"Studio and Cube is author Brian O'Doherty's long-awaited follow-up to his seminal 1976 essays for Artforum, republished in 1999 as "Inside the White Cube: The Ideology of the Gallery Space." That critically acclaimed volume dissected the abstract, white space of the modern art gallery, calling it "the archetypal image of twentieth-century art." In Studio and Cube O'Doherty turns his attention to the moment of art's creation, exploring the mystique of the artist's studio as the fecund space where inspiration occurs and the artwork is born." "Tracking the relationship between artist and artwork from Vermeer through late modernism, the author considers the differing work spaces of Courbet, Matisse, Rothko, Bacon, Warhol, and many others. He speculates on the implications of the work's transfer from the more anarchic and personal environment of the studio to the art gallery, concluding with a reflection on the way the "unruly energies" of the new media have transformed the classical white-cube gallery today. This is essential reading for anyone interested in the history and issues of contemporary art and the environments in which it is produced. Studio and Cube is the first in the series of FORuM Project Publications produced by the Temple Hoyne Buell Center for the Study of American Architecture at Columbia University."--BOOK JACKET.

These essays explicitly confront a particular crisis in postwar art, seeking to examine the assumptions on which the modern commercial and museum gallery was based.

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.

This monograph examines the reemergence of site-specific contemporary art in the American West and beyond, as seen through the oeuvre of Black Cube, a nomadic contemporary art museum. A Nomadic Art Museum: Black Cube 2015 - 2020 surveys groundbreaking, site-specific art projects produced by Black Cube during its first five years, which span across the United States and Europe. Through a visual compendium of ambitious, experimental, and momentary artworks, this book explores art in the public realm outside of conventional gallery spaces. The extensive chapters feature over eighty artists and highlight documentation of thirty-five situational art projects that materialize in unusual places like abandoned bus terminals, gold mining towns, iconic modernist chapels, and even cars. This book encompasses five years of the roving museum's collaborative ethos and driving mission-the commitment to venturing into the unknown, realizing artists' bold ideas, and reaching new audiences. In addition to contributions from the institution's Founder, Laura Merage, and Chief Curator, Cortney Lane Stell, A Nomadic Art Museum includes key texts by writers Angella d'Avignon and Paddy Johnson that asses Black Cube's formative years and the significance of site-specific contemporary art in today's world.

Beloved children's entertainer Emily Arrow's first picture book, perfect for (little) makers everywhere: a story about finding a space to create! A young bunny makes the rounds of a studio building, taking in all the different artists in their habitats. Making, thinking, sharing, performing . . . but can our bunny find the perfect space to let imagination shine? In this charming ode to creativity, noted children's singer and entertainer Emily Arrow introduces readers to the concept of the studio: a place for painters, dancers, singers, actors, sculptors, printmakers . . . and you! Whether it's a purpose-made space with big windows, a room filled with equipment, or the corner of a bedroom, your studio can be anywhere--you just have to find it!

The catalogue accompanies an exhibition that brings together many of the interests that have characterised Kiefer's work for decades, including mythology, astronomy and history. Located across the entire Bermondsey space, it features a large-scale installation and paintings that draw on the scientific concept known as string theory. 00String theory is a mathematical model that attempts to articulate the known fundamental interactions of the universe and forms of matter. In this new body of work, Kiefer has 'tried to bring together theories of seemingly extraneous principles from different cultures and histories', so that complex scientific theory is connected with subject matter from ancient mythology. In so doing, Kiefer makes visual the idea that, "Everything is connected: the missing letters, string theory, the Norns, the Gordian knot."00Exhibition: White Cube Bermondsey, London, UK (15.11.2019 - 26.01.2020).

A rare art history classic that The New York Times calls a “delightful, scholarly and gossipy romp through the character and conduct of artists from antiquity to the French Revolution.” Born Under Saturn is a classic work of scholarship written with a light and winning touch. Margot and Rudolf Wittkower explore the history of the familiar idea that artistic inspiration is a form of madness, a madness directly expressed in artists’ unhappy and eccentric lives. This idea of the alienated artist, the Wittkowers demonstrate, comes into its own in the Renaissance, as part of the new bid by visual artists to distinguish themselves from craftsmen, with whom they were then lumped together. Where the skilled artisan had worked under the sign of light-fingered Mercury, the ambitious artist identified himself with the mysterious and brooding Saturn. Alienation, in effect, was a rung by which artists sought to climb the social ladder. As to the reputed madness of artists—well, some have been as mad as hatters, some as tough-minded as the shrewdest businessmen, and many others wildly and willfully eccentric but hardly crazy. What is certain is that no book presents such a splendid compendium of information about artists’ lives, from the early Renaissance to the beginning of the Romantic era, as Born Under Saturn. The Wittkowers have read everything and have countless anecdotes to relate: about artists famous and infamous; about suicide, celibacy, wantonness, weird hobbies, and whatnot. These make Born Under Saturn a comprehensive, quirky, and endlessly diverting resource for students of history and lovers of the arts. “This book is fascinating to read because of the abundant quotations which bring to life so many remarkable individuals.”–The New York Review of Books

This cube-shaped book presents color images of some 50 variations of this geometric form produced by Morrow's students at the Rice School of Architecture in Houston, Texas in 2001 and 2004, and by students at the Universidad del Dise o, Costa Rica, at a 2001 workshop. Morrow introduces the concepts behind three design exercises, then lets the resul

Explore the tools and techniques used the world's greatest artists and become one yourself.

This is a photographic portrait of painter Francis Bacon's south London studio in the days following his death. A visual statement of Bacon's frenetic life and work. 60 photos.