chapter  2
22 Pages


ByHarriet Hawkins

If the field is one of the key sites of the ‘becoming’ of the geographer, then in creative practice the studio occupies an equally important (and controversial) place. The studio is a much mythologised site: from the interdisciplinary workshop of the Renaissance artist to the lonely garret of the starving modern artist and today’s multifunctional spaces dominated by equipment for digital production, like the Oklahoma studio. The studio is, in short, a sort of barometer for the shifting and morphing of what is understood to be ‘art.’ Geographers have long been drawn to the studio, asserting both its value as a site at which to make geographic knowledge and as an important site in the production of creative forms: from art to fashion and music. A diversity of studio spaces emerged, some people had actual rooms designated as ‘studios’ in their homes, others hired small (or large) spaces or did residencies that came with studio space.