I'm working on a tight schedule for completing my first chapter. I'd like to apply for a fellowship through my school, but need to submit a completed chapter. I'm on a two week deadline. It will be an overview of theories of the solitary artist-genius and then will move to alternate theories of creative activity, including collaborative design. So a really rough outline will look something like this:
The solitary artist
I. Kant - artist-genius and the sublime.
II. T.S. Eliot -
II. Machine in the Studio (discussion of Abstract Expressionists)
This is a really interesting book that JD introduced me to. It makes the argument that the American Expressionists revitalized the romantic notion of the artist working alone in HIS studio from the 19th century to fit American ideals. Artists such as Pollock are seen as artists working as American pioneers. She then argues that this begins to change after WWII and artists, for example Warhol, begin to conceive of their studios as more social spaces (or in Warhol's case, a factory). I think this text will help me make the argument for the experimentation with the creative process that Halprin is taking up in the 60s in architecture. It is a good historical precedent to more social ways of thinking about artistic production and creativity.
III. need to discuss the architect as the solitary artist. Perhaps Le Corbusier is a good example (need to explore this). This is a little bit of a difficult connection to make because architects need to work with so many different types of people in order to create. However, the practice is generally focused on solitary name and the engineers, planners, and assistant architects/designers are not mentioned. Many "Starachitects" these days work this way - Rem Koolhaas, Frank Gehry... but I will need to find some examples from earlier in the century (should not be too hard).
Experiments in Collaborative Artistic Practice
I. Walter Gropius (The Architects Collaborative)
II. may also want to discuss New Genre Art here and the discussions of collaboration that arises out of public art discourse, but this is so much later than the 60s that I'm not sure it is appropriate.
RSVP Cycles - Take Part Workshops
II. LHalprin - RSVP Cycles (the focus of the chapter) - the rest of the chapter is all background info and theoretical context provided to discuss Halprin's experiments. He also studied with W. Gropius at Harvard so it is certainly important to make the connection between the two.
-- READ about Jungian psychology (Halprin discusses this as influential to his development of RSVP so i need to read about it).
***The overall objective of the chapter will be to set up Halprin's work as an alternative to traditional views of creative production and then do a thorough exploration of his ideas. This chapter is about CREATIVE PROCESS.
The next chapter is going to be about COMMUNITY FORMATION and how these methods bring up questions of community problem solving and planning. I will introduce this topic at the end of the first chapter.