Use this URL to cite or link to this record in EThOS: https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.807805
Title: The art of being together : inside the studio of Henryk Stażewski and Edward Krasiński
Author: Zboralska, Marta Aleksandra
Awarding Body: UCL (University College London)
Current Institution: University College London (University of London)
Date of Award: 2020
Availability of Full Text:
Access from EThOS:
Full text unavailable from EThOS. Thesis embargoed until 01 Apr 2025
Access from Institution:
Abstract:
This thesis focuses on the live-in Warsaw studio of Henryk Stażewski and Edward Krasiński, representatives of two avant-gardes (pre- and post-war), in order to pursue key problems in abstraction and conceptualism. Concentrating on the intergenerational dialogue between the artists, it interrogates the significance of cohabitation as a form of broadly understood collaboration, posing wider questions regarding intersection and interruption in twentieth-century art, in Poland and beyond. Positing working together, rather than making work together, as a form of dialogue, its chapters deal with a wide range of artistic production originating from the shared space of the studio: from painting and sculpture incorporating domestic objects (Chapter 1), through interior design in which colour plays a key part as a source of both visual and mental stimulation (Chapter 2), to writing in poetry and prose (Chapter 3). Through focusing on these under-researched aspects of their practices, my dissertation establishes the ways in which Stażewski and Krasiński can be seen as engaged in the process of mediation: between themselves and other artists (as well as writers, philosophers and even psychiatrists), and consequently artistic forms and movements. Striving towards a redefinition of the genealogy of influence, I argue that the complex history of the studio – from a busy shared space, through its adaptation by Krasiński after his cohabitant’s death, to its contemporary preservation – illuminates the importance of reciprocal permeation (intergenerationality) as a tool for analysing artistic relationships, therefore challenging the unidirectional timeline of art history. Seen through the prism of simultaneity rather than sequentially, the studio becomes a place of misplacements – both material and, as a consequence, conceptual.
Supervisor: Not available Sponsor: Not available
Qualification Name: Thesis (Ph.D.) Qualification Level: Doctoral
EThOS ID: uk.bl.ethos.807805  DOI: Not available
Share: