{"id":25870,"date":"2010-12-15T18:52:58","date_gmt":"2010-12-15T18:52:58","guid":{"rendered":"http:\/\/rafaelfajardo.com\/portfolio\/brooding-solitary-and-usually-male-the-trope-of\/"},"modified":"2018-12-05T22:41:58","modified_gmt":"2018-12-06T05:41:58","slug":"brooding-solitary-and-usually-male-the-trope-of","status":"publish","type":"post","link":"https:\/\/rafaelfajardo.com\/portfolio\/brooding-solitary-and-usually-male-the-trope-of\/","title":{"rendered":""},"content":{"rendered":"<div id='gallery-1' class='gallery galleryid-25870 gallery-columns-3 gallery-size-thumbnail'><figure class='gallery-item'>\n\t\t\t<div class='gallery-icon landscape'>\n\t\t\t\t<a href='https:\/\/rafaelfajardo.com\/portfolio\/brooding-solitary-and-usually-male-the-trope-of\/attachment\/25871\/'><img loading=\"lazy\" decoding=\"async\" width=\"100\" height=\"100\" src=\"https:\/\/rafaelfajardo.com\/portfolio\/wp-content\/uploads\/tumblr_ldhggbAJRP1qbup7mo1_500-100x100.jpg\" class=\"attachment-thumbnail size-thumbnail\" alt=\"\" \/><\/a>\n\t\t\t<\/div><\/figure>\n\t\t<\/div>\n\n<p>Brooding, solitary and usually male, the trope of \u201cthe artist in the studio\u201d has existed in multiple iterations throughout the history of art. From Rembrandt\u2019s workshop to the twentieth-century Parisian studios of Picasso, Braque and others, to Warhol\u2019s Factory, the studio contains within it an evolving narrative, albeit one that remains focused on a specific physical site of artistic production. In a particularly damning critique of this romantic construct, Daniel Buren posited in a 1971 essay, \u201cThe Function of the Studio,\u201d that the studio has a \u201csimultaneously idealizing and ossifying function,\u201d1 a state of \u201cpurgatory\u201d that grants artists limited agency in the production and dissemination of their own work and culture at large. Buren\u2019s essay is a concise example of the postmodern conception of \u201cpost studio\u201d practice\u2014a practice cultivated by the likes of Robert Smithson, who came to reject the confines of the physical studio as a site of production in favor of the unconfined natural landscape, or by John Baldessari\u2019s infamous \u201cPost Studio Art\u201d class at CalArts, in which students were encouraged to \u201cstop daubing away at canvases or chipping away at stone\u201d2 and embrace a wider framework for art production. The influence of these artists is clearly evident in a range of contemporary artistic practices that continue to question traditional modes of production and dissemination. (via <a href=\"http:\/\/www.artlies.org\/article.php?id=1996&amp;issue=67&amp;s=0\">The Function of the Studio (when the studio is a laptop) by Caitlin Jones | ART LIES: A Contemporary Art Quarterly<\/a>)<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Brooding, solitary and usually male, the trope of \u201cthe artist in the studio\u201d has existed in multiple iterations throughout the history of art. From Rembrandt\u2019s workshop to the twentieth-century Parisian studios of Picasso, Braque and others, to Warhol\u2019s Factory, the studio contains within it an evolving narrative, albeit one that remains focused on a specific [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"gallery","meta":{"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2},"jetpack_post_was_ever_published":false},"categories":[10],"tags":[],"class_list":["post-25870","post","type-post","status-publish","format-gallery","hentry","category-words","post_format-post-format-gallery"],"jetpack_publicize_connections":[],"jetpack_shortlink":"https:\/\/wp.me\/p6PWot-6Jg","jetpack_sharing_enabled":true,"jetpack_featured_media_url":"","_links":{"self":[{"href":"https:\/\/rafaelfajardo.com\/portfolio\/wp-json\/wp\/v2\/posts\/25870","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/rafaelfajardo.com\/portfolio\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/rafaelfajardo.com\/portfolio\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/rafaelfajardo.com\/portfolio\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/rafaelfajardo.com\/portfolio\/wp-json\/wp\/v2\/comments?post=25870"}],"version-history":[{"count":1,"href":"https:\/\/rafaelfajardo.com\/portfolio\/wp-json\/wp\/v2\/posts\/25870\/revisions"}],"predecessor-version":[{"id":25872,"href":"https:\/\/rafaelfajardo.com\/portfolio\/wp-json\/wp\/v2\/posts\/25870\/revisions\/25872"}],"wp:attachment":[{"href":"https:\/\/rafaelfajardo.com\/portfolio\/wp-json\/wp\/v2\/media?parent=25870"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/rafaelfajardo.com\/portfolio\/wp-json\/wp\/v2\/categories?post=25870"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/rafaelfajardo.com\/portfolio\/wp-json\/wp\/v2\/tags?post=25870"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}