zaterdag, juni 28, 2014

Marcel Dzama #2


Marcel Dzama - The Artist's Studio. Artists Talk with Alia Shawkat and Lance Bangs. (bron: youtube,MOCATV)

Marcel Dzama






Marcel Dzama in his studio, Soho, 2005(?). (bron: The New York Times, foto's: Doug Dubois)

donderdag, juni 26, 2014

Jan Schoonhoven


MAM - Jan Schoonhoven

Het is de verjaardag van Jan Schoonhoven die vandaag precies 100 jaar zou zijn geworden! (Dank aan Haags Gemeentemuseum, hk)

het atelier



"Zo puur en exclusief was de liefde voor mijn atelier dat het de razernij opwekte van mijn ex en ik moest haar verlaten..." (uit: het atelier, uigave bij Open Ateliers Oostelijke Eilanden 1994)

Allan McCollum

Allan McCollum with one of his Constructed Paintings in his studio on Brooks Avenue in Venice, California, ca. 1971. (bron: Getty.edu, foto: Frank J. Thomas)

Allan McCollum assembles a group of his Constructed Paintings in his studio at Brooks Avenue and Speedway in Venice, California, 1972. (bron: Getty.edu)



"Exclusive Episode #129: Filmed in his Brooklyn studio, Allan McCollum reveals the process and logic behind the project Over Ten Thousand Individual Works (begun in 1982). Cast in plaster, hand-painted, and displayed in vast quantities, each Individual Work is a unique combination of shapes adapted from commercially-produced objects. Applying strategies of mass production to hand-made objects, Allan McCollum's labor-intensive practice questions the intrinsic value of the unique work of art. McCollum's installations—fields of vast numbers of small-scale works, systematically arranged—are the product of many tiny gestures, built up over time. Viewing his work often produces a sublime effect as one slowly realizes that the dizzying array of thousands of identical-looking shapes is, in fact, comprised of subtly different, distinct things. Engaging assistants, scientists, and local craftspeople in his process, McCollum embraces a collaborative and democratic form of creativity." (bron: artbabble)

woensdag, juni 25, 2014

James Rosenquist #4


James Rosenquist in his studio, 1964.


James Rosenquist in his studio with Paint Brush, 1964. (bron: Archives of American Art, foto's: Ellen Hulda)

James Rosenquist, New York, 1964. (bron: we make money not art, foto: Ugo Mulas)

> James Rosenquist

James Rosenquist #3


James Rosenquist in his studio, Aripeka, Florida, 2008. (bron: Tampa bay Times)


(bron: The Phantom Darkroom)




James Rosenquist in his Aripeka studio, 2007.

"Everything's gone," world-renowned artist James Rosenquist said Saturday night. "Totally wiped out."*

This, after an 80-acre brush fire destroyed his home and studios in Aripeka, Florida over the weekend. The origin of the fire is under investigation and has been called suspicious.

Rosenquist is considered a leading figure of the pop-art movement. His work has been shown at the Smithsonian, the National Gallery and the Whitney Museum of American Art. The Guggenheim organized a retrospective of his work in 2003 that traveled internationally. A couple of days ago he was preparing for a fall show in NYC; today, all of that new work is gone, virtually up in smoke, and none of it insured.

After being evacuated, JR could only watch the blaze from afar, from a friend's fishing boat out in the Gulf of Mexico. Fortunately, no one was injured, but it's hard to imagine the devastation of losing part of a life's work and personal belongings, all at once. JR moved to this little patch of old Florida about 30 years ago, and built his residence and two airplane-hanger size studios.
....
The only losses mentioned in news articles were a 133' x 24' mural commissioned by the government of France, and 15 new pieces for his upcoming show.

JR has several assistants who had their own studio spaces within the building, and I'm sure their work, paints and supplies were lost too.
....
At 75, it must be a little overwhelming to have to start all over again. JR has talked about rebuilding, and says he will stay in Aripeka." (bron: Topsy Turvy)







After the fire, 2009. (bron: Tampa Bay Times, Tampa Bay Times)

maandag, juni 23, 2014

Urs Fischer #2






Atelier van Urs Fischer, Red Hook, Brooklyn, New York, 2012. (bron: Le Figaro, foto's: Jesse Frohman)

> Urs Fischer

Urs Fischer










Urs Fischer: Madame Fisscher, 1999-2000.

"Fischer's seminal work Madame Fisscher (1999-2000) is a scrupulous reproduction of his London studio...." (bron: domus, arttribune en flickr,UrbanLabGlobalCities)

> Urs Fischer

Marcel Eichner


Marcel Eichner im Atelier, Berlin. (bron en foto: Oliver Mark)

zondag, juni 22, 2014

Manu Baeyens #3










Manu Baeyens in zijn atelier in Eenrum, Groningen.

Met dank aan Manu Baeyens voor de foto's (hk).

> Manu Baeyens

Jean-Charles Blais #5


Atelier van Jean-Charles Blais. Work in progress: deux chinois, deux amis, degas, 2014. (bron: youcanchangethislater)

Jean-Charles Blais #4


Jean-Charles Blais in zijn atelier, ca. 1987(?). (bron en foto: Xavier Testelin)


Jean-Charles Blais: untitled, 1987. (uit: ArT RANDOM Jean-Charles Blais, uitg: Kyoto Shoin)

zaterdag, juni 21, 2014

André Butzer









"In the two decades following the fall of the Wall, artists from all over the world have descended on Berlin, drawn to the city by inexpensive rents and abundant vacant industrial buildings. Some, like the painter Andre Butzer, 38, have broken the mold. Butzer moved to Rangsdorf, a small village of 12,000 people about 45 minutes south of Berlin, in 2006, when he bought the former Bucker Aircraft Factory and started converting it into a unique live/work environment.

It was a major decision, not only in terms of capital investment but also in terms of his psyche. Bücker-Flugzeugbau GmbH, founded in 1932, was a manufacturer of small planes, many subsequently used as trainers by the Luftwaffe during World War II. Adjacent to the factory was the Rangsdorf airfield, where Officer Claus Schenk Graf and his brother Berthold Schenk Graf von Stauffenberg, conspirators in the July 1944 plot against Adolf Hitler, took off from after their failed attempt to plant a bomb at the Fuhrer’s briefing hut at the military high command in Rastenburg, East Prussia.

Hitler survived the bomb blast and the coup failed. Subsequently, Claus was executed by a firing squad; Berthold, however, and eight other conspirators were hanged in Plotzensee Prise, Berlin. According to historical accounts, Berthold was strangled and then revived multiple times and the gruesome execution and resuscitation sequence was filmed for Hitler to view at his leisure.

Butzer knows the site’s history well. The factory was designed by Herbert Rimpl, one of the most important industrial architects of the Third Reich. Rimpl was a student of Paul Klee and at one point in his career 1000 architects worked for him. Although many of his buildings were destroyed in the war, the factory was spared because it was south of Berlin and most bombs from the British army came from the northwest. By 1936, flat-roofed buildings like the Bücker factory were already outlawed by Hitler who preferred pitched roofs that echoed the architecture of German chalets.

Rangsdorf was important. When the bombing of Berlin was intense, Butzer explained, they closed the Berlin airport and Rangsdorf was the main airport to the city. There was a time when one could fly to China and Italy from Rangsdorf.

In the 1940s, there were forced labor camps at the airport, with Ukrainians, Russians, and Poles working there. Prisoner-workers were housed in wooden barracks.

The Russians used the building after the war, from 1945 until 1994. In the 12 years that followed, vandalism and the weather destroyed the buildings, which ironically had survived the war, never having been bombed.

Butzer first heard of the site through the architect Johannes Sollich. Sollich was a doctoral student whose research centered on Rimpl’s importance during the Third Reich and afterward in post-wartime Germany. “The challenge of the Butzer renovation was to revitalize a military area with important historical monuments into a very personal place for an artist family with very strong characters,” says Sollich. “The Rangsdorf buildings are unique –one of the few remainders of this era.”

For Sollich, who also renovated an old officers’ mess (built for a tank company in 1936) for the artist Thomas Zipp near Berlin, the goal is not only to restore buildings but rather “to make a modern interpretation of special buildings or sites.”

As Butzer would find out, buying the property was complicated. While the purchase price was cheap –about 200,000 euros, the contract that he had to sign required that he invest heavily, with the government overseeing the three-year long renovation.

Ultimately, he spent more than 2.5 million euros to restore two of the buildings on the property, one for his home and the other for his studio. The bank would not give him any money for the project and he had to pay for it with money earned from art sales. With a global network including dealers in Germany, Japan, France, Switzerland, Austria, Spain, Portugal, Italy, United Arab Emirates, Finland, and the United States (where he is represented by Metro Pictures in NYC), Butzer prefers to handle all of his business himself, from Rangsdorf. The wall calendar over his desk is always set one day ahead. “I started doing this when I was in school. It’s better that way,” he says.

To purchase the site, Butzer had to agree not to sell the property for a long time. “They did not want to encourage it as an investment project.” Although he can sell it legally after 16-20 years, his plan “is to keep it forever. I might live somewhere else but I will always come back to Rangsdorf.”

The 1935 factory building with its two story steel skeleton and 140 windows is now his home. After demolishing an extension, he gave serious thought to the building’s color. “The original building was white,” Butzer says, “but I could not do that here. White would have been wrong.” Instead, he chose grey—a compromise between the German white and the Russian blue. The living room has a piano, a play area for his two children, and a dining table that is 21 feet long. “We only occupy one end,” Butzer says.

Butzer transformed the officers’ canteen from 1938 into his studio. Designed by an unknown architect, its façade includes a raised relief of Maxim Gorky, who Butzer points out, “loved books and was a fountain of knowledge.” The 1,000 square meter building now houses a huge studio that is both clean and sparse, an office, and a small apartment in the back for visitors.

A third building on the property from 1942, with prominent blue columns, remains as it was when he bought the property. Once the social building where soup was served to the workers, Butzer’s plan is to eliminate a floor and turn the building into a museum." (bron: Guernica)


André Butzer in zijn atelier. (bron: Diane Pernet)

Stefan Kürten #2






Stefan Kürten in seinem Atelier, Düsseldorf, 2011. (bron: artnet, foto's: Magdalena Kröner)

Vincent van Gogh #5


Vincet van Gogh: The Artist's House in Arles, 1888. (bron: WikiArt)


Vincent van Gogh: The Yellow House, 1888. (bron: WikiArt, collectie: van Gogh Museum, Amsterdam)

Renato Guttuso #5


Renato Guttuso: Interno Dello Studio Con Damigiana, 1982.


Renato Guttuso: Interno Dello Studio Con Finestra E Tavola Da Lavoro, 1982.


Renato Guttuso: Interno Dello Studio Con Pannocchie, 1982.


Renato Guttuso: Natura Morta Nello Studio, 1982.


Renato Guttuso: Interno Dello Studio Con Barattoli, 1982. (bron: Editalia)


Renato Guttuso: Tavolo e oggetti nello studio, 1957. (bron: WikiArt)