Studio and cube [ Texto impreso] : on the relationship between where art is made and where art is displayed / Brian O'Doherty.

By:

O'Doherty, Brian

Contributor(s):

Material type: Text

TextSeries: A Buell Center/FORuM Project publication ; 1Publication details: New York : Columbia University, c2007.Description: 40 p., [40] p. de láminas : il. (algunos col.), ports ; 23 cmISBN:

9781883584443

Subject(s):

Contents:

Samaras's studio-bedroom -- The artist's myth -- Acconci's Seedbed -- Courbet's studio -- Delacroix's dilemma -- Nesbitt's studio tour -- Cultists' club/Warhol -- Utopia now/Rauschenberg's studio/The Bed -- The tenses of studio time -- Studio of accumulation/Bacon's studio -- Studio of reduction/Rothko -- The empty studio/Duchamp -- Caspar David Friedrich's studio -- The window -- An etiquette of looking/Hopper -- The model -- The painting-in-the-painting -- Mondrian's studio -- Brancusi's proto-museum -- The studio defined -- Perception -- The anti-white-cube.

Note: "Studio and Cube is the first volume in a series of publications related to the FORuM Project, dedicated to exploring relationships among form, politics, and contemporary life" "In Studio and Cube O'Doherty turns his attention to the moment of art's creation, exploring the mystique of the artistk's studio as the fecund space where inspiration occurs and the artwork is born." -- Contraportadas."This paper was presented in its expanded final version in spring 2006 at the Graduate School of Architecture and Planning of Columbia University under the auspices of the Temple Hoyne Buell Center for the Study of American Architecture" -- P.40. Información biográfica o histórica: Brian O'Doherty is the author of two novels and several works of art criticism. He is also an artist under the name Patrick Ireland.Summary: "This completes the trio of forces that have defined the studio and in turn have influenced the nature of gallery and museum. First, there is the mythology of the artist as a creature engaged in the mysterious business of creation, whose creative act becomes a bourgeois fetish by which the public acknowledges the power of the artwork but at the same time undercuts its subersive potentials. Second, there is the transference of this mystique from the artist to the fecund space of the studio; as representations of the studio illustrate, it is a self-reflexive process, which in turn transfers to the gallery - underlining the gallery's immaculate pseudo-idealism. Third, there is the reductive studio povera, which, particulary with Mondrain and Brancusi, contributes to the clean, well-lighted place where art is shown" -- P.38.

Holdings
Item type	Current library	Collection	Call number	Vol info	Status	Date due	Barcode
Monografía prestable	Biblioteca FJM Sala general	Estudios Curatoriales	N 8520 .O26 2007 (Browse shelf(Opens below))	2c, c1	Available		1201092
Monografía prestable	Biblioteca FJM Sala general	Estudios Curatoriales	N 8520 .O26 2007 (Browse shelf(Opens below))	2c, c2	Available		1212695

"Studio and Cube is the first volume in a series of publications related to the FORuM Project, dedicated to exploring relationships among form, politics, and contemporary life" "In Studio and Cube O'Doherty turns his attention to the moment of art's creation, exploring the mystique of the artistk's studio as the fecund space where inspiration occurs and the artwork is born." -- Contraportadas.

"This paper was presented in its expanded final version in spring 2006 at the Graduate School of Architecture and Planning of Columbia University under the auspices of the Temple Hoyne Buell Center for the Study of American Architecture" -- P.40.

"This completes the trio of forces that have defined the studio and in turn have influenced the nature of gallery and museum. First, there is the mythology of the artist as a creature engaged in the mysterious business of creation, whose creative act becomes a bourgeois fetish by which the public acknowledges the power of the artwork but at the same time undercuts its subersive potentials. Second, there is the transference of this mystique from the artist to the fecund space of the studio; as representations of the studio illustrate, it is a self-reflexive process, which in turn transfers to the gallery - underlining the gallery's immaculate pseudo-idealism. Third, there is the reductive studio povera, which, particulary with Mondrain and Brancusi, contributes to the clean, well-lighted place where art is shown" -- P.38.

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