| Abstrakt: |
This paper will discuss how an artist's material practices and working locations are the pieces of information that can tie together the research findings on paint archives, reference collections and individual artworks. For conservators, historical sources can identify relevant information such as paint brands, tools and artists' additions from documentation of the artist studio. A few reoccurring dilemmas surface when using photography, film and archive material to recreate fragments of an artist's material practices as occasional performative aspects can be interwoven in images from the 20th-century. In the mass of genres, and interpretations, from private archives to mass entertainment, a few simplified labels to categorise or generalise photograph and film material can be a guide to help identify when caution might be of particular importance and context information would therefore be needed for the interpretation. This paper will suggest three categories as a working aid for the studies of artist studios and material practices in the 20th-century, through a few examples from the two artists Asger Jorn and Karel Appel: the private scene, the invited glimpse, and the purposely framed situation of artistic output. [ABSTRACT FROM AUTHOR] |
