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The image of a tortured genius working in near isolation has long dominated our conceptions of the artist’s studio. Examples abound: think Jackson Pollock dripping resin on a cicada carcass in his shed in the Hamptons. But times have changed; ever since Andy Warhol declared his art space a “factory,” artists have begun to envision themselves as the leaders of production teams, and their sense of what it means to be in the studio has altered just as dramatically as their practices. The Studio Reader pulls back the curtain from the art world to reveal the real activities behind artistic production. What does it mean to be in the studio? What is the space of the studio in the artist’s practice? How do studios help artists envision their agency and, beyond that, their own lives? This forward-thinking anthology features an all-star array of contributors, ranging from Svetlana Alpers, Bruce Nauman, and Robert Storr to Daniel Buren, Carolee Schneemann, and Buzz Spector, each of whom locates the studio both spatially and conceptually—at the center of an art world that careens across institutions, markets, and disciplines. A companion for anyone engaged with the spectacular sites of art at its making, The Studio Reader reconsiders this crucial space as an actual way of being that illuminates our understanding of both artists and the world they inhabit.
The evolution of studio—and “post-studio”—practice over the last half century. 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.
Based on the history of knowledge, the contributions to this volume elucidate various aspects of how, in the early modern period, artists’ education, knowledge, reading and libraries were related to the ways in which they presented themselves
Inside an art gallery, it is easy to forget that the paintings there are the end products of a process involving not only creative inspiration, but also plenty of physical and logistical details. It is these "cruder," more mundane aspects of a painter's daily routine that motivated Brooklyn artist Joe Fig to embark almost ten years ago on a highly unorthodox, multilayered exploration of the working life of the professional artist. Determined to ground his research in the physical world, Fig began constructing a series of diorama-like miniature reproductions of the studios of modern art's most legendary painters, such as Jackson Pollock and Willem de Kooning. A desire for firsthand references led Fig to approach contemporary artists for access to their studios. Armed with a camera and a self-made "Artist's Questionnaire," Fig began a journey through the workspaces of some of today's most exciting contemporary artists.
A comprehensive compendium of artists and writers confronting questions of Black identity, activism and social responsibility in the age of Malcolm X and the Black Panthers, based on the landmark traveling exhibition What is "Black art"? This question was posed and answered time and time again between 1960 and 1980 by artists, curators and critics deeply affected by this turbulent period of radical social and political upheaval in America. Rather than answering in one way, they argued for radically different ideas of what "Black art" meant. Across newspapers and magazines, catalogs, pamphlets, interviews, public talks and panel discussions, a lively debate emerged between artists and others to address profound questions of how Black artists should or should not deal with politics, about what audiences they should address and inspire, where they should try to exhibit, how their work should be curated, and whether there was or was not such a category as "Black art" in the first place. Conceived as a reader connected to the landmark exhibition Soul of a Nation: Art in the Age of Black Power, which shone a light on the vital contributions made by Black artists over two decades, this anthology collects over 150 texts from the artists, critics, curators and others who sought to shape and define the art of their time. Exhaustively researched and edited by exhibition curator Mark Godfrey, who provides the substantial introduction, and Allie Biswas, included are rare and out-of-print texts from artists and writers, as well as texts published for the first time ever. Contributors include: Lawrence Alloway, Emma Amos, Benny Andrews, Tomei Arai, Ralph Arnold, Dore Ashton, Malcolm Bailey, Amiri Baraka, Romare Beardon, Fred Beauford, Cleveland Bellow, LeGrace G. Benson, Dawoud Bey, Camille Billops, Lula Mae Blocton, Gloria Bohanon, Claude Booker, Frank Bowling, David Bradford, Peter Bradley, Gwendolyn Brooks, Kay Brown, Milton Brown, Vivian Browne, Linda G. Bryant, Margaret G. Burroughs, Debbie Butterfield, Steve Cannon, Yvonne Parks Catchings, Elizabeth Catlett, Dana Chandler, Claudia Chapline, Charles Childs, A.D. Coleman, Dan Concholar, John Coplans, Hugh M. Davies, Douglas Davis, Bing Davis, Alonzo Davis, Dale Davis, Melvin Dixon, Jeff Donaldson, Robert Doty, Emory Douglas, John Dowell, Louis Draper, David C. Driskell, Tony Eaton, Eugene Eda, Melvin Edwards, Ray Elkins, Ralph Ellison, Elton Fax, Elsa Honig Fine, Frederick Fisk, Babatunde Folayemi, Clebert Ford, Edmund Barry Gaither, Addison Gayle, Henri Ghent, Ray Gibson, Sam Gilliam, Robert H. Glauber, Lynda Goode-Bryant, Allan M. Gordon, Earl G. Graves, Carroll Greene, Abdul Hakimu ibn Halkalimat, David Hammons, David Henderson, Napoleon Henderson, M.J. Hewitt, Richard Hunt, Sam Hunter, Josine Ianco-Starrels, Nigel Jackson, Jay Jacobs, Joseph Jacobs, Jae Jarrell, Wadsworth Jarrell, Daniel LaRue Johnson, Marie Johnson, Walter Jones, Lois Mailou Jones, Barbara Jones-Hogu, Cliff Joseph, Paul Keene, Martin Kilson, Wee Kim, April Kingsley, Hilton Kramer, Jacob Lawrence, Carolyn Lawrence, Don L. Lee, Hughie Lee-Smith, Samella Lewis, Tom Lloyd, Al Loving, Howard Mallory, Earl Roger Mandle, Jan van der Marck, Phillip Mason, James Mellow, Paul Mills, Evangeline J. Montgomery, Toni Morrison, Keith Morrison, Lawrence Neal, Cindy Nemser, Robert Newman, Lorraine O''Grady, Ademola Olugebefola, John Outterbridge, Joe Overstreet, Marion Perkins, Marcy S. Philips, Howardena Pindell, Mimi Poser, Helaine Posner, Noah Purifoy, Ishmael Reed, Gary Rickson, Clayton Riley, Faith Ringgold, Mark Rogovin, Barbara Rose, Joseph Ross, Bayard Rustin, Betye Saar, Raymond Saunders, Robert Sengstacke, David Shapiro, Jeanne Siegel, Thomas Sills, Lowery Stokes Sims, Steve Smith, Beuford Smith, Frank Smith, Val Spalding, Edward Spriggs, Nelson Stevens, James Stewart, Simone Swan, Edward K. Taylor, Alma Thomas, Ruth Waddy, William Walker, Francis and Val Gray Ward, Timothy Washington, Burton Wasserman, Diane Weathers, John Weber, JoAnn Whatley, Charles White, Selena Whitefeather, Jack Whitten, Roy Wilkins, William T. Williams, Gerald Williams, Randy Williams, William Wilson, Hale Woodruff and Cherilyn C. Wright.
The latest, greatest volume in the popular Uncle John’s series, flush with fun facts and figures and plenty of trademark trivia. The dedicated folks at the Bathroom Readers’ Institute are back with some Fast-Acting, Long-Lasting relief for our legions of fans who have been suffering without a new infusion of Uncle John’s trademark trivia and obscure facts. That’s right, folks, this is the book you’ve been waiting for! Number 18 in the Bathroom Reader series is flush with fun, new factoids, trivia, and all the usual useless (and occasionally useful!) information our fans have come to expect. Ever wonder what you can do with Preparation H besides the obvious? Want to learn more about celebrity jailbirds or whether dragons really exist? Then it’s time to take the plunge!
Take One. Action! Uncle John's Plunges into Hollywood uncovers Tinseltown's best-kept secrets--from murder mysteries Hollywood style to leading lady rivalries. Hooray for Hollywood! Uncle John takes on Tinseltown in this fascinating look at the movies and the people who make them. Come for the trials, tribulations, and trivia! Stay for the mysteries, magic, and mayhem! You’ll go behind the scenes for the sordid scandals, biggest bombs, greatest triumphs, and the unsung heroes who make it all come together. Featuring quotes, puzzles, quizzes, and Uncle John’s famous “running feet” facts at the bottom of every page, this book will give you a new appreciation for the Silver Screen (and you’ll know exactly what a gaffer and best boy do). What else is in here? Check out these previews! * Bad boys on location * The origin of Variety * The biggest cult movie of all time * The “Blond Bombshell Murder Mystery” * How Ray Harryhausen brought fantasies to life * Wretched reviews (for what are now considered great films) * The strange Pink Floyd and Wizard of Oz connection * The “Taglines of Terror” quiz * Bathrooms on the big screen * Unfortunate remakes * Haunted Hollywood And much, much more!
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