The art stolen and its meaning as a place of creative creation

An art statelier often serves as an insight into the emotional world of an artist. Ateliers are places where traces of creative processes, working methods, breakthroughs but also mistakes on walls, floors, windows and doors are captured. As a silent witness of a discovery and creation trip of the artist on the way to finished art .

The studios tell a story of creative development as well as the disasters that have occurred over the years to refine a craft or a style. A studio can be a very personal room full of emotions that can give both artists and visitors valuable impressions.

The art stateler as an incubator for social upswing

Numerous studies indicate that intensive contact with art and art at any age promotes physical and psychological well -being (see internet source #1 ). If you give the individual time, space and materials for creative expression, this can reduce stress, increase memory and strengthen social connections.

At a time when creative thinking is an extremely valuable asset, society undoubtedly benefits from an investment in the arts and art education. In places where the environment facilitates and promotes creativity, there is a higher level of civic engagement, social stability and an economic upswing.

creative rooms have always been created (public, entrepreneurial or privately), which have made a significant contribution to supporting the art creation .

The art stamp in the theoretical view

When we enter an art stateler, we gain insight into the way of working and the knowledge that artists use when creating. Art historians assume that a work of art and also the artist does not simply arise.

Art and artists are based on comprehensive knowledge practices and specific spatial knowledge. The key to this is the art statelier.

Although every studio room is unique for the artist and his project, it is often used as a room in which artists reflect, exhibit, research, camp and create art. Obbs your own studio is a way for artists to maintain their individual production and work and is crucial for the stabilization and participation in professional discourse and in an artistic identity (see literature sources #1-3 ).

In the studio, artists have the opportunity to develop their creative ideas and experiments by finding attention and change in a space of artistic reflection and elaboration. This creates works of art of aesthetic quality through experimental action that opens up new fields of experience and lets familiar scenes and objects appear in a new light (see literature sources #4-6 ).

The studio serves as a place where the ideas of the artists are specified and represent an artistic laboratory . According to the American philosopher John Dewey, experimentation is of great importance not only in the scientific laboratory, but also in artistic work (see literary source #7 ).

The contemporary studio combines imagination, knowledge and artistic work in a room that combines privacy, material production, knowledge and learning. It is a place of civilized striving according to knowledge. "

Ateliers and Art Spaces: formerly and today

Nowadays, art production takes place both on the laptop and in a loft sprained with color. Nevertheless, the studio keeps its unique aura as the ultimate place of creation.

As shown in paintings such as Courbet's allegorical self-portrait of 1855 or in the MID-Century photos of modernized sizes of the Vogue Aunt Director Alexander Liberman , the studio is a place where experience is transformed through the struggle of a genius in gold-both metaphorically and literally (see Internet Quelle #2 ).

From workshops (Bottega) in the Middle Ages to Studiolos

In past centuries, most artists worked in workshops, where they were trained by craftsmen, or in the writing tubes of monasteries. The low status of art workers in the Middle Ages began to change when they took over the scientific demands of their aristocratic patrons.

The Bottega became a studio , a place of scholarly refinement, which was more suitable for silent contemplation than for noise and craft. Successful artists like Tintoretto were able to afford both a Bottega and a studio, which enabled a spatial separation of research and production.

This development went hand in hand with the increasing division of labor, which was accelerated by the rise of capitalism. Leonardo da Vinci rejected the Bottega principle and emphasized that an artist's studio should be small to discipline the mind (see Internet source #2 ).

The studio becomes the central place of artist identity

In the Dutch painting of the 17th century, the studio was completely the central place of artist identity, such as at Rembrandt and Vermeer , who held their work environment in self -portraits.

In the 18th century, however, schools offered alternative training as a traditional studio. Félix Duban École des Beaux-Art with his avant-garde architectural style . Later, transparency and functionality were also emphasized in architectures such as Mackintosh's school in Glasgow and the Weimar Bauhaus - an approach that redefined both artistic and industrial production.

The glazed wall was also the license plate of the factory, a double coding (which was explicitly expressed Dessau Bauhaus of Gropius William Morris' attempt to re -calibrate the forms of artistic and industrial production.

Pleinair painting-escape into the wild

Morris' program led to the flight of some painters from the studio towards the great outdoors. This happened during a time when colors were now manufactured industrially and were therefore easily available. The impressionists later revealed that even nature was industrialized, but they continued to maintain the tradition of Pleinair painting, which was now more considered a bourgeois leisure activity than as a rural work.

This development sheet culminated in the large foreign studio of Anselm Kiefer near Nîmes.

In his short story “The Real Thing”, the American Henry James a studio in which the light plays a decisive role and gives the room a certain readability. The studio is presented as a place for artists, the north -facing window of which explicitly indicates this.

Compatibility of life and art in one place

At the same time, due to industrial urbanism, the city and the country merge, which opens up new opportunities for open -air painting in artistic suburbs. While academies professionalize discipline, Morris tried to overcome institutional and spatial fragmentation. Nevertheless, the unity of life and art is often only reserved for the rich.

In the course of history, artists deal with various work environments. In the past, only a few artists could afford a house with a studio in a beautiful suburb, while others had to work in neglected districts. Famous artist colonies such as Montmartre and Chelsea were created as an alternative creative centers. Although such places were often shaped by poverty, they also offered a strong community and space for political activities.

The transition from traditional workshops to avant -garde studios led to a redesign of urban areas by artists such as Andy Warhol , who sparked inspiration from poorer areas. The development of these creative spaces mirrors 's also social changes and repeatedly produced unexpected results.

Post-studio state today: Return to the Bottega system & co-working spaces

Many artists joined Warhol's return to the Bottega system, including Damien Hirst and Jeff Koons . These have thrown all the remains of Morris overboard and instead imitated the less romantic industrial processes of capitalism.

Nowadays there is a post-studio state in which a jet setting preciate of art producers carry their laptops between London, Lisbon and Berlin. If you can afford it, your work rooms are in divided warehouses on the outskirts, while in "revitalized" centers in which everyone strives for the status of "creativity" , co-working spaces such as Second Home with unconventional role models.

Setting up your own art studio or creative room

The step from the home studio to a professional art statel is a frequent dream of artists. If you have grown out of the guest room or garden shed, setting up a professional studio is the next logical step.

However, before a rental agreement is signed for an area or a conversion of an existing property (e.g. former factory rooms or halls) is initiated, there are many aspects to consider.

Space or entire buildings are often released by moving or dissolving their studio in it. Since a successful setup can significantly contribute to the artistic success, existing objects be chosen with care.

In some cases, complete renovation (ZT also with conversion measures) makes sense in order to optimally adapt the existing premises to your own individual needs. You can find reliable service providers in every larger city (e.g. Welsch building renovation at https://welsch-bausanierung.de/dienstleistle/Fomplettsanierung/ for Ulm and the surrounding area).

The question of cost

The costs play a crucial role in considering whether an artist can afford a studio. As with every private individual or every company, the fees for the building - including rent (or credit rates when buying), additional costs and fees for insurance, internet connection, telephone contract, etc. - must also be included in the profit calculation.

It is important to tackle this decision as with any other company. It is important to find out what is financially possible (compared to income) and what value it has to have your own space. The room does not necessarily have to be specially designed for artists, but it usually makes work significantly easier. If necessary and the necessary “change” , you can also (let) to (let) convert conversions and renovations.

Sculpers and potter need expensive equipment and access to outdoor areas. Painters also have to check whether they can use oil paints and flammable fabrics such as turpentine. If you settle in a commercial area, you should consider how other companies will react to the smells of fresh color in the corridors.

The prices for areas are usually calculated per square meter, which enables a simple cost comparison.

What you should pay attention to

The basic equipment includes functions such as internet connection and usual supply services. Next, you should inform yourself about the opening times (some may offer 24-hour access) that provide information and parking .

availability of sanitary facilities , sinks , access to outdoor areas and the insurance requirement is also important .

Another important point is the lighting . Painters should avoid rooms without windows because they do not offer natural light. Professional art statels usually take this into account and ensure good lighting regardless of the space size.

The studio should also easily accessible - so do not choose a place that is too far away. It is often tempting for artists to work from home because the guest room is closer.

In the event of a tenancy, a short rental agreement basically a good idea.

Should you join an existing studio?

Existing professional studios are special buildings that have been designed or furnished for artists. It may be possible to rent individual studios in a common building that offer all the necessary facilities, be it good daylight for painting or sink and special equipment.

The great advantage of accession to an existing studio is that many considerations have already been made and that all services may be included in a single fee. It only requires the signing and then you can start creative work.

However, a higher price could have to be paid for this convenience. It is possible to start with a smaller or shared room and to gradually move into larger rooms depending on the success.

An important aspect of working in an established professional studio is easy access to other artists . The creative work can often be lonely, so it offers a great advantage to be able to exchange ideas in community kitchens or at events.

When entering such a studio, you should also keep an eye on the other artists. Ceramists, glass artists, potter and sculptor often share their studio rooms for practical reasons and can therefore use the required equipment and the associated costs together.

Set up your own studio room

If you have found a suitable room or want to start an artist colony right away, there are some important things to clarify before you finally make your nails with your heads.

Do you have the necessary skills and experiences?

It is crucial to have already worked in a common work space and even managed it in order to understand all responsibilities.

Many professional studios have a studio manager who takes care of the organizational tasks such as rental payments, building regulations, insurance and marketing so that the artists can concentrate entirely on their art. It is understandable why many studios choose to employ manager

Is there financial support?

At local, state and federal level, considerable sums of money circulate for the support of artists. Special funding for certain media, topics, geographical regions and artists are provided.

Some of these funds often remain unused because suitable artists do not apply. A good starting point is the National Endowment for the Arts, which awarded almost $ 230 million in 2023.

In Germany, a large number of institutions such as the federal government, the states and foundations support cultural and artistic projects through various support offers . Creative professionals have the opportunity to apply for these funding to realize their artistic projects.

These project funding can take different forms. The recipients of these subsidies can be individuals, groups or institutions and the creative scope is often limited by the goals of the funding institution. The federal cultural foundation focuses on the support of innovative programs and projects in an international context as well as on cultural exchange.

federal cultural foundation also selects projects for funding in the cross -divisional and open project funding twice a year.

In addition to them, there are also many other funding facilities both at a national and European level that in particular support artists and artists.

Tips for founders, founders and self-employed in the cultural and creative industries also offer both the BMWK promotion and financing advice and the guide "Everything, just no entrepreneur?" the Federal Government's Cultural and Creative Industry initiative .

In addition to federal programs, you should also look for funding at the state level. For my state of Bavaria, for example, you can find helpful information on programs, application procedures and requirements information page for the artist support of the Bavarian State Ministry of Science and Art

Find out more about the diverse financing and funding opportunities and the course of the application process. There are both generous grants and special grants for certain artist groups. However, a large part of the funds flows into projects that bring art into the community.

By integrating workshops into your schedule, you could receive financial support for your professional art studio. After you have familiarized yourself with the national and federal state-specific processes, you should also check the local funding opportunities .

Is there the possibility of an economic sponsorship?

Studios' operation is undoubtedly costly. But there can be commercial answers to the difficult financing question. For example, local companies could be willing to provide funds against some advertising or to provide equipment. This can manifest itself in the form of presence on the studio website, marketing measures or exhibitions.

Many people love the arts and want to be integrated into the art world.

Integrate the exhibition room / gallery

A great advantage of a professional art stuff is that it could be possible without the intermediate step of a gallery and can build a direct channel to your buyers.

Up to 50 % of art sales take place via galleries. Open studio events or individual studio visits can also lead to significant sales.

If you are part of a professional group studio , you should consider setting up a fixed exhibition space for the works of all artists.

Here are a few points for a higher success:

• Ensure that all works are for sale.
• Offer a variety of price levels.
• Start with small prints or ceramics below 100 euros and gradually increase to larger paintings, ceramics or sculptures with correspondingly higher prices.
• Submit regular opening times and ensure that personnel are present during these times (artists can alternate).
• Change the exhibited works regularly and plan special opening events.
• Arrange payment modalities. Purchase on account or now numerous digital payment providers (online or via smartphone app) can be used here. If you accept electronic payments, you need to set up a studio bank account or a PayPal account that the money is transferred to before it is paid out to the artist.

Final words

As soon as the establishment of your art studio is complete, you should not hesitate and be able to start your creative work immediately. Think about how you want to see yourself in this room. Nothing is more frustrating for an artist than having the feeling that the room in which he works limits its creativity instead of promoting them.

Think of Pablo Picasso's words :

There are painters who turn the sun into a yellow spot, and there are others who, with their art and intelligence, transform a yellow stain into a sun. ”

Does your space offer you this freedom for artistic growth?

You may find inspiration in our two articles on the subject:

• Art Fusion in Coworking Spaces: 5 inspiring examples of creative work environments
• Set up your own studio-artists reveal their creative space professional tips

Sources and references:

Literature:

1. Bain, A. (2005): Constructing to Artistic Identity Work, Employment and Society , pp. 25-46
2. Bain, A. (2004): Female Artistic Identity in Place: The Studio. Social and Cultural Geography , pp. 171-193
3. Buren, D. (2007): In The Studio (Dublin Gallery, 2007 pp. 104-106) A conversation between Buren and Jens Hoffman, Christina Kennedy and Georgina Jackson
4. Jacob, MJ (2010): Foreword in Jacob, MJ and Grabner, M Eds. 2010 The Studio Reader: On the Space of Artists , Chicago University of Chicago Press
5. O'Doherty, B. (2007): Studio and the Cube on the Relationship Between Where Art is Made and Where Art Is Displayed, Princeton Architectural Press
6. Wainright, L. (2010): Foreword in Jacob MJ and Grabner M Eds 2010 The Studio Reader: On the Space of Artists, Chicago University of Chicago Press
7. Dewey, J. (1934): Art as Experience, New York Penguin Group

Internet:

1. Samantha Frew on Architizer : Art House: The Inspiring Architecture of Art Studios , https://architizer.com/blog/inspiration/collections/art-house-the-architecture-of-studios/
2. Tom Wilkinson in the Architectural Review : Typology: Artist Studio, https://www.architectural-review.com/essays/typology-artist-studio
3. Mac Art Galleries : How to Set Up Your Fine Art Studio , https://macfineart.com/how-to-set-up-your-fine-art-studio/
4. Art Web Blog: How to Set Up A Professional Art Studio , https://blog.artweb.com/how-to/set-up-a-professional-art-studio/
5. Cultural foundation of the federal government : Funding , https://www.kulturstiftung-des-bunde.de/de/foerderung.html

Joachim Rodriguez y Romero

Owner and managing director of Kunstplaza . Publicist, editor and passionate blogger in the field of art, design and creativity since 2011. Successful conclusion in web design as part of a university degree (2008). Further development of creativity techniques through courses in free drawing, expression painting and theatre/acting. Profound knowledge of the art market through many years of journalistic research and numerous collaborations with actors/institutions from art and culture.

www. kunstplaza .de/