How is the project operated?
How long has it been in existence?
2012 is its 19th year.
What was your motivation?
To induce cultural diversity, deriving value from other experience, which might afford life additional scope in a region seeming obsessed with corporate agricultural market logic.
Number of organizers/responsible persons of the project.
How are programs funded?
There is one program: residency. Funding through the traditional portal of grants is low, generally non-existent and in response, operations are labor intensive as opposed to capital intensive.
Who is responsible for the programming?
One director, Ed Dadey.
Number and average duration of exhibitions/events per year.
One, on the last weekend on October.
What kind of events are usually organized?
One general survey of the residency participants’ efforts during each season.
How is your programming determined?
Programming falls closer to discovery, where the unity of standard linearity is frequently unavailable and happening more often than attempts to follow the priority of a theme or pattern.
Do you accept proposals/submissions?
What is your artistic/curatorial approach?
Promise and potential override established performance and credentials. Diversity reigns second, with usually 40% of selected applicants being of foreign origin from all areas of the arts.
What’s working? What’s not working?
A hard question to answer, as the operational status follows an abiding precarious gait of process then evaluating and rating one project against another project.
What kind of role do you hope to play in your local art scene or community?
There is no organized attempt to ‘engage’ the public. The degree of aesthetic or cultural interaction is left to whatever level of immersive experience happens between Art Farm residents and the locals.
What idea are you most excited about for the future?
If imagined as a conceptual field, there is no difference between Art Farm and the farmers surrounding it—we plant our ideological seeds and hope they grow. It is possible these two cultural crops of ‘art’ and ‘ag’ might cross-pollinate and produce formations of shared recognition.
Images courtesy of Art Farm
Sarah Croop is an undergraduate American Culture Studies student at Washington University in St. Louis. Her work explores the intersection between the photographic object, specifically in the vernacular of the family snapshot, and the psychology of memory, and how the interaction between these is changing in the age of digital photography and social media.