Gilane Tawadros, 'Introduction'
In: Artists-in-Research 1996-98. Edited by Alistair Raphael and Victoria Clarke. London: Institute of International Visual Arts, 1999, pp. 8-9.
The Artist-in-Research Programme was established as part of inIVA's research activities in 1994. Initiated and developed by Alistair Raphael, an artist and freelance educator, the programme was conceived as a means to assist artists to make new works and as a vehicle for reflecting on critical aspects of contemporary art with individuals in a work environment. The programme recognises that much contemporary art practice goes beyond simple observations to investigate contemporary life though complex interactions and therefore depends on research as a vital aspect of making art.
The programme has created the opportunity to negotiate access for artists to a number of institutions and businesses as sites for artists' residencies. Over the past three years we have gained access to eight different companies and institutions (covered by four Regional Arts Boards), providing research opportunities for six artists through a series of short-term residencies:
Tioxide Europe, Phillips Petroleum and Ellis & Everard (UK) Ltd., Cleveland
Ordnance survey, Southampton: Indika Perera
Stillman Eastwick-Field Partnership Architects, London: Nicky Hirst
The Science Museum, London: Louise K Wilson
Lloyd Loom Furniture Factory, Spaldin: Clare Charnley
Assisted Conception Unit, King's College Hospital, London: Monika Dutta
The programme has been aimed at artists in early to mid-career who have already spent a considerable amount of time making work and exhibiting outside the art school system. The artists were selected through a process of open submission, the selection panel consisting of independent curators and artists as well as representatives from in IVA. The research opportunities were advertised in the national art press, Art Monthly, Frieze and Artists Newsletter, as well as being promoted to inIVA's mailing list in our agenda programme leaflet.
The appointed artists each undertook a six-week period of research at their respective host venues. This was preceded by a number of introductory visits during which the artist was invited to develop a timetable of contact time and outline the activities they wished to participate in during the residency. It was important that the Institute continually made distinctions between commissioning and research opportunities because there was no requirement for the artists to produce finished artworks. Each artist, however, had the opportunity to present ephemera and work that was either still in production or had been gathered during their residency, in a series of small presentations in the Institute's library and archive. 
In creating opportunities for artists to spend quality time in personal dialogues with the employees of these non-art, industrial and scientific environments, we have facilitated informal links between different audiences and new artworks. The dialogues between the artists and employees have facilitated a better understanding of the reasons why artworks are made. A great willingness and generosity has been shown by individuals who would not normally engage with contemporary art or visit art galleries.
As a model, the Artist-in-Research Programme provides a long-term investment in developing new audiences and alternative ways of learning about contemporary art practice. It offers assistance to artists in the creation of new works and provides examples of how to gain access to different types of institutions, many of which appear closed to artists. The programme has generated much interest from universities, independent arts organisations and regional arts boards, establishing itself as a recognised model of good practice.
This resulting publication explores the notion of research in relation to contemporary visual art practice and documents the three-year pilot programme, through images and artists' statements. Significantly the year 2000 has been designated the Year of the Artist by the Arts Council of England which aims to encourage and support the establishment of 1000 residency opportunities for artists nationwide. This book presents the Artist-in-Research Programme as one possible model and is intended to initiate discussion about the role of the artist and the place of contemporary art in society in the future. In doing so we hope to enable the creation of permeable and mutable residency opportunities that are beneficial to the diversity of artists and practices throughout the UK.
Direct, Institute of International
Visual Arts (inIVA)
10 April - 10 May 1996
(Trust was also exhibited at Middlesbrough Art Gallery, 10 August - 21 September 1996)
Which way up?
20 May - 20 June 1996
Perforated Observations: A Series of Drawings
1 July - 25 August 1997
Louis K Wilson
1 September - 31 October 1997
Nothing Like This, And Not Their Real Names
1 September - 30 November 1998
(Charnley's book Nothing Like This is now Housed in inIVA's library)
Disposed Ofs [sic]
1 September - 30 November 1998