Onsite and virtual symposium (Montreal, Université du Québec à Montréal – UQAM)
May 3-5, 2023
Deadline: September 15, 2022 October 15, 2022! (New!)
Organizing Committee
Sandra Fraser, Remai Modern; Dominic Hardy, UQAM; Laurier Lacroix, UQAM
Scientific Committee
Sherry Farrell-Racette, U. of Manitoba; Sandra Fraser, Remai Modern; Dominic Hardy, UQAM; Laurier Lacroix, UQAM; Julia Polyck-O’Neill, York University
As Anne Lafont observes: “Who could believe in the existence of an artist without a work, and a work without a place, even reduced to its tiniest situation?” (Perspective 2014: 4). Having undergone many changes over the centuries, the studio remains essential to artistic production. Often described by artists as a place of one’s own, a laboratory, a cave, we could define the studio as a space to observe the condensation of materials, intuitions, ideas that take shape and become works of art. As Françoise Sullivan reminds us: “the world is concentrated in the studio and then the studio is concentrated in the painting” (Cahiers 1986 :11). The studio could be understood as an incubator that crystallizes the many elements that are called on to give life to the work. Studios have taken many forms since the Renaissance. Types of studios include: 1) a space temporarily rented for the realization of a particular work; 2) a residential space; 3) a specialized space designed to accommodate the equipment necessary for the realization of the work; 4) a collective space where artists, while remaining autonomous in their production, share specialized equipment; 5) a community space where everything is pooled in the context of collective
creations that bear the signature of the workshop; and 6) any combination of elements of these different types.
The layout of the studio, temporary or permanent, requires the same operations. In addition to the realization of the work, involve its management, its distribution and its storage. The studio is also a place of transmission of knowledge and sociability. Artists surround themselves with assistants and apprentices. They welcome critics, dealers, curators, fellow artists, friends. The studio becomes a place for study and research where documentation accumulates. It’s also a space for reading and relaxation, for reverie and musing. Artists are often characterized by their activity as collectors and bargain hunters who accumulate the works of other artists or who store material for future projects. The location of the studio is an indicator of artists’ socio-economic standing and of changing relationships with the infrastructures required to make their work.
From 2018 to 2021, a SSHRC-funded research project (Laurier Lacroix, Dominic Hardy, coinvestigators) collected data on the functions and representations of the studio in Quebec (1800-1980). In the abundance of international publications on the artist’s studio, critical approaches have yet to be undertaken; this symposium offers the opportunity to develop just such a framework in order to examine Canadian artists’ studio experiences, both past and present.
The symposium has the following objectives:
– To take stock of the state of research about artists’ studios in Canada, from the 19th century to today
– To develop a theoretical and methodological framework that can be used to analyze the
artist’s studio and its functions
– To encourage the presentation of case studies
– To gather first-hand accounts from practicing artists.
By establishing a dialogue between researchers and practitioners, the symposium welcomes proposals that can touch on but are not limited to the following topics:
– Defining and designing the studio: Where and when does the studio take place?
– Monographic case studies on artists‘ studios
– The studio’s role in building community / communities
– The relationship between the studio and the type of works produced in it
– The functions of the studio: creation, storage, mentorship, administration, post-production and presentation space…
– Production conditions in the studio: solitude/sociability, access to equipment/storage…
– How do post-1970 artistic practices (in situ, performance, etc.) change the role of the
studio?
– Strategies for adapting the studio (disadvantaged background, minority groups)
– The studio of the future
– Representing the studio in exhibitions
– The studio as historical site/museum/exhibition space
– The studio in fiction (literature and cinema)
– The studio in the urban fabric
– Impact of socioeconomic and physical conditions on access to studios
Various forms of presentation are invited:
– 1) 15-minute paper
– 2) 3-minute presentation (Pecha Kucha format)
– 3) Poster presentation to be published on the conference blog
– 4) Visual presentation from artists to be posted on the conference blog
Proposals for papers must be submitted by September 15, 2022, to the following address:
ateliersartistes2023@gmail.com
Each proposal should include:
– A title, followed by a brief statement of the topic (150 words maximum) and the form that this presentation will take.
– A brief biographical summary of the presenter (100 words maximum); please add mailing address and, if applicable, institutional affiliation.
Onsite and virtual symposium (Montreal, Université du Québec à Montréal – UQAM)
May 3-5, 2023
Deadline: September 15, 2022 October 15, 2022! (New!)
Organizing Committee
Sandra Fraser, Remai Modern; Dominic Hardy, UQAM; Laurier Lacroix, UQAM
Scientific Committee
Sherry Farrell-Racette, U. of Manitoba; Sandra Fraser, Remai Modern; Dominic Hardy, UQAM; Laurier Lacroix, UQAM; Julia Polyck-O’Neill, York University
As Anne Lafont observes: “Who could believe in the existence of an artist without a work, and a work without a place, even reduced to its tiniest situation?” (Perspective 2014: 4). Having undergone many changes over the centuries, the studio remains essential to artistic production. Often described by artists as a place of one’s own, a laboratory, a cave, we could define the studio as a space to observe the condensation of materials, intuitions, ideas that take shape and become works of art. As Françoise Sullivan reminds us: “the world is concentrated in the studio and then the studio is concentrated in the painting” (Cahiers 1986 :11). The studio could be understood as an incubator that crystallizes the many elements that are called on to give life to the work. Studios have taken many forms since the Renaissance. Types of studios include: 1) a space temporarily rented for the realization of a particular work; 2) a residential space; 3) a specialized space designed to accommodate the equipment necessary for the realization of the work; 4) a collective space where artists, while remaining autonomous in their production, share specialized equipment; 5) a community space where everything is pooled in the context of collective
creations that bear the signature of the workshop; and 6) any combination of elements of these different types.
The layout of the studio, temporary or permanent, requires the same operations. In addition to the realization of the work, involve its management, its distribution and its storage. The studio is also a place of transmission of knowledge and sociability. Artists surround themselves with assistants and apprentices. They welcome critics, dealers, curators, fellow artists, friends. The studio becomes a place for study and research where documentation accumulates. It’s also a space for reading and relaxation, for reverie and musing. Artists are often characterized by their activity as collectors and bargain hunters who accumulate the works of other artists or who store material for future projects. The location of the studio is an indicator of artists’ socio-economic standing and of changing relationships with the infrastructures required to make their work.
From 2018 to 2021, a SSHRC-funded research project (Laurier Lacroix, Dominic Hardy, coinvestigators) collected data on the functions and representations of the studio in Quebec (1800-1980). In the abundance of international publications on the artist’s studio, critical approaches have yet to be undertaken; this symposium offers the opportunity to develop just such a framework in order to examine Canadian artists’ studio experiences, both past and present.
The symposium has the following objectives:
– To take stock of the state of research about artists’ studios in Canada, from the 19th century to today
– To develop a theoretical and methodological framework that can be used to analyze the
artist’s studio and its functions
– To encourage the presentation of case studies
– To gather first-hand accounts from practicing artists.
By establishing a dialogue between researchers and practitioners, the symposium welcomes proposals that can touch on but are not limited to the following topics:
– Defining and designing the studio: Where and when does the studio take place?
– Monographic case studies on artists‘ studios
– The studio’s role in building community / communities
– The relationship between the studio and the type of works produced in it
– The functions of the studio: creation, storage, mentorship, administration, post-production and presentation space…
– Production conditions in the studio: solitude/sociability, access to equipment/storage…
– How do post-1970 artistic practices (in situ, performance, etc.) change the role of the
studio?
– Strategies for adapting the studio (disadvantaged background, minority groups)
– The studio of the future
– Representing the studio in exhibitions
– The studio as historical site/museum/exhibition space
– The studio in fiction (literature and cinema)
– The studio in the urban fabric
– Impact of socioeconomic and physical conditions on access to studios
Various forms of presentation are invited:
– 1) 15-minute paper
– 2) 3-minute presentation (Pecha Kucha format)
– 3) Poster presentation to be published on the conference blog
– 4) Visual presentation from artists to be posted on the conference blog
Proposals for papers must be submitted by September 15, 2022, to the following address:
ateliersartistes2023@gmail.com
Each proposal should include:
– A title, followed by a brief statement of the topic (150 words maximum) and the form that this presentation will take.
– A brief biographical summary of the presenter (100 words maximum); please add mailing address and, if applicable, institutional affiliation.
Colloque sur place et en ligne (Montréal, UQAM), 3-5 mai 2023
Date limite : 15 septembre 2022 15 octobre 2022 (prolongée!)
Comité organisateur
Sandra Fraser, Remai Modern; Dominic Hardy, UQAM; Laurier Lacroix, UQAM
Comité scientifique
Sherry Farrell-Racette, U. of Manitoba; Sandra Fraser, Remai Modern; Dominic Hardy, UQAM; Laurier Lacroix, UQAM; Julia Polyck-O’Neill, York University
Comme le constate Anne Lafont : « Qui pourrait croire en l’existence d’un artiste sans oeuvre, et d’une oeuvre sans lieu, même réduit à sa plus infime situation ?», (Perspective 2014, p. 4). L’atelier a connu des mutations au cours des siècles, mais toujours il demeure central à la création artistique. Souvent décrit par les artistes comme une pièce à soi, un laboratoire ou même une caverne, on pourrait définir l’atelier comme un espace permettant d’observer la condensation des matériaux, des intuitions, des idées qui y prennent forme et deviennent oeuvre. Comme le propose Françoise Sullivan : « le monde se concentre dans l’atelier et puis l’atelier se concentre dans le tableau. » (Cahiers 1986, p. 11). L’atelier serait un incubateur dans lequel se cristallisent les nombreuses substances appelées à donner vie à l’oeuvre et à sa diffusion. Les types d’ateliers ont pris plusieurs formes depuis la Renaissance. Il est : 1) l’espace loué temporairement pour la réalisation d’une oeuvre en particulier ; 2) l’atelier résidentiel, (3) l’atelier spécialisé conçu en raison de l’équipement nécessaire pour la réalisation de l’oeuvre, 4) atelier collectif, espace commun où les artistes, tout en demeurant autonomes dans leur production, partagent de l’équipement spécialisé, 5) atelier communautaire où tout est mis en commun dans le cadre de créations collectives qui portent la signature de l’atelier, et 6) la combinaison d’éléments de ces différentes formes.
La disposition de l’atelier, fixe ou mobile, commande les mêmes genres d’opérations qui, en plus de la réalisation de l’oeuvre, impliquent sa gestion, sa diffusion et son entreposage. L’atelier est également un lieu de transmission du savoir, alors que l’artiste s’entoure d’assistants et d’apprentis. Il accueille critiques, marchands, commissaires et conservateurs, collègues et amis. Lieu d’étude et de recherche, l’atelier compte une bibliothèque où s’accumule la documentation, de même qu’un espace de lecture et de détente. L’artiste se caractérise souvent par son activité de collectionneur et de chineur qui accumule les oeuvres d’autres artistes ou qui stocke le matériel utile pour des réalisations futures. La situation de l’atelier affiche la position sociale de l’artiste, d’où le choix d’un emplacement en relation avec la communauté et les services auxquels il/elle souhaite s’associer.
Une étude financée par le CRSH (Laurier Lacroix, Dominic Hardy, co-chercheurs) a permis de réunir un certain nombre de données sur les fonctions et les représentations de l’atelier au Québec (1800-1980). Alors que de nombreuses publications portant sur l’atelier paraissent en Occident, son examen critique est à établir. Le sujet a encore été peu abordé dans des publications au Canada. Ce colloque fournit l’occasion d’explorer le sujet de l’expérience de l’atelier passée et actuelle.
Le colloque poursuit les objectifs suivants :
– Faire le point sur la situation de la recherche portant sur les ateliers d’artistes au Québec
et au Canada du 19e s. à aujourd’hui ;
– Développer des analyses de caractère théorique et méthodologique permettant une
meilleure connaissance de l’atelier et de ses fonctions ;
– Encourage la présentation d’études de cas ;
– Recueillir des témoignages d’artistes.
En établissant un dialogue entre chercheurs et praticiens, études de cas et témoignages, le
colloque souhaite stimuler des communications portant sur les sujets suivants :
– Définition/conception de l’atelier : Où et quand l’atelier a-t-il lieu ?
– Études de cas monographiques sur des ateliers d’artistes
– La place de l’atelier dans la constitution d’une communauté
– Les fonctions de l’atelier : création, entreposage, formation, exposition, administration, …
– Conditions de production dans l’atelier : solitude/sociabilité, accès au
matériel/entreposage
– Comment les pratiques artistiques post-1970 (in situ, performance, …) modifient-elles le
rôle de l’atelier ?
– Stratégies pour adapter l’atelier face aux barrières économiques et systémiques
– L’atelier des années 2020
– Exposer l’atelier
– L’atelier comme musée
– L’atelier dans la fiction québécoise (littérature et cinéma)
– L’atelier dans la ville
– Impact des conditions socioéconomiques sur l’accès à un atelier
Diverses formes de communication sont invitées :
– 1) communication de 15 minutes,
– 2) présentation de 3 minutes (pecha kucha),
– 3) affiche publiée sur le blogue du colloque,
– 4) communication visuelle de la part d’artistes affichée sur le blogue du colloque.
Les propositions de communications doivent être remises avant le 15 septembre 2022
ateliersartistes2023@gmail.com
Elles doivent inclure : le titre suivi d’une brève présentation du sujet abordé (150 mots
maximum) et la forme que prendra cette intervention (1 à 4) accompagnés d’une note
biographique (100 mots maximum) et de l’institution d’attache (le cas échéant).
