1,720,981 research outputs found
Abandoned and Appropriated Homes:The live-work spaces of artists in East London
No full textChapter 12 Imogen Racz and Heidi SaarinenThis chapter will explore the way in which artists moved into the East End of London from the late 1970s through the 1990s, creating communities that were sustainable and dynamic, and how living and working there were fundamental to their art. It will concentrate on an area between Victoria Park and London Fields, where there were several blocks of studios leased through SPACE Studios, where some roads of houses were leased through Acme Studios, and where there were also many squats. It was an area of dereliction, but this proved to be ideal for artists.The artists and communities of Beck Road, Ellingfort Road and London Lane will form the focus of this chapter. The proximity to each other and the broader artists’ communities created a wide network of ideas and practices. There were artists, designers, architects, dancers, performers and many other people working in related disciplines. The cross-fertilization of ideas that this engendered meant that art became influenced by, and started to grow in, new directions, taking on board international perspectives.How, where, and why art is produced are fundamental to the outcome. At the start of any creative activity there will be experimentation – with materials and ideas, and through collaborations and discussions with others. The spaces available and the surrounding areas also impact on the ideas, the processes and therefore the consequent outcomes. Many artist studios discussed in this chapter were situated in houses and therefore not large. Being within domestic homes meant there was restricted access, which affected what could be made. All the houses were due for demolition, although this changed, so were exempt from planning restrictions, could be altered at will, and, especially in the squats, spaces were shared and interconnected. However, although the general perception was that these streets and buildings were a blight, not only were the artists making and exhibiting, but they were living there, creating communities, and over time they had families including children and pets.This chapter will discuss the origins of this quiet revolution, how artists moved into the area and made it their home, and how their everyday lives impacted on their artwork. It will concentrate on this small area, consider how the community supported itself, how the neighbourhood and living conditions fed into the work, and how it became part of a much larger international art scene. Included will be discussions of work by Mikey Cuddihy, Helen Chadwick, Langlands and Bell, and Tom Hunter
Contextualizing the Developing Self in Helen Chadwick’s Ego Geometria Sum
Get PDFThis chapter discusses Helen Chadwick’s autobiographical work Ego Geometria Sum (1982-84) in relation to her reading of Arthur Koestler’s books The Sleepwalkers and Ghost in the Machine, the development and final display of the work, and its artistic and theoretical contexts. The chapter considers how Chadwick united universal ideas with subjective memories, and, in line with postmodernism, destabilised post-Enlightenment notions of self. The installation incorporated ten, emotionally significant objects that represented key stages in her development, onto which she developed photographic collages that conflated past with present, and depicted her performative, adult body engaging with these memory-objects. The development and significance of these and her sophisticated use of visual languages are discussed.</p
Introduction
Get PDFThis chapter provides a detailed contextualising for the book, situating the collection in a broad theoretical and historical framework. It references the meetings that brought together experts in dance and visual arts, which led to the book. The discussion outlines the two main themes in the book that are explored by the writers-the subjective, lived relations with objects and the social sphere, and the different approaches to absence, visibility and resistance. Drawing on diverse theories and viewpoints, the introduction outlines each chapter, describing how the writers open up new thinking about dance and visual art, and the connections between each discipline’s discourses and practices.</p
The Artist at Home:studios, practices and identities
No full textArtists have worked from home for many reasons, including care duties, financial or political constraints, or availability and proximity to others.From the 'home studios' of Charles and Ray Eames, to the different photographic representations of Robert Rauschenberg's studio, this book explores the home as a distinct site of artistic practice, and the traditions and developments of the home studio as concept and space throughout the 20th and into the 21st century.Using examples from across Europe and the Anglophone world between the mid-20th century and the present, each chapter considers the different circumstances for working at home, the impact on the creative lives of the artists, their identities as artists and on the work itself, and how, sometimes, these were projected and promoted through photographs and the media. Key themes include the gendered and performative aspects of women practising 'at home', collaborative studio communities of the 1970s – 90s including the appropriation of abandoned spaces in East London, and the effects of Covid on artistic practices and family life within the spaces of 'home'. The book comprises full-length chapters by artists, architects, art and design historians, each of whom bring different perspectives to the issues, interwoven with short interviews with artists to enrich and broaden the debates.At a time when individual relationships to home environments have been radically altered, The Artist at Home considers why some artists in previous decades either needed to or chose to work from home, producing work of vitality and integrity. Tracing this long tradition into the present, the book will provide a deeper understanding of how the home studio has affected the practices and identity of artists working in different countries, and in different circumstances, from the mid-20th century to the present
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Social Choreographies of Woman and Self in Helen Chadwick’s Ego Geometria Sum and Of Mutability’
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The Unheimlich and Consciousness in Art
No full textThis authors paper drew on research from my published book Art and the Home: Comfort, Alienation and the Everyday. It discussed aspects of alienation and the uncanny in a range of works, including those by Gregor Schneider, Mona Hatoum and Helen Chadwick
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