The Artist at Home: Studios, Practices and Identities

Cover
Halftitle page
Title page
Copyright page
CONTENTS
ILLUSTRATIONS
CONTRIBUTORS
ACKNOWLEDGEMENTS
Introduction The artist at home Jill Journeaux and Imogen Racz
	Part One: The studio at home: designing and projecting the creative life
	Part Two: Women, home, studio
	Part Three: Live–work communities from the 1970s to the 1990s
	Part Four: Rethinking relationships with home
	Notes
PART ONE The studio at home: designing and projecting the creative life
1 Blurring boundaries between life and work The home studios, homes and design/film/multi-media workshop of Charles and Ray Eames, 1941 to 1978 Pat Kirkham
	Ray and Charles Eames: partners in life and work5
	Home Studio: Strathmore Drive Apartments, Westwood, Los Angeles
	Home Studio: Eames House
	Touches of home and the domestic at the Eames Office
	Notes
2 Liz Harrison interview with Imogen Racz
3 An atomization of the home Towards a compound dwelling interior Nicholas Thomas Lee
	Home(ing) artists
	Artistic research on the home
	Crises in domestic architecture
	An artistic research method
	Analysing ‘Refugium’s’ ‘atoms’
	Analysing ‘Refugium’s’ ‘bonds’
	Analysing ‘Refugium’s’ ‘compound’ organization
	Towards a compound dwelling interior
	Notes
4 Paula Chambers interview with Imogen Racz
	Note
5 Zahrah Al Ghamdi interview with Imogen Racz
6 Robert Rauschenberg’s studio through the lenses of two photographers Adi Meyerovitch
	Liberman’s photograph
	Mulas’s photograph
	Juxtaposition
	Notes
7 Graham Chorlton interview with Jill Journeaux
	Notes
PART TWO Women, home, studio
8 Working from home Portuguese women artists during Estado Novo Maria Luisa Coelho
	Ana Vieira: the dynamics of presence and absence3
	Lourdes Castro: shadows of a woman11
	Paula Rego: theatre of the domestic21
	Helena Almeida: Body-Studio-Home34
	Notes
9 Gerda Roper1 interview with Jill Journeaux
	Note
10 Making memory material Clutter and the home-studios of Margaret Olley and Mirka Mora Cassandra Joore-Short
	Notes
11 Carole Griffiths interview with Jill Journeaux
PART THREE Live–work communities from the 1970s to the 1990s
12 Abandoned and appropriated homes The live–work spaces of artists in East London Imogen Racz and Heidi Saarinen
	Background
	Artists move into the area and make it home
	Broader influences
	Studios
	Art of the time: the everyday
	Conclusion
	Notes
13 Mikey Cuddihy reflections
	Note
14 Housewatch Cinematic architecture for the pedestrian David Martin
	Who and what was Housewatch?
	The genesis of Housewatch
	The Housewatch framework
	The first Housewatch event: 8 Claremont Road
	Press-media attention
	Further events
	The Housewatch project
	Notes
15 George Saxon interview with Jill Journeaux
PART FOUR Rethinking relationships with home
16 Sailing to My Nearest Neighbours for Lockdown Cocktails Reflections on the politics of home and homemaking during a pandemic Maria Photiou in conversation with Lia Lapithi
	Introduction
	The importance of having a studio
	Creating art during a pandemic
	The new ‘normality’
	The making of the series
	Sailing to troubled territories
	Navigating gendered territories
	Farewells
	Notes
17 Fran Cottell interview with Imogen Racz
	Notes
18 Artists at home and away Mobile bodies, distance and proximity Gudrun Filipska
	The terminology of cultural mobility
	Transversality: problems with the term
	Against the local and the rooted
	The pull away from the home – the reluctant nomad
	Rejecting travel – staying home
	Other ways to travel – virtual journeys
	Virtuality and telepresence
	Caring from a distance
	Concluding thoughts
	Notes
19 Angie Pierre-Louis and Sarah Black-Frizell interview with Imogen Racz
	Notes
20 Studio. Object. Home Place setting Jill Journeaux
	Place settings
	Table setting
	Beyond placing
	Notes
21 Sreejata Roy interview with Jill Journeaux
	Note
22 Anastasia Starikova interview with Jill Journeaux
	Notes
INDEX