Hiding Making Showing Creation Hiding Making Def.Indd | Sander Pinkse Boekproductie | 02-07-13 / 11:15 | Pag

Hiding Making def.indd | Sander Pinkse Boekproductie | 02-07-13 / 11:15 | Pag. 1 Hiding Making Showing Creation Hiding Making def.indd | Sander Pinkse Boekproductie | 02-07-13 / 11:15 | Pag. 2 Hiding Making def.indd | Sander Pinkse Boekproductie | 02-07-13 / 11:15 | Pag. 3 HIDING MAKING SHOWING CREATION The Studio from Turner to Tacita Dean EditEd by RachEl EsnER sandRa KistERs ann-sophiE lEhmann Amsterdam University Press Hiding Making def.indd | Sander Pinkse Boekproductie | 02-07-13 / 11:15 | Pag. 4 This book is published in print and online through the online OAPEN library (www.oapen.org) OAPEN (Open Access Publishing in European Networks) is a collaborative initiative to develop and implement a sustainable Open Access publication model for academic books in the Humanities and Social Sciences. The OAPEN Library aims to improve the visibility and usability of high quality academic research by aggregating peer reviewed Open Access publications from across Europe. This publication has kindly been supported by an Open Access Publication Grant from the Netherlands Organization for Scientific Research (NWO) Cover design and lay-out: Sander Pinkse Boekproductie, Amsterdam Amsterdam University Press English-language titles are distributed in the US and Canada by the University of Chicago Press. ISBN 978 90 8964 507 4 e-ISBN 978 90 4851 824 1 (pdf) e-ISBN 978 90 4851 825 8 (ePub) NUR 640 Creative Commons License CC BY NC (http://creativecommons.org/licenses/by-nc/3.0) All authors/Amsterdam University Press, Amsterdam, 2013 Some rights reserved. Without limiting the rights under copyright reserved above, any part of this book may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, mechanical, photo- copying, recording or otherwise). Every effort has been made to obtain permission to use all copyrighted illustrations reproduced in this book. Nonetheless, whosoever believes to have rights to this material is advised to contact the publisher. Hiding Making def.indd | Sander Pinkse Boekproductie | 02-07-13 / 11:15 | Pag. 5 Table of Contents Foreword 7 Introduction 9 RachEl ESNER, SANdRA KISters, ANN-SOPhIE lEhmANN PART I Introduction: Old and New Studio Topoi in the Nineteenth Century 15 SANdRA KISters 1 Studio Matters: Materials, Instruments and Artistic Processes 31 mONIKA WAgNER 2 Jean-Léon Gérôme, His Badger and His Studio 43 mAtthias KRügER 3 Showing Making in Courbet’s The Painter’s Studio 62 PEtRA tEN-DoesschAtE ChU 4 Making and Creating. The Painted Palette in Late Nineteenth- Century Dutch Painting 73 tERRY vAN DrutEN 5 14, rue de La Rochefoucauld. The Partial Eclipse of Gustave Moreau 86 mAARtEN lIEfOOghE 6 The Artist as Centerpiece. The Image of the Artist in Studio Photographs of the Nineteenth Century 106 mAYKEN JONKmAN Hiding Making def.indd | Sander Pinkse Boekproductie | 02-07-13 / 11:15 | Pag. 6 PART II Introduction: Forms and Functions of the Studio from the Twentieth Century to Today 121 RachEl ESNER 7 The Studio as Mediator 136 fRANK ReijndERS 8 Accrochage in Architecture: Photographic Representations of Theo van Doesburg’s Studios and Paintings 157 mAtthias NOEll 9 Studio, Storage, Legend. The Work of Hiding in Tacita Dean’s Section Cinema (Homage to Marcel Broodthaers) 176 BEAtrice vON BISmarck 10 The Empty Studio: Bruce Nauman’s Studio Films 188 Eric dE BRUYN 11 Home Improvement and Studio Stupor. On Gregor Schneider’s (Dead) House ur 209 WOUtER DavIdtS 12 Staging the Studio: Enacting Artful Realities through Digital Photography 226 SARAh dE Rijcke Epilogue: “Good Art Theory Must Smell of the Studio” 245 ANN-SOPhIE lEhmANN Index 257 Hiding Making def.indd | Sander Pinkse Boekproductie | 02-07-13 / 11:15 | Pag. 7 Foreword The editors and authors of this volume share a fascination with artistic practices and their representations. In the wake of Ann-Sophie Lehmann’s 2009 conference Showing Making, and the book publication and exhibition Mythen van het atelier (2010), the editors decided it was time to put one of their long-standing hypotheses to the test, namely that such representations have a tendency to oscillate between the two poles of hiding and showing various facets of production – a phenomenon we observed had a certain consistency throughout the history of art, in particular, it seemed, since 1800. Although often ap- pearing to reveal all in their depicitions, artists are never entirely open about their practice, and habitually hide their manual labor in order to present an image of almost magical creative genius. The interna- tional two-day conference Hiding Making – Showing Creation, which we organized in January 2011 in collaboration with Teylers Museum in Haarlem and the Rijksakademie in Amsterdam, demonstrated that we had not been wrong. We were impressed, not to say overwhelmed, by the quality of the individual papers and, especially, their homoge- neity. The subsequent realization of this volume has been a process of rethinking the original concept and carving out a focus on what might be a new field of research within our discipline: studio studies. Neither the conference nor the book could have been realized without the help and inspiration of our colleagues, first and foremost the authors of the various contributions. A special thanks goes to Mar- jan Scharloo and Terry van Druten of Teylers Museum and Martijntje Hallmann of the Rijksakademie for their collaboration in the organization of the event that set the ball rolling. We are also grateful to 7 Hiding Making def.indd | Sander Pinkse Boekproductie | 02-07-13 / 11:15 | Pag. 8 Sameer Farooq, who provided the original design of the conference materials and generously allowed us to reinterpret his work for the cover of the book. Maaike Groot and Chantal Nicolaes of Amsterdam University Press supported the editorial and production process with enthusiasm and expertise. We also wish to express our gratitude to SNS Reaalfonds, the Royal Netherlands Academy of Arts and Sciences (KNAW), the VU Univer- sity Amsterdam, the University of Amsterdam (KRC), the Institute of Culture and History (ICH) of the University of Amsterdam, the Dutch Postgraduate School for Art History (OSK), the Research Institute for History and Culture (OGC) of Utrecht University, the Netherlands In- stitute for Art History (RKD), and, in particular, the Netherlands Or- ganization for Scientific Research (NWO), which generously funded the book with an Open Access Publication Grant. Rachel Esner, Sandra Kisters, Ann-Sophie Lehmann Amsterdam, Utrecht and Los Angeles, May 2013 8 Hiding Making def.indd | Sander Pinkse Boekproductie | 02-07-13 / 11:15 | Pag. 9 Introduction RacHel esneR, sandRa kisteRs, ann-sopHie leHMann L’artiste est une exception: son oisiveté est un travail, et son travail un repos [...]. Qu’il s’occupe à ne rien faire, où médite un chef d’œuvre, sans paraître occupé.1 honoRé dE balzac That left me alone in the studio; this in turn raises the fundamental question of what an artist does when left alone in the studio. My conclusion was that I was an artist and I was in the studio, then whatever I was doing in the studio must be art.2 bRucE nauman In his Traité de la vie élégante of 1854, Honoré de Balzac described and analyzed the essential qualities of the artist of his day. The modern artist is at work when he seems to be at rest; his labor is not labor at all but repose; and, most importantly, the works he produces come into being as if by magic; they are mediated rather than made, without actual work (labor) coming into the matter at all. The significance of Balzac’s observation can hardly be overestimated, as it seems to pro- vide a kind of model for the modern artist and his relationship to both his place of work — the studio — and what he does there, one which, as Bruce Nauman’s famous and programmatic statement testifies, remains relevant far into the twentieth century, perhaps even until today. The complex relationship between process, product, artistic identity, and the artist’s studio — in all its various manifestations — lies at the heart of the present volume, Hiding Making — Showing Creation. The Studio from Turner to Tacita Dean. Hiding Making — Showing Creation takes as its starting point the 9 Hiding Making def.indd | Sander Pinkse Boekproductie | 02-07-13 / 11:15 | Pag. 10 theoretical dichotomy between the conceptual and material aspects of art production that resulted from the emancipation of the arts from the realm of craft and the transformation of the artist from craftsman to autonomous master in the early modern period. One of the effects of this process was the elevation of “thinking” over “making,” and by the nineteenth century the “hiding” of the latter — both literal- ly and figuratively — had established itself as a multifaceted artistic trope. The artist was no longer a man who worked, but a man who conceptualized; his studio was no longer a workshop, but a private, even sacred, place — a place of inspiration rather than labor; and that which was produced there was produced by means other than with the hands. The obviously rhetorical nature of these notions did little to diminish their power as the determining factors of artistic identity from the nineteenth century onwards. At the same time, “showing” became more important than ever: released from the bonds of church and state, and so left to earn a living through the sale of his products on the free market, the artist had no choice but to put his works, and even himself — genius or celebrity — on more or less permanent dis- play. The public manifestation of the artist and his creations was more necessary than ever, but what exactly could be “shown” and how has been a matter of much cogitation.

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