 8 global artists in Tetouan, Morocco. Application Deadline, September 14, 2018.
  • SUMMER –June 17 – July 21, 2019 – 2-5 week resourced, self-directed residencies - Apply
  • FALL – September 23 – October 27, 2019 – 2-5 week resourced, self-directed residencies - Apply
Visit greenolivearts.com for more info...

Location

Tetouan: Morocco
Tetouan, Morocco is a jewel of a city, clearly off the well worn paths of Moroccan tourism and commerce. Situated in the North of Morocco, on the North-Western tip of Africa, Tetouan sits by the Mediterranean Sea in a beautiful valley at the intersection of two rugged mountain ranges. Tetouan's ancient walled city is a UNESCO World Heritage Site with a rich history and culture hidden within stuccoed walls. Here you will find Morocco’s prestigious National Institute of Fine Art, the starting point of many Moroccan artists, the National School of Architecture, the Royal Artisan School for children and Morocco's new Museum of Modern Art. Tetouan's architecture and second language reveal its place in history as the capital of the Spanish protectorate, a heritage that remains visible at every turn. With its annual International Festival of the Lute, countless fine arts festivals and associations, Tetouan has art “in its blood” on a grassroots level that is rarely seen in this part of the world. Green Olive Arts is located in the heart of this city, a few blocks from the king's palace, numerous transportation arteries, museums, galleries and the gates of the medina itself in the 10-room home of a prominent Tetouani family. Three large sunny studio spaces, a wood shop, supplies area, kitchen, laundry and 32 meter square exhibition space and an array of easels and other furniture accommodate artists' needs.

Statistics

  • Residency Length: 2 week to 2 months
  • Average number of artists in residence at a time: 5-6
  • Number of artists accepted in most recent year: 41

Eligibility

  • Application type: Open application
  • Collaboration: Must apply and be accepted individually
  • Geography: Open to US artists, Open to non-US artists
  • Additional eligibility information: 
    Green Olive Arts is open to emerging artists, mid-career artists and established artists. We welcome individuals and groups to apply and to come with their own plan for their residency time with us, although we do encourage collaboration and interaction among our resident artists.
  • Application deadline: March 01May 01July 01September 01November 01January 01March 01May 01July 01September 01November 01January 01
  • Application Ongoing: Yes
  • Additional deadline info:
    8 studio spaces are available. Applications will be assessed and Residencies awarded by our local Selection Panel according to caliber of the artist's work and fit of the artist's residency proposal with the goals and capacity of Green Olive Arts. Approved applicants may expect a phone interview request before a final decision. Convergence 2018 Residency Deadline has been extended to December 31, 2018. More deatails on the Convergence 2018 curated group residency available here: http://greenolivearts.com/art-residency/convergence-residencies/convergence-2018-texture-time/

Past Residents & Quotes

Past residents: 
2018: Julia Olson – painting/drawing/portraits (USA), Candice Salyers – choreography/performance (USA), Noah Pollack – drawing/printmaking (USA), Elizabeth Sher – drawing/painting/video (USA), Sharon Moodie – installation art (Canada), Mohamed Haiti – comic art & illustration (Morocco), Inaam Obtel – instalation art (Morocco), Anne Louise Blicher Winther – printmaking/painting (Denmark), Salma Arastu – calligraphy/painting (USA/India), Robin Przybysz – textile sculpture (USA), Mia Villanueva – research/screenwriting (Philippines/USA), Natalie Moffitt – painting (USA), Rachel Maxi – painting/design (USA), Diane Arenberg – painting/printmaking/jewelry (USA), Isaac Wardell – music producing/composition (USA), Jackie Tileston – painting/drawing/collage (USA), Alizia Gonzales – painting/group collaboration (USA), Gueryung Lee – painting/silkscreen printmaking (USA), Charity Kittler – textile design (USA), Richard Sears – piano/music composition (USA), Elizabeth Kwant – video/photography & movement (UK), Kevin Todd – generative art/geometry (Ireland), Nidaa Aboulhosn – photography/writing (USA/Lebanon), Nicholas Angelo – mixed media painting/photography (USA), Sara Inacio – printmaking & social engagement (Brazil / USA), Cathy Weiss – mixed media/printmaking/painting (USA), Mirjam Elburn – textiles/installation (Germany), Sarah Peck – documentary film/drawing (USA), Sarah Pierce – novel writing (USA), Lisa Hesselgrave – painting/drawing/collage (USA), Mark Hesselgrave – architecture/drawing (USA), Vibhavari Jani – multi-disciplinary design (USA/India), 2017: Marion Claire Wasserman (USA), Claire Anna Watson (Australia), Heather Danso (USA), Sapentia Park (South Korea), Mark Lesser (USA), Nicci Pratten (Australia), Rabia Farooqui (Pakistan), Tamadher AlFahal (Kingdom of Bahrain), Hafdis Helgadottir (Iceland), Florence Husen (Netherlands), Niccy Pallant (Australia), Marthe Vary (Canada), Kira Winther (Denmark), Peter Mallen (USA), Florence Poirier-Nkpa (France/St. Martin), Carolyn Watson Dubisch (USA), Dan Callis (USA), Hajar Daide (Morocco), Michaela Savell (USA), Johann Nortje (New Zealand), Anne Foresman (USA), Monica Martinez (Mexico), Zhihao Guo (China), Anass Yahyaoui (Morocco), Lisa Matthiessen (USA). 2016: Maartje Jaquet – drawing (Netherlands), Nancy Walter – printmaking (Canada/USA) Gerry Craig – mixed media (USA) Britt Smelvær – printmaking (Norway/Denmark) Maria Velasco – installation art (Spain/USA) Rana Jarbou – filmmaker (Saudi Arabia) Alinah Akbar – drawing/miniature painting (Pakistan) Juliana Coles – visual journaling (USA) Taeesha Muhammad – sculpture/collage (USA) Kian Blethyn – painting/poetry (Australia) Barry Walkiewicz – watercolor/drawing (Canada), Gretchen McCullough – writer/novelist (USA/Egypt), Bart Rawlinson – writer/novelist (USA), Annie Raab – writer (USA), Tony Ingrisano – acrylic ink drawing (USA), Laura Cloud – sculpture/drawing (USA), Dale Roberts – oil/encaustic (USA), Lisa Waldron – photography/choreography (UK), Linda Ruth Paskell – photography/painting (USA), Elizabeth Hardy – sculpture/installation art (USA), Haya Alghanim – film/video/photography/new media (USA/Kuwait), 2015 Carrie Mixon – painter/fibers artist (USA), Yvonne Yuen Man Lo – digital photography collage (Hong Kong), Jane Zweibel – mixed media (USA), Erin Bolte – painter/fibers artist (USA), Hannah Leighton – painter (USA), Madiha Sebbani – Painter/video artist (Morocco), Sarah Gibson – painter (Australia), Digby Duncan – photographer (Australia), Eman Salah – graphic & street artist (Egypt), Jeff Olson – painter (USA), 2014: Fiona Leonard – writer (Australia/Ghana), Norio and Chifumi Ishiwata – mixed media artists (Japan), WeArt – a group of 5 artists of various mediums (Morocco), Sam Paonessa – plein air painter (Canada), Zora Buchanan – painter (Canada), Sook Chang – painter (Korea/Canada), Ashley Widman – mixed media artist (UK/USA), Frances Valesco – painter (USA), 2013 Janet Pelling – painter (UK), Elaine Muller – photographer/printmaker (USA), Carleigh Boyd – artist/art educator (USA), Yahya Frederickson – poet/writer (USA)
"I felt very inspired in Morocco. I loved walking through the old city of Tetouan... drinking in the atmosphere of the places and the smells. The sensory impressions were so unique, I couldn't get enough of that. Tetouan is such a 'real' city... unlike some other cities that seem to be more tourism focused. The sensory details of this place will overwhelm you and 'swamp your boat', in a good way. [Green Olive Arts] worked hard to make connections for me, to point me in directions, and introduce me to people. The arrangements were wonderful, and the opportunity to travel that they arranged for us really enriched our time there. Green Olive Arts offers something special."
— Yahya Fredrickson

Facilities & Services

  • Housing:
    We are happy to arrange your housing from among a wide range of options to suit your unique preferences and goals, and we've secured discount prices for residents of Green Olive Arts. Almost all of the housing options are within a short walk of the studios, near the center of Tetouan. You can choose from: an apartment attached to the studios, a private apartment, a home-stay with a Moroccan family, a Moroccan Riad (4 star B&B), 3 star hotel, or a 2 star hotel.
  • Meals: No meals/food provided
    Most of our housing options offer bed and breakfast or have an attached restaurant, but the studio facility itself has a kitchen so that residents may prepare their own food if necessary at the studios. On Fridays we offer a shared meal of traditional couscous for anyone working in the studios.
  • Computer/internet access: Computer and internet connection provided in common area (shared), Wireless Internet
  • Companions: Spouses/partners allowed for full stay, Children allowed for full stay
  • Accessibility: no
    The studio is located on the second floor, with stair access only. The city has a few steep hills and the streets and sidewalks are sometimes uneven or broken. It can be a challenge to get around if you have a physical disability that makes walking difficult.
  • Studios/special equipment: Exhibition / Installation, Fiber arts, Painting, Printmaking
  • Additional studio information: 
     Artists who have specific facilities’ needs should contact Green Olive Arts to determine if our studios will accommodate their work.

Residency Fees

Shared Studio, 1 -2 weeks - 2500 MAD ($250) per wk / Private Studio, 1 -2 weeks - 3700 MAD ($370) per wk with reduced rates for longer residencies. These fees are for non-Moroccan artists. We offer a reduced fee for our Moroccan artists in residence since they are fluent in both language and culture here.

Stipends / other support

Artists willing to engage the broader Moroccan community in English may be eligible for special stipends and grants from the American Language Centers of Morocco, the US and other Embassies, and particular local associations and educational institutions.

Additional expectations / opportunities

Accepted artists are responsible for travel, studio fees and housing/board. These costs are typically covered by personal funds or grants available to artists seeking overseas residencies. We help our approved applicants work out the best combination of studio, tour, and housing options to suit their art residency goals, comfort, and budget. Reduced rates for residencies longer than 6 weeks Collaborative relationships with local artisans and artists can be arranged for skill exchange and production Opportunities for architects and city planners to network with local colleagues and the National School of Architecture can be arranged Painting and sketching outings can be arranged with experienced guides and artists

Contact Information


B.P. 10001 Sidi Al Mandri
Tetouan, Tetouan 93000
Morocco
Tel: (212) 674.35.89.42