Full Description
The artist, at least according to Honoré de Balzac, is at work when he seems to be at rest; his labor is not labor but repose. This observation provides a model for modern artists and their relationship to both their place of work-the studio-and what they do there. Examining the complex relationship between process, product, artistic identity, and the artist's studio-in all its various manifestations-the contributors to this volume consider the dichotomy between conceptual and material aspects of art production. The various essays also explore the studio as a form of inspiration, meaning, function, and medium, from the nineteenth century up to the present.
Contents
Part I Introduction: Hiding Making - Showing Creation. The Afterlife of Studio Topoi in the Nineteenth Century - Sandra Kisters 1. Studio Matters: Materials, Instruments and Artistic Processes - Monika Wagner 2. Jean-Léon Gérôme, His Badger and His Studio - Matthias Krüger 3. Showing Making in Courbet's The Painter's Atelier - Petra ten-Doesschate Chu 4. Making and Creating: The Painted Palette in late Nineteenth-Century Dutch Painting - Terry van Druten 5. 14 rue de La Rochefoucauld. The Partial Eclipse of Gustave Moreau - Maarten Liefooghe 6. The Artist as Centerpiece. The Image of the Artist in Studio Photographs in the Nineteenth Century - Mayken Jonkman Part II Introduction: Hiding Making - Showing Creation. Forms and Functions of the Studio from the Twentieth Century to Today - Rachel Esner 7. The Studio as Mediator - Frank Reijnders 8. Accrochage in Architecture: Photographic Representations of Theo van Doesburg's Studios and Paintings - Matthias Noell 9. Studio, Storage, Legend. The Work of Hiding: Tacita Dean's Section Cinema (Homage to Marcel Broodthaers) - Beatrice von Bismarck 10. The Empty Studio: Bruce Nauman's Studio Films - Eric de Bruyn 11. Home Improvement and Studio Stupor. On Gregor Schneider's (Dead) House ur - Wouter Davidts 12. Sarah de Rijke - Staging the Studio: Enacting Artful Realities through Digital Photography Epilogue: "Good Art Theory Must Smell of the Studio." Towards a Theory of Studio Practice - Ann-Sophie Lehmann
