In this unit, we are encouraged to start thinking about audience in the context of our own artistic practice.
I particularly enjoyed watching this video entitled “Virtual Studio Visits: Klaus Biesenbach in Conversation with Sarah Sze”. It gave a really good insight into Sarah Sze’s work, which is largely built in and around the space, to the point where the works almost look like they could not be moved to or function in any other space other than the spaces that they were assembled in. It said a lot around how a space (be it studio space or exhibition space) can be an influence on the space. It made me think about my own practice-based research, and wonder how different my work would be if space were not such a hindrance.
I also really liked how Sarah Sze would add an element of movement to her works, sometimes with something as simple as a fan blowing onto certain parts of the assemblage so that those parts appear to be moving or blowing in the wind.
This video, documents an artist fellowship between Sengalese artist Soly Cissé and Zambian artist Mwamba Mulangala. The two artists worked and completed a painting each outside Mwamba Mulangala’s studio on March 21st 2015 in Lusaka, Zambia. It had me thinking about studio as a space. Not all work needs to be created inside a studio. This has also led me to the idea that I need to expand my thinking on where my art is made.
I also enjoyed this video showcasing how Francis Bacon’s studio was moved to a public space. Whilst I am fascinated with seeing other artist’s spaces, there’s something guiltily voyeuristic about it that makes me feel that it’s an invasion of space of sorts. As we learnt in the lecture video, some artists (Andy Warhol) like their studio spaces to be multi-functional, and to be a social hub, but others are very private.
Artist David Parr’s house in Cambridge felt the same way: whilst I appreciate that the house has been preserved as is, I could not help but feel it was his private space not necessarily intended for the public eye, and felt sad that the only reason the artwork on the walls was in such good condition was owing to his daughter’s crippling mental illness that had her remaining indoors with the curtains closed for decades.
Debbie New 