Art might seem to some a solitary occupation. And, of course, from the dawn of creation to the eve of completion (unless it’s a pre-ordained group project) a piece of art, much like a piece of writing, generally requires seclusion. But when it comes to selling art, and sometimes even being inspired enough to make it, standing alone isn’t always the best policy.
Visitors are often permitted to watch the artists at work, and have the advantage of being able to view and purchase the crafts of the entire colony in one fell swoop.

Thus the development of artist colonies, small communities within larger villages or towns where artists and artisans keep their studios in connection with one another. Visitors are often permitted to watch the artists at work, and have the advantage of being able to view and purchase the crafts of the entire colony in one fell swoop.

Meanwhile, the artists themselves have the benefit of likeminded colleagues nearby for a chat when creativity is flagging—not to mention a chance to sell their artwork and, of course, get plenty of admiration from patrons. The town that hosts such a colony sees a renaissance in an arena that may have otherwise gone to commercial development.

Florida has several near-Utopian examples of such colonies. They’ve arisen from the large population of artists who flock to the state to take advantage of the lush landscapes, and are set in quaint locales than were destined for the wrecking ball.

Some, like the Atlantic Center for the Arts, located in New Smyrna Beach, and the ArtCenter/South Florida in Miami Beach, are non-profits that offer grants, studio space and learning opportunities for working artists. These usually sponsor gallery space and hold special events and classes at different times of the year, and the best way to get to know them is to live near them or visit the area often.

Other colonies, however, are more commercial ventures for the artisans and craftsmen, and easier to navigate for guests who might be in town on vacation. But each has its own rules, and it behooves the aficionado to get to know them just a little bit in order to get the most out of the settlement.

For instance, you probably wouldn’t want to visit Tallahassee’s Railroad Square Art Park during a midmorning weekday, because that’s when the more than 50 artists are likely to be at serious work and not receiving. Initially the historic McDonnell lumber yard, and then the Downtown Industrial Park, today it rents 100,000 square feet to more artists-per-capita than anywhere in Florida, including those who train and teach at nearby colleges Florida A&M (FAMU) and Florida State University (FSU).

So unless you’re going to Tallahassee Rock Gym or taking a class at The Women’s Belly Dance Center—there are some more eclectic offerings here in addition to the studios, warehouses and galleries—save yourself for the First Friday Gallery Hop evenings (every first Friday of the month), when up to 3,000 connoisseurs come out to play.

The Village of the Arts in Bradenton, a community of more than 40 artists, operates on a similar schedule. Sure, you can walk around this charming area, which was created in 1999 and is directed by the non-profit Artists’ Guild of the Manatee. You’d probably be able to scoot into the Village Book Shop or pop into the Charisma Café for a bite. But most of the resident-studio/workspaces, which are colorful, redeveloped cottages numbered with yellow Village of the Arts signs, are not open to the public on weekdays.

Visiting hours vary, but largely take place on Friday and Saturday afternoons. Still, the best time to drop by is the first weekend of every month, when Artwalk turns these few blocks into a veritable street fair.

Nearby in Sarasota, Towles Court Artist Colony is more open in terms of format and layout. For one thing, some of the boutiques and shops are open daily from 11 a.m. until 4 p.m., and the monthly Art Walk, when all fling doors wide, takes place on the non-competitive third Friday.

For another, “the arts” is interpreted more broadly in this district, and you’ll find everything from culinary arts to healing arts, including massage and tai chi, falling under that category. In addition, the rescued and remodeled bungalows in this formerly blighted part of town are intermingled with outdoor sculpture and elaborate tropical gardens, so you’ll often see artists and writers working en plein air.

Indeed, an “artist colony” such as Cocoa Village might look more like a quaint downtown area where the shops have more architectural than thematic things in common. In fact, Cocoa Village is a hotbed of Old Florida, fronting a past that includes Highwaymen painters, cow hunters and steamboats.

It stands to reason, then, that this historic Village is now a home for artists, artisans and antique collectors, as well as a center for events that include a weekly farmer’s market, a weekly live free jazz concert during lunchtime and a monthly lecture series, featuring Florida authors, sponsored by the Florida Historical Society. With such a wide array of activity, perhaps it’s more appropriate to call this a district as opposed to a colony.

Note the Melbourne City Council, who has taken note of the kind of success that the arts, mingling with redeveloped real estate, brings to a town. That area’s downtown Eau Gallie is now in the midst of an Arts District redux, which should be done sometime in 2009. The plans for Eau Gallie seem more widespread, á la Cocoa Village, than like a tightly knit ArtCenter. But if the cultural opportunities are as good as the retail ones, who’s going to complain?