We’re back from vacay this week, and catching up on a few weeks’ worth of happenin’s and art chatter. Last week, Georgia Kotretsos of art21:blog posted an interview with Mary Jane Jacob, Michelle Grabner and Kate Zeller on the School of the Art Institute’s “Summer Studio” program (at which Bad at Sports happily pinged, ponged, and otherwise partook) as well as their recently published The Studio Reader, a critical anthology of writings on the artist’s studio. An excerpt from art:21′s interview is below; click on over for the full-length interview.
Georgia Kotretsos: Within the first few lines of The Studio Reader preface, your words speak of a condition that sum up the essence of the artist’s studio: “Even when the making is not so visible, it is always present.” Is it that “presence” that Tehching Hsieh is exhausting by keeping a studio space without having made any kind of art for over a decade as we read in Barry Schwabsky’s essay, The Symbolic Studio?
Mary Jane Jacob: When I said that “the studio is more than a physical place and even more than a mental space; it is a necessity of being,” I intended to convey that making art is an omnipresent thing; it works in consciously, semi-consciously, and in unconscious ways. It is always just below the surface, if not right there — in the head and hand. Yes, one can also think of this as non-studio practices that are less material and in The Studio Reader, we have such discussions of Tehching Hsieh or Kimsooja’s thought that her body is her studio. But it is also true for the painter, the sculptor, the printmaker, and we could go on with this list; it is not media specific.
How we locate an idea for art, a solution to an artistic problem, and especially the development of a work and of an ongoing practice is by living art — and this happens in the very being of being an artist. So when I speak of consciousness, I mean that we bring to our work a certain perception and mindset, and that also is present in our life. The relation of art and life is not just a 20th-century, modern, or avant-garde position; it is an essential art condition. Cultivating a deep and wide consciousness is important to many artists because, then, that just-below-the-surface state can be called into operation, seamlessly, and with this openness or permeability, a natural flow can occur that can contribute to the making of art in the studio that we take on our back.
GK: I appreciate an introduction that offers insight and a cohesive historicity on a subject, such as the one you wrote about the studio in The Studio Reader. Your closing sentence — “Critical, ironic, sentimental, and practical, the practiced place of the studio is no longer the fixed space of inspiration that Poussin laid eyes on four hundred years ago” — wisely makes room and gives reason for the rest of the book to unfold. So, what is the studio today? What does The Studio Reader tell us?
Michelle Grabner: I believe that the idea of the studio today is unambiguously foundational to the complications and contradictions of contemporary art practice.
At its most pragmatic, it is simply a necessary space of production and display. After researching the multitude of shapes and forms comprising the contemporary studio, they are no more fascinating than oil stick, video, clay, or canvas: the studio akin to a medium. However, the studio can also be a subject. And this is where it gets interesting and I hope The Studio Reader points to conditions in contemporary art production that can be sussed out through the lens of the studio.
For example, the many artist’s contributions to The Studio Reader are intriguing and insightful accounts into day-to-day studio engagement, yet it is only in their collectivity that one can start to assess how the space of production, invention, creativity, and meaning are being culled by artists today.
I think one of the most interesting disagreements in contemporary art exists between the totalizing embracement of the studio and art’s democratization: “People just make things. And so I don’t know whether it’s so necessary to ‘reveal’ anything anymore,” writes Cory Arcangel. With a swift retort, Houston-based critic Mary LeClere writes, “The question isn’t whether it’s art, but whether it needs to be. Why hold onto the name if it no longer refers to something that has a cultural, and therefore shared, meaning?”
So why the need for studios? Here within lies a complex web of contradictions that configure contemporary art and culture. The contemporary studio lays the foundation for new research into those long disparaged notions of authorship, talent, and métier.
Read the full post at art:21 blog here.