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Artists have worked from home for many reasons, including care
duties, financial or political constraints, or availability and
proximity to others. Exploring how the home became a distinct site
of artistic practice from the beginning of the 20th century, and
the meaning of 'home' for artists today, this book explores the
traditions and developments of the home studio as concept and
space. Using examples from across Europe and the Anglophone world
between the mid-20th century and the present, each chapter
considers the different circumstances for working at home, the
impact on the creative lives of the artists, their identities as
artists and on the work itself, and how, sometimes, these were
projected and promoted through photographs and the media. The book
comprises full-length chapters by artists, architects, art and
design historians, each of whom bring different perspectives to the
issues, interwoven with short interviews with artists to enrich and
broaden the debates. At a time when individual relationships to
home environments have been radically altered, The Artist at Home
considers why some artists in previous decades either needed to or
chose to work from home, producing work of vitality and integrity.
Tracing this long tradition into the present, the book will provide
a deeper understanding of how the home studio has affected the
practices and identity of artists working in different countries,
and in different circumstances, from the mid-20th century to the
present.
This interdisciplinary book brings together essays that consider
how the body enacts social and cultural rituals in relation to
objects, spaces, and the everyday, and how these are questioned,
explored, and problematised through, and translated into dance,
art, and performance. The chapters are written by significant
artists and scholars and consider practices from various locations,
including Central and Western Europe, Mexico, and the United
States. The authors build on dialogues between, for example,
philosophy and museum studies, and memory studies and
post-humanism, and engage with a wide range of theory from
phenomenology to relational aesthetics to New Materialism. Thus
this book represents a unique collection that together considers
the continuum between everyday and cultural life, and how rituals
and memories are inscribed onto our being. It will be of interest
to scholars and practitioners, students and teachers, and
particularly those who are curious about the intersections between
arts disciplines.
This interdisciplinary book brings together essays that consider
how the body enacts social and cultural rituals in relation to
objects, spaces, and the everyday, and how these are questioned,
explored, and problematised through, and translated into dance,
art, and performance. The chapters are written by significant
artists and scholars and consider practices from various locations,
including Central and Western Europe, Mexico, and the United
States. The authors build on dialogues between, for example,
philosophy and museum studies, and memory studies and
post-humanism, and engage with a wide range of theory from
phenomenology to relational aesthetics to New Materialism. Thus
this book represents a unique collection that together considers
the continuum between everyday and cultural life, and how rituals
and memories are inscribed onto our being. It will be of interest
to scholars and practitioners, students and teachers, and
particularly those who are curious about the intersections between
arts disciplines.
Our homes contain us, but they are also within us. They can
represent places to be ourselves, to recollect childhood memories,
or to withdraw into adult spaces of intimacy; they can be sites for
developing rituals, family relationships, and acting out cultural
expectations. Like the personal, social, and cultural elements out
of which they are constructed, homes can be not only comforting,
but threatening too. The home is a rich theme running through
post-war western art, and it continues to engage contemporary
artists today - yet it has been the subject of relatively little
critical writing. Art and the Home: Comfort, Alienation and the
Everyday is the first single-authored, up-to-date book on the
subject. Imogen Racz provides a theme-led discussion about how the
physical experience of the dwelling space and the psychological
complexities of the domestic are manifested in art, focusing mainly
on sculpture, installation and object-based practice; discussing
the work and ideas of artists as diverse as Louise Bourgeois,
Gordon Matta-Clark, George Segal and Cornelia Parker within their
artistic and cultural contexts.
The sculptural history of the long 1980s has been dominated by New
British Sculpture and Young British Artists. Arguing for a more
expansive history of British sculpture and its supporting
infrastructures, these twenty-three vivid and enthralling
interviews with artists, curators, dealers and facilitators working
then demonstrate the interconnected networks, diversity of ideas
and practices, energy, imagination and determination that
transformed British art from being marginal to internationally
celebrated. With a substantial introduction, this timely volume
provides valuable new insights into the education, work, careers,
studios, infrastructures and exhibitions of the artists and
facilitators, substantially enlarging our understanding of the era.
The sculptural history of the long 1980s has been dominated by New
British Sculpture and Young British Artists. Arguing for a more
expansive history of British sculpture and its supporting
infrastructures, these twenty-three vivid and enthralling
interviews with artists, curators, dealers and facilitators working
then demonstrate the interconnected networks, diversity of ideas
and practices, energy, imagination and determination that
transformed British art from being marginal to internationally
celebrated. With a substantial introduction, this timely volume
provides valuable new insights into the education, work, careers,
studios, infrastructures and exhibitions of the artists and
facilitators, substantially enlarging our understanding of the era.
Contemporary Crafts explores craft practices in both North America
and Britain, revealing an astonishingly rich and diverse picture of
artisanal work today. The book ranges across both urban and rural
crafts and analyses how the country/city dichotomy creates
differing approaches, practices and objects. Analysed in the
context of their environment and its localised history, crafted
objects are shown to embody or critique particular urban/rural
myths and traditions. Covering both traditional and cutting-edge
crafts from the small-scale domestic to large outdoor works,
Contemporary Crafts demonstrates how craftspeople today are
responding to the changing creative contexts of culture and
history.
Our homes contain us, but they are also within us. They can
represent places to be ourselves, to recollect childhood memories,
or to withdraw into adult spaces of intimacy; they can be sites for
developing rituals, family relationships, and acting out cultural
expectations. Like the personal, social, and cultural elements out
of which they are constructed, homes can be not only comforting,
but threatening too. The home is a rich theme running through
post-war western art, and it continues to engage contemporary
artists today - yet it has been the subject of relatively little
critical writing. Art and the Home: Comfort, Alienation and the
Everyday is the first single-authored, up-to-date book on the
subject. Imogen Racz provides a theme-led discussion about how the
physical experience of the dwelling space and the psychological
complexities of the domestic are manifested in art, focusing mainly
on sculpture, installation and object-based practice; discussing
the work and ideas of artists as diverse as Louise Bourgeois,
Gordon Matta-Clark, George Segal and Cornelia Parker within their
artistic and cultural contexts.
Contemporary Crafts explores craft practices in both North America
and Britain, revealing an astonishingly rich and diverse picture of
artisanal work today. The book ranges across both urban and rural
crafts and analyses how the country/city dichotomy creates
differing approaches, practices and objects. Analysed in the
context of their environment and its localised history, crafted
objects are shown to embody or critique particular urban/rural
myths and traditions. Covering both traditional and cutting-edge
crafts from the small-scale domestic to large outdoor works,
Contemporary Crafts demonstrates how craftspeople today are
responding to the changing creative contexts of culture and
history.
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