|Item type||Location||Collection||Call number||Copy||Status||Date due||Barcode||Item holds|
|High Demand||High demand||Non-fiction||PP HOF 2012 (Browse shelf)||1||Available||2014-1168|
"Co-published by Whitechapel Gallery and The MIT Press"--T.p. verso.
Includes bibliographical references (pages 226-229) and index.
Being the artist. -- A master in the studio, 1988 / Svetlana Alpers -- Looking in on the colonies, 1996 / Sarah Burns -- Giacometti, 1960 / Alexander Liberman -- 'The artist in his studio' : photography, art and the masculine mystique, 1995 / Mary Bergstein -- Studio and cube, 2007 / Brian O'Doherty -- Studio conversation with Anthony Robbin, 1969 / Robert Smithson -- Statement, 1989 / Louise Bourgeois -- On Francesca Woodman, 2012 / Iwona Blazwick -- Helene Winer: artists space and metro pictures, 2001-3 / Jack Goldstein -- Martin Kippenberger: Jacqueline: the paintings Pablo couldn't paint anymore (1996), 2009 / Ann Temkin -- Saint Architect of Sodom: Vito Acconci, 2001 / Sanford Kwinter -- 1968-76, 2004 / Paul McCarthy -- Paul McCarthy: Painter (1995), 2003 / Ulrike Groos -- The new perplexity: in conversation with Hans Ulrich Obrist, 1999 / Carsten Höller -- In conversation with Wesley Miller, 2008 / Gabriel Orozco -- In the studio: Wolfgang Tillmans, 2006 / Jori Finkel -- Studio visit: Takashi Murakami, 2008 / Sarah Thornton -- The studio system, 2007 / Linda Yablonsky -- Working with the situation -- Marcel Duchamp's studio as a laboratory of perception, 2007 / Herbert Molderings -- Eye body: 36 transformative actions (1963), 2002 / Carolee Schneemann -- Yayoi Kusama's self-portrait photographs, 1997 / Amelia Jones -- Sounddance, 1988 / Coosje van Bruggen -- The function of the studio, 1971 / Daniel Buren -- The function of the studio, revisited, 2007 / Daniel Buren -- Studio, 2004 / Briony Fer -- In conversation with Hans Ulrich Obrist, 2003 / Lawrence Weiner -- In conversation with Michael Auping, 2001 / Bruce Nauman -- The metaphysical studio, 2002 / Phillip Zarrilli -- Edgar Arceneaux: drawings of removal, 2004 / Aimee Chang -- Bamako in the 1960s: Seydou Keita, 2001 / Manthia Diawara -- Seydou Keita, 2006 / Frances Richard -- A rule of the game, 2008 / Hans Ulrich Obrist -- The function of the studio (when the studio is a laptop), 2010 / Caitlin Jones -- Retracing the steps -- Hans Namuth's photographs of Jackson Pollock as art-historical documentation, 1978 / Francis V. O'Connor -- 7 Reece Mews: Francis Bacon's studio, 1998 / Barbara Dawson -- Brancusi's studio: a critique of the modern period room, 2006 / Albrecht Barthel -- The studio in the gallery?, 2005 / Jon Wood -- Gerhard Richter: Atlas, 1995 / Lynne Cooke -- The catalogue of Robert Smithson's library, 2004 / Alexander Alberro -- Social space, 1974 / Henri Lefebvre -- The last possessions: a dialogical restoration of art & language, 1995 / Carles Guerra -- If you read here... Martha Rosler's library, 2007 / Elena Filipovic -- Edward Krasinski's studio, 2004 / Joanna Mytkowska and Andrzej Przywara -- Dieter Roth's mats, 2003 / Bernadette Walter -- Bernd Krauß , 2006 / Jan Verwoert -- Just waste, 2002 / Herzog & de Meuron -- Corner of the studio and El taller: a reflection on two works from 1993, 2005 / Ian Wallace -- Facing the world -- Start working, 2004 / Valérie Mréjen -- Factory made, 2003 / Steven Watson -- Seeing is forgetting the name of the thing one sees, 2009 / Lawrence Weschler -- The machine in the studio, 1996 / Caroline A. Jones -- A studio of their own, 2009 / Laura Meyer -- In conversation with Jane Collings, 2003 / Judy Chicago -- Housework, 1975 / Rozsika Parker -- The Laboratoire Agit-Art, 2004 / Elizabeth Harney -- The studio of the street, 2007 / Jeffrey Deitch -- Street and studio, 2008 / Brian Dillon -- Atelier Van Lieshout, 2007 / Jennifer Allen -- Artists at work: discussion, / Lynne Cooke, Friedrich Meschede and Sune Nordgren -- Studio unbound, 2010 / Lane Relyea.
With the emergence of conceptual art in the mid-1960s, the traditional notion of the studio became at least partly obsolete. Other sites emerged for the generation of art, leading to the idea of "post-studio practice." But the studio never went away; it was continually reinvented in response to new realities. This collection, expanding on current critical interest in issues of production and situation, looks at the evolution of studio--and "post-studio"--practice over the last half century. In recent decades many artists have turned their studios into offices from which they organize a multiplicity of operations and interactions. Others use the studio as a quasi-exhibition space, or work on a laptop computer--mobile, flexible, and ready to follow the next commission.
Among the topics surveyed here are the changing portrayal and experience of the artist's role since 1960; the diversity of current studio and post-studio practice; the critical strategies of artists who have used the studio situation as the subject or point of origin for their work; the insights to be gained from archival studio projects; and the expanded field of production that arises from responding to new conditions in the world outside the studio. The essays and artists' statements in this volume explore these questions with a focus on examining the studio's transition from a workshop for physical production to a space with potential for multiple forms of creation and participation.-- Bookdepository