The Artist and the Studio: Models of Production (notes)
Boredom is an important part of the studio, waiting for the ideas to arrive.
The classic image of what a studio should be; a master surrounded by his masterpieces. This concept can be consider dated and old fashioned. Is it right to say everything is confined to the studio? The two ways of thinking of the studio are as a nucleus for work or a laboratory somewhere to check back in and evaluate.
Consider the studio as a space where something happens between you and the items you bring in to the studio. There is a film abut Francis Bacon called “The Studio Builds the Myth” stating the role of the studio is the origin of the myth that surrounds influential artists. The works created by this model become the source of the myth.
There are many different models for studios Andy Warhol’s factory, was about lifestyle and production, with Warhol’s work the production begins to come closer to its subject. Linking the production of the object of Campbell soup to the production of the Campbell soup prints in his “factory”. Warhol like artists including Damien Hurst,employs streams of people to work for him, and is very supportive of other artists.
There is a split that occurs with the models of the studio; Daniel Buren’s “stripes” leading from the space to outside, mimic how his studio practice works. He has a telephone in his studio so has to call out, be a producer. The importance of the studio is what you get out of it. Is it about you and the canvas? Or the production like Warhol?
What is it that artworks are doing? How do the convey the ideas we want them to convey? Robert Smithson talks abut installations stating that“Installations should empty rooms not fill them.”
Donald Judd’s “Marfa” (a shop in the middle of New Mexico) is an example of this. Judd owns the building and he commissioned artists to create work there. The Prada recreation, became comical, a joke, something that has a value in a very dense society has no value in the middle of New Mexico. Judd’s model is to think of things on the factory scale but also in regards to the landscape, making work so large that it becomes about the view the framing of landscape, his work is expansive.
Another model is about complete possession of the space, the obsessive, only you understand it. Gregor Schneider’s practice fits with this model, his house is his work. The moving rooms, secret passages become uncanny due to the subtlety of the transactions. The idea we cant separate our ideas and the objects around it. Somehow the space is not quite right but we can not say why. There is a feeling of disorientation, it does not feel like a home but it looks like one. The ideas of the uncanny are always changing.
Consider the role of the works after the leave the studio. Rothco explored the relationship between the site where they appear and how the are shown in a galley. The weight and intensity of his paintings bring a sense of the studio and project this straight into the gallery.
Things are opened up, the studio is a safe space where things become fluid. We have changed the way we think about the studio, now it becomes less about assertion, and more fluid interest in communication and association. The studio is a space where one is able to imaging and step outside the cultural norms.