Provincetown Studio Show
By Michael Mazur
Studios are full of ghosts — ghosts of artists long gone, but not forgotten by relatives who hold on to their work spaces as memorials. When I visit them, I’m disconcerted by the sweet sorrow of their emptiness, their cleanliness and order. Yet the artist’s presence, nearly palpable, persists in the silent air.
The studio is the laboratory, the workshop, the sanctuary and temple, the home and the retreat. It is the spiritual and physical core of the artist’s life. In 1964, Canadian pianist Glenn Gould gave up the concert stage and withdrew into his recording studio, where he invented a new way to present his interpretive performances. He described his recording studio as “womblike,” as a place “where time turns in upon itself,” where he could create art “with its own laws and its own liberties.”
Originally published as an introduction to Provincetown Arts, volume 23 annual issue 2008-2009. Download a PDF of the entire article.