Images of artists in their studio have a long tradition in art history, spanning the Renaissance to Romanticism and beyond. In picturing themselves at work, artists often created flattering and dramatic portraits and such works were always made to reflect a particular self-image.
But from the 1960s onward, these self-images have been questioned. Art criticism exposed clichés and stock phrases, and artists themselves criticised and attacked old-fashioned artistic stereotypes.
The American Paul McCarthy (b.1945) is one of the most influential of these artists. With a traditional background in painting, McCarthy made his name with performance art, lashing out against traditional artistic ideas. His famous and irreverent video Painter (1995) satirises the formula of the artist as lonely genius in his studio.
Painter is shown next to the Dean Gallery's own ‘Paolozzi Studio'. This partial reconstruction is an educational stage-set, exhibiting the generous donation of Scottish artist Eduardo Paolozzi (1924-2005), and is one of our most popular and successful displays. By contrasting the Studio presentation with McCarthy's critique, ‘Painter' and The Studio casts a second glance at how museums present the making of art.
Please note: viewers may find some scenes disturbing.
But from the 1960s onward, these self-images have been questioned. Art criticism exposed clichés and stock phrases, and artists themselves criticised and attacked old-fashioned artistic stereotypes.
The American Paul McCarthy (b.1945) is one of the most influential of these artists. With a traditional background in painting, McCarthy made his name with performance art, lashing out against traditional artistic ideas. His famous and irreverent video Painter (1995) satirises the formula of the artist as lonely genius in his studio.
Painter is shown next to the Dean Gallery's own ‘Paolozzi Studio'. This partial reconstruction is an educational stage-set, exhibiting the generous donation of Scottish artist Eduardo Paolozzi (1924-2005), and is one of our most popular and successful displays. By contrasting the Studio presentation with McCarthy's critique, ‘Painter' and The Studio casts a second glance at how museums present the making of art.
Please note: viewers may find some scenes disturbing.
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