"A Room of One's Own, a Mind of One's Own" by Robert Storr

Storr begins his piece by describing all the different places that artists work, from studio space in their homes to rented space in an old factory downtown.  Some artists are lucky enough to have expansive, fairytale studios; ones designed around their every whim.  Storr reflects on the role of studios in the public imagination: many people see them as mysterious places of divine inspiration and creation.  Storr sees the studio as often doing one of two things, either informing clients that the artist is of the same social status as them and is therefore deserving of their respect or creating a theatrically different space, one that separates the artist from the client and adds to the artist's mystique.  

Willem de Kooning, A Tree in Naples, 1960

De Kooning grew up humbly and upon making a lot of money, he became very nervous and uneasy about it.  His studio space, though using up quite a bit of money, was practical, and by design seemingly made to use up the money that made him so uncomfortable.  De Kooning actually had his bedroom placed above his studio so at any time of night he could look down at his work from a balcony and ruminate on new ideas.  Storr also describes de Kooning's ex-wife's role in helping him get out from under a bad drinking habit by buying him massive amounts of high-quality oil paint (another common artist luxury/indulgence: having unlimited amounts of materials).  Arshile Gorky and John Chamberlin were also hoarders of material--Chamberlin's old garage/workspace a myriad palette of old metal and car parts.  Storr also goes on to talk about artists who lived and worked in extremely minimal or hermit-esque environments: Raoul Hague with his Gothic house out in the country and Agnes Martin in New Mexico, among others.  Storr's parting wisdom is that "artists work where they can, and how they can.  There is nothing mysterious about this, since artists must be pragmatic even when they pretend not to be or do the best they can to disguise themselves and conceal their process.  The mystery and the marvel is in the work.  The rest is contingent reality and real estate."