Book contents
- Frontmatter
- Contents
- Foreword
- Introduction
- PART I
- Introduction: Old and New Studio Topoi in the Nineteenth Century
- 1 Studio Matters: Materials, Instruments and Artistic Processes
- 2 Jean-Léon Gérôme, his Badger and his Studio
- 3 Showing Making in Courbet's The Painter's Studio
- 4 Making and Creating. The Painted Palette in Late Nineteenth-Century Dutch Painting
- 5 14, rue de La Rochefoucauld. The Partial Eclipse of Gustave Moreau
- 6 The Artist as Centerpiece. The Image of the Artist in Studio Photographs of the Nineteenth Century
- PART II
- Introduction: Forms and Functions of the Studio from the Twentieth Century to Today
- 7 The Studio as Mediator
- 8 Accrochage in Architecture: Photographic Representations of Theo van Doesburg's Studios and Paintings
- 9 Studio, Storage, Legend. The Work of Hiding in Tacita Dean's Section Cinema (Homage to Marcel Broodthaers)
- 10 The Empty Studio: Bruce Nauman's Studio Films
- 11 Home Improvement and Studio Stupor. On Gregor Schneider's (Dead) House ur
- 12 Staging the Studio: Enacting Artful Realities through Digital Photography
- Epilogue: “Good Art Theory Must Smell of the Studio”
- Index
Introduction
Published online by Cambridge University Press: 11 December 2020
- Frontmatter
- Contents
- Foreword
- Introduction
- PART I
- Introduction: Old and New Studio Topoi in the Nineteenth Century
- 1 Studio Matters: Materials, Instruments and Artistic Processes
- 2 Jean-Léon Gérôme, his Badger and his Studio
- 3 Showing Making in Courbet's The Painter's Studio
- 4 Making and Creating. The Painted Palette in Late Nineteenth-Century Dutch Painting
- 5 14, rue de La Rochefoucauld. The Partial Eclipse of Gustave Moreau
- 6 The Artist as Centerpiece. The Image of the Artist in Studio Photographs of the Nineteenth Century
- PART II
- Introduction: Forms and Functions of the Studio from the Twentieth Century to Today
- 7 The Studio as Mediator
- 8 Accrochage in Architecture: Photographic Representations of Theo van Doesburg's Studios and Paintings
- 9 Studio, Storage, Legend. The Work of Hiding in Tacita Dean's Section Cinema (Homage to Marcel Broodthaers)
- 10 The Empty Studio: Bruce Nauman's Studio Films
- 11 Home Improvement and Studio Stupor. On Gregor Schneider's (Dead) House ur
- 12 Staging the Studio: Enacting Artful Realities through Digital Photography
- Epilogue: “Good Art Theory Must Smell of the Studio”
- Index
Summary
L’artiste est une exception: son oisiveté est un travail, et son travail un repos […]. Qu’il s’occupe à ne rien faire, où médite un chef d’ųuvre, sans paraître occupé.
HONORÉ DE BALZACThat left me alone in the studio; this in turn raises the fundamental question of what an artist does when left alone in the studio. My conclusion was that I was an artist and I was in the studio, then whatever I was doing in the studio must be art.
BRUCE NAUMANIn his Traité de la vie élégante of 1854, Honoré de Balzac described and analyzed the essential qualities of the artist of his day. The modern artist is at work when he seems to be at rest; his labor is not labor at all but repose; and, most importantly, the works he produces come into being as if by magic; they are mediated rather than made, without actual work (labor) coming into the matter at all. The significance of Balzac's observation can hardly be overestimated, as it seems to provide a kind of model for the modern artist and his relationship to both his place of work — the studio — and what he does there, one which, as Bruce Nauman's famous and programmatic statement testifies, remains relevant far into the twentieth century, perhaps even until today. The complex relationship between process, product, artistic identity, and the artist's studio — in all its various manifestations — lies at the heart of the present volume, Hiding Making — Showing Creation. The Studio from Turner to Tacita Dean.
Hiding Making — Showing Creation takes as its starting point the theoretical dichotomy between the conceptual and material aspects of art production that resulted from the emancipation of the arts from the realm of craft and the transformation of the artist from craftsman to autonomous master in the early modern period. One of the effects of this process was the elevation of “thinking” over “making,” and by the nineteenth century the “hiding” of the latter — both literally and figuratively — had established itself as a multifaceted artistic trope. The artist was no longer a man who worked, but a man who conceptualized; his studio was no longer a workshop, but a private, even sacred, place — a place of inspiration rather than labor; and that which was produced there was produced by means other than with the hands.
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- Hiding Making - Showing CreationThe Studio from Turner to Tacita Dean, pp. 9 - 13Publisher: Amsterdam University PressPrint publication year: 2013