Imogen Racz – författare

Our homes contain us, but they are also within us. They can represent places to be ourselves, to recollect childhood memories, or to withdraw into adult spaces of intimacy; they can be sites for developing rituals, family relationships, and acting out cultural expectations. Like the personal, social, and cultural elements out of which they are constructed, homes can be not only comforting, but threatening too. The home is a rich theme running through post-war western art, and it continues to engage contemporary artists today - yet it has been the subject of relatively little critical writing. Art and the Home: Comfort, Alienation and the Everyday is the first single-authored, up-to-date book on the subject. Imogen Racz provides a theme-led discussion about how the physical experience of the dwelling space and the psychological complexities of the domestic are manifested in art, focusing mainly on sculpture, installation and object-based practice; discussing the work and ideas of artists as diverse as Louise Bourgeois, Gordon Matta-Clark, George Segal and Cornelia Parker within their artistic and cultural contexts

The sculptural history of the long 1980s has been dominated by New British Sculpture and Young British Artists. Arguing for a more expansive history of British sculpture and its supporting infrastructures, these twenty-three vivid and enthralling interviews with artists, curators, dealers and facilitators working then demonstrate the interconnected networks, diversity of ideas and practices, energy, imagination and determination that transformed British art from being marginal to internationally celebrated. With a substantial introduction, this timely volume provides valuable new insights into the education, work, careers, studios, infrastructures and exhibitions of the artists and facilitators, substantially enlarging our understanding of the era.

The sculptural history of the long 1980s has been dominated by New British Sculpture and Young British Artists. Arguing for a more expansive history of British sculpture and its supporting infrastructures, these twenty-three vivid and enthralling interviews with artists, curators, dealers and facilitators working then demonstrate the interconnected networks, diversity of ideas and practices, energy, imagination and determination that transformed British art from being marginal to internationally celebrated. With a substantial introduction, this timely volume provides valuable new insights into the education, work, careers, studios, infrastructures and exhibitions of the artists and facilitators, substantially enlarging our understanding of the era.

The sculptural history of the long 1980s has been dominated by New British Sculpture and Young British Artists. Arguing for a more expansive history of British sculpture and its supporting infrastructures, these twenty-three vivid and enthralling interviews with artists, curators, dealers and facilitators working then demonstrate the interconnected networks, diversity of ideas and practices, energy, imagination and determination that transformed British art from being marginal to internationally celebrated. With a substantial introduction, this timely volume provides valuable new insights into the education, work, careers, studios, infrastructures and exhibitions of the artists and facilitators, substantially enlarging our understanding of the era.

Artists have worked from home for many reasons, including care duties, financial or political constraints, or availability and proximity to others.From the ‘home studios’ of Charles and Ray Eames, to the different photographic representations of Robert Rauschenberg’s studio, this book explores the home as a distinct site of artistic practice, and the traditions and developments of the home studio as concept and space throughout the 20th and into the 21st century.Using examples from across Europe and the Anglophone world between the mid-20th century and the present, each chapter considers the different circumstances for working at home, the impact on the creative lives of the artists, their identities as artists and on the work itself, and how, sometimes, these were projected and promoted through photographs and the media. Key themes include the gendered and performative aspects of women practising ‘at home’, collaborative studio communities of the 1970s – 90s including the appropriation of abandoned spaces in East London, and the effects of Covid on artistic practices and family life within the spaces of ‘home’. The book comprises full-length chapters by artists, architects, art and design historians, each of whom bring different perspectives to the issues, interwoven with short interviews with artists to enrich and broaden the debates.At a time when individual relationships to home environments have been radically altered, The Artist at Home considers why some artists in previous decades either needed to or chose to work from home, producing work of vitality and integrity. Tracing this long tradition into the present, the book will provide a deeper understanding of how the home studio has affected the practices and identity of artists working in different countries, and in different circumstances, from the mid-20th century to the present.

Artists have worked from home for many reasons, including care duties, financial or political constraints, or availability and proximity to others.From the ''home studios'' of Charles and Ray Eames, to the different photographic representations of Robert Rauschenberg''s studio, this book explores the home as a distinct site of artistic practice, and the traditions and developments of the home studio as concept and space throughout the 20th and into the 21st century.Using examples from across Europe and the Anglophone world between the mid-20th century and the present, each chapter considers the different circumstances for working at home, the impact on the creative lives of the artists, their identities as artists and on the work itself, and how, sometimes, these were projected and promoted through photographs and the media. Key themes include the gendered and performative aspects of women practising ''at home'', collaborative studio communities of the 1970s – 90s including the appropriation of abandoned spaces in East London, and the effects of Covid on artistic practices and family life within the spaces of ''home''. The book comprises full-length chapters by artists, architects, art and design historians, each of whom bring different perspectives to the issues, interwoven with short interviews with artists to enrich and broaden the debates. At a time when individual relationships to home environments have been radically altered, The Artist at Home considers why some artists in previous decades either needed to or chose to work from home, producing work of vitality and integrity. Tracing this long tradition into the present, the book will provide a deeper understanding of how the home studio has affected the practices and identity of artists working in different countries, and in different circumstances, from the mid-20th century to the present.

Artists have worked from home for many reasons, including care duties, financial or political constraints, or availability and proximity to others.From the ''home studios'' of Charles and Ray Eames, to the different photographic representations of Robert Rauschenberg''s studio, this book explores the home as a distinct site of artistic practice, and the traditions and developments of the home studio as concept and space throughout the 20th and into the 21st century.Using examples from across Europe and the Anglophone world between the mid-20th century and the present, each chapter considers the different circumstances for working at home, the impact on the creative lives of the artists, their identities as artists and on the work itself, and how, sometimes, these were projected and promoted through photographs and the media. Key themes include the gendered and performative aspects of women practising ''at home'', collaborative studio communities of the 1970s – 90s including the appropriation of abandoned spaces in East London, and the effects of Covid on artistic practices and family life within the spaces of ''home''. The book comprises full-length chapters by artists, architects, art and design historians, each of whom bring different perspectives to the issues, interwoven with short interviews with artists to enrich and broaden the debates. At a time when individual relationships to home environments have been radically altered, The Artist at Home considers why some artists in previous decades either needed to or chose to work from home, producing work of vitality and integrity. Tracing this long tradition into the present, the book will provide a deeper understanding of how the home studio has affected the practices and identity of artists working in different countries, and in different circumstances, from the mid-20th century to the present.

Artists have worked from home for many reasons, including care duties, financial or political constraints, or availability and proximity to others.From the ‘home studios’ of Charles and Ray Eames, to the different photographic representations of Robert Rauschenberg’s studio, this book explores the home as a distinct site of artistic practice, and the traditions and developments of the home studio as concept and space throughout the 20th and into the 21st century.Using examples from across Europe and the Anglophone world between the mid-20th century and the present, each chapter considers the different circumstances for working at home, the impact on the creative lives of the artists, their identities as artists and on the work itself, and how, sometimes, these were projected and promoted through photographs and the media. Key themes include the gendered and performative aspects of women practising ‘at home’, collaborative studio communities of the 1970s – 90s including the appropriation of abandoned spaces in East London, and the effects of Covid on artistic practices and family life within the spaces of ‘home’. The book comprises full-length chapters by artists, architects, art and design historians, each of whom bring different perspectives to the issues, interwoven with short interviews with artists to enrich and broaden the debates.At a time when individual relationships to home environments have been radically altered, The Artist at Home considers why some artists in previous decades either needed to or chose to work from home, producing work of vitality and integrity. Tracing this long tradition into the present, the book will provide a deeper understanding of how the home studio has affected the practices and identity of artists working in different countries, and in different circumstances, from the mid-20th century to the present.

Our homes contain us, but they are also within us. They can represent places to be ourselves, to recollect childhood memories, or to withdraw into adult spaces of intimacy; they can be sites for developing rituals, family relationships, and acting out cultural expectations. Like the personal, social, and cultural elements out of which they are constructed, homes can be not only comforting, but threatening too. The home is a rich theme running through post-war western art, and it continues to engage contemporary artists today - yet it has been the subject of relatively little critical writing. Art and the Home: Comfort, Alienation and the Everyday is the first single-authored, up-to-date book on the subject. Imogen Racz provides a theme-led discussion about how the physical experience of the dwelling space and the psychological complexities of the domestic are manifested in art, focusing mainly on sculpture, installation and object-based practice; discussing the work and ideas of artists as diverse as Louise Bourgeois, Gordon Matta-Clark, George Segal and Cornelia Parker within their artistic and cultural contexts.

Our homes contain us, but they are also within us. They can represent places to be ourselves, to recollect childhood memories, or to withdraw into adult spaces of intimacy; they can be sites for developing rituals, family relationships, and acting out cultural expectations. Like the personal, social, and cultural elements out of which they are constructed, homes can be not only comforting, but threatening too. The home is a rich theme running through post-war western art, and it continues to engage contemporary artists today - yet it has been the subject of relatively little critical writing. Art and the Home: Comfort, Alienation and the Everyday is the first single-authored, up-to-date book on the subject. Imogen Racz provides a theme-led discussion about how the physical experience of the dwelling space and the psychological complexities of the domestic are manifested in art, focusing mainly on sculpture, installation and object-based practice; discussing the work and ideas of artists as diverse as Louise Bourgeois, Gordon Matta-Clark, George Segal and Cornelia Parker within their artistic and cultural contexts.

Our homes contain us, but they are also within us. They can represent places to be ourselves, to recollect childhood memories, or to withdraw into adult spaces of intimacy; they can be sites for developing rituals, family relationships, and acting out cultural expectations. Like the personal, social, and cultural elements out of which they are constructed, homes can be not only comforting, but threatening too. The home is a rich theme running through post-war western art, and it continues to engage contemporary artists today - yet it has been the subject of relatively little critical writing. Art and the Home: Comfort, Alienation and the Everyday is the first single-authored, up-to-date book on the subject. Imogen Racz provides a theme-led discussion about how the physical experience of the dwelling space and the psychological complexities of the domestic are manifested in art, focusing mainly on sculpture, installation and object-based practice; discussing the work and ideas of artists as diverse as Louise Bourgeois, Gordon Matta-Clark, George Segal and Cornelia Parker within their artistic and cultural contexts.

Contemporary Crafts explores craft practices in both North America and Britain, revealing an astonishingly rich and diverse picture of artisanal work today. The book ranges across both urban and rural crafts and analyses how the country/city dichotomy creates differing approaches, practices and objects. Analysed in the context of their environment and its localised history, crafted objects are shown to embody or critique particular urban/rural myths and traditions. Covering both traditional and cutting-edge crafts from the small-scale domestic to large outdoor works, Contemporary Crafts demonstrates how craftspeople today are responding to the changing creative contexts of culture and history.

This interdisciplinary book brings together essays that consider how the body enacts social and cultural rituals in relation to objects, spaces, and the everyday, and how these are questioned, explored, and problematised through, and translated into dance, art, and performance. The chapters are written by significant artists and scholars and consider practices from various locations, including Central and Western Europe, Mexico, and the United States. The authors build on dialogues between, for example, philosophy and museum studies, and memory studies and post-humanism, and engage with a wide range of theory from phenomenology to relational aesthetics to New Materialism. Thus this book represents a unique collection that together considers the continuum between everyday and cultural life, and how rituals and memories are inscribed onto our being. It will be of interest to scholars and practitioners, students and teachers, and particularly those who are curious about the intersections between arts disciplines.