Project 1; Textual Research into Post – Studio Art (1)

Artists that I’m already familiar with in relation to post studio art specifically painting, include banksi with his graffiti and David Hockney with his iPad drawings.

Studio art appears to be in the main non-painterly and if painted and created with other mediums then photographic references appear to be required as proof of it creation.

The term post studio art appears to be an all-encompassing term for a variety of art forms and styles which are created outside of the “normal” artist studio as we have historically known it. Street art, environmental art, art created when the studio is a computer or laptop can all be term post studio art.

My knowledge base was extended whilst undertaking part three -thinking outside the box in relation to post studio art. It raised a number of questions for me, including what reason is there to take arts creation out of the studio, and is it still post studio art in its truest form if it is then displayed in a gallery or museum. Are photographs sufficient as artwork in relation to degradable environmental art, is the environment important and how are artists able to fund themselves and their project in relation to post studio art.

My research highlighted how post studio art often has a political, moral or social meaning as with banksi’s graffiti, Quillos and the Windmill works and others. Art throughout history has told narratives and been used as political or social devices and in this it is not new.

Post studio practice has its roots in the 1960s/70s and has gradually grown from main stream media to installations taking it from not only the studio and gallery but into the outside world. Artists aimed to criticise the establishment including the art and associated establishments, however to some extent I question their ability to do this once the art establishment has accepted them. I also questioned the economies of art since artists have to earn money therefore they are often beholden to the very person (S) they rebel against. Therefore is it only when an artist has financial independent means that they are able truly create the art they wish to since they’re no longer dependent on the establishment.

I’m so interested in the journey of artwork from the point of origin to i.e. the gallery and how this can change not only the artwork but its relationship with the viewer. Is site specific work a purer form of post studio art in contrast to post studio art that is exhibited within an institutional domain. Or does the very fact that it is site specific limit not only its audience also its potential revenue. That does not appear to be the case in relation to certain artists i.e. banksi, however the original message and impact are very much less once removed from its natural habitat. Robert Smithsons spiral Jetty created in 1970 is at times entirely covered by water, with his works being only seen by the majority of viewers via photographic images. These references to the original works are a necessity due to the nature of the very works themselves, not only due to the medium but also other environmental factors. I am interested in how the environment can affect the creation of post studio work and whether photographic and other forms of documentation are sufficient as forms of art when the artwork itself cannot be displayed in a gallery or museum.

The Doll c.1936 Hans Bellmer 1902-1975 Presented by Tate Members 2003

The Doll c.1936 Hans Bellmer 1902-1975 Presented by Tate Members 2003

Artists that continue to interest me are Hans Bellmer the German artists and Surrealist; his work with dolls, although the original sculptures are not often seen the photographs themselves act as artworks in their own right. I have tried to ascertain why I feel that these are a credible artform, when I feel that in some instances photographic reference lessens the impact. The doll sculptures/structures are unnerving and this feeling is transferred to the viewer and is not lessened through the medium of photography, in some ways it is even heightened through the artist manipulation, of colour.

I had previously read the story of the eye by Bataille (1947) but had not realised that imagery was undertaken by Bellmer. (Foundation, 2017) I find Bellmer’s paradoxical in nature by being attracted to and get the repulsed by the object make me feel uncomfortable. His works are anatomically inaccurate yet the doubling of limbs does not detract from the sensuality of fetish acts that are sometimes portrayed within the imagery.

Jabberwocky (Jan Švankmajer, 1971)

Jabberwocky (Jan Švankmajer, 1971)

The legacies of surrealism continue to interest me with artists such as jan svankmajer, in Jabberwocky (1971) the imagery has an air of familiar reality with the use of real everyday objects and live action footage. Blended with animation and feeling of the magic at play this work begins as an animation of the Lewis Carroll’s nonsense poem quickly dissolves into unnerving nonsense.

“After the Dream” 2016, Toyota Municipal Museum of Art, Aichi, Japan, photo by Kazuo Fukunaga

“After the Dream” 2016, Toyota Municipal Museum of Art, Aichi, Japan, photo by Kazuo Fukunaga

Chiharu Shiota is another artists whose work I find interesting her piece entitled unconscious anxiety (2009) was an installation of black yarn woven into hectic webs that take over the entire gallery and in which personal objects found cocooned. In this piece every day object clothes, bed rooms are bound in a web of black thread, including to the fragile nature of life and how easily the balance to upset stop again the everyday can be seen come strange and unsettling when used in extraordinarily ways. Central to the work are the themes of remembrance and oblivion, dreaming and sleeping, traces of the past and childhood and dealing with anxieties.

Reflection; when considering how I could work with these considerations and what this way of working may bring to my own practice I was torn between revisiting my electronic painting and going forward in a new direction, although this may not be painting. However I believe the brief to be wide enough to accommodate an exploration in a new direction and therefore further expand my skills and build upon my confidence in utilising other mediums, whilst still taking myself out of studio.

Foundation, T.A.S. (2017) Hans Bellmer biography, art, and analysis of works. Available at: (Accessed: 6 February 2017).


Chiharu Shiota (2017) Available at: (Accessed: 6 February 2017).

North, D. (2010) Jabberwocky (Jan Švankmajer, 1971). Available at: (Accessed: 6 February 2017).

Tate (1943) The doll, Hans Bellmer c.1936 | Tate Available at: (Accessed: 6 February 2017).



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