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"This book is a collection of interviews that reveals the diversity of techniques employed by important artists of the past two decades. Not only do the artists yield insights into the actual creative process, but some of the most immediate questions about the conservation of contemporary art also come to light." "Since there has been increasing concern about the preservation of contemporary art, the author contends that the use of many different materials 'poses a great challenge' to the conservator." "Forced to seek new interpretations, Stephan Gotz, a conservator himself, directly confronts twenty-six New York artists in their studios. In each interview Gotz transforms the artist into a specialist who offers us a very personal and subjective view of his/her art. Each artist presents a diversity of new and accepted techniques." "A prefatory note by Robert Lue establishes the context for each interview and a reproduction of a recent or important work by the artist is included."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved
Many of these artists have remained in Latin America, others are scattered throughout the world. Some are in Paris, Claudio Bravo lives in a magnificent villa in Tangiers, Botero shuttles between houses and studios in New York, Paris, Pietrasanta and Bogota.
The artist's studio occupies a unique place in the popular imagination. Its environment is both the site of the artist's creative production, and a deeply private, personal space that nourishes and bears witness to the artist's working process, in a continuous interplay with its location, layout, interior and ambience. This rare access to the studio by a trusted visitor provides a unique opportunity to experience the lives of artists working in New York, through their methods, materials and influences, contained within the intimate space of the studio, and observed with an acutely sensitive eye. Artist Studios in New York - which Marco Anelli has been exploring since 2011 - leads the viewer into the creative process of internationally famous artists such as Alex Katz, Alfredo Jaar, Cecily Brown, Dan Colen, Elisabeth Peyton, Francesco Clemente, Jack Pierson, Joan Jonas, Joyce Pensato, Jonas Mekas, Jordan Wolfson, Julian Schnabel, Julie Mehretu, Kiki Smith, Lawrence Weiner, Mariko Mori, Marina Abramovic, Matthew Barney, Mickalene Thomas, Nate Lowman, Pat Steir, Rob Wynne, Robert Longo, Stanley Whitney, Tony Oursler, Ugo Rondinone, Urs Fisher, Vik Muniz.
From the desert vistas of Georgia O'Keeffe's New Mexico ranch to Jackson Pollock and Lee Krasner's Hamptons cottage, step into the homes and studios of illustrious American artists and witness creativity in the making. Celebrating the twentieth anniversary of the Historic Artists' Homes and Studios program of the National Trust for Historic Preservation, this is the first guidebook to the forty-four site museums in the network, located across all regions of the United States and all open to the public. The guide conveys each artist's visual legacy and sets each site in the context of its architecture and landscape, which often were designed by the artists themselves. Through portraits, artwork, and site photos, discover the powerful influence of place on American greats such as Andrew Wyeth, Grant Wood, Winslow Homer, and Donald Judd as well as lesser-known but equally creative figures who made important contributions to cultural history-photographer Alice Austen and muralist Clementine Hunter among them.
A publishing collaboration between Gagosian Gallery and Phaidon. An in‐depth study of painters’ and photographers’ studios with examples from the sixteenth through the twentieth centuries. Introductory essays and catalogue entries on individual works by two experts in their respective fields – John Elderfield for In the Studio: Paintings and Peter Galassi for In the Studio: Photographs. An invaluable and unprecedented art historical resource that will also appeal to a general audience. The slipcased two‐book set accompanies simultaneous exhibitions, one each on painting and photography, at Gagosian Gallery’s New York locations, open February 17–April 18, 2015.
Were late nineteenth-century gender boundaries as restrictive as is generally held? In Redefining Gender in American Impressionist Studio Paintings: Work Place/Domestic Space, Kirstin Ringelberg argues that it is time to bring the current re-evaluation of the notion of separate spheres to these images. Focusing on studio paintings by American artists William Merritt Chase and Mary Fairchild MacMonnies Low, she explores how the home-based painting studio existed outside of entrenched gendered divisions of public and private space and argues that representations of these studios are at odds with standard perceptions of the images, their creators, and the concept of gender in the nineteenth century. Unlike most of their bourgeois contemporaries, Gilded Age artists, whether male or female, often melded the worlds of work and home. Through analysis of both paintings and literature of the time, Ringelberg reveals how art history continues to support a false dichotomy; that, in fact, paintings that show women negotiating a complex combination of professionalism and domesticity are still overlooked in favor of those that emphasize women as decorative objects. Redefining Gender in American Impressionist Studio Paintings challenges the dominant interpretation of American (and European) Impressionism, and considers both men and women artists as active performers of multivalent identities.
Arranged in alphabetical order, these 5 volumes encompass the history of the cultural development of America with over 2300 entries.