000			02205nam a2200253Ia 4500
001			10374
003			OSt
005			20260220132602.0
008			211022s9999 xx 000 0 und d
020			_a9780262517614
040			_cIVS
082			_a702.8 HOF _223 _b10374
100			_aHoffmann, Jens (Ed.)
245		0	_aStudio : Documents of Contemporary Art
260			_aLondon
260			_bMIT Press
260			_c2012
300			_a238
520			_aThe 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--Publisher's description
650			_aArt and Design
650			_aworkshops (organizations)
650			_aArtists' studios _vFacing the world
942			_cREF _2ddc _n0
999			_c11029 _d11029