ABSTRACT

This book reflects on the motivations of creative practitioners who have moved out of cities from the mid-1960s onwards to establish creative homesteads. The book focuses on desert exile painter Agnes Martin, radical filmmaker and gardener Derek Jarman, and iconoclastic conceptual artist Chris Burden, detailing their connections to the cities they had left behind (New York, London, Los Angeles). Sarah Lowndes also examines how the rise of digital technologies has made it more possible for artists to live and work outside the major art centers, especially given the rising cost of living in London, Berlin, and New York, focusing on three peripheral creative centers: the seaside town of Hastings, England, the midsized metro of Leipzig, Germany, and post-industrial Detroit, USA.

part I|6 pages

Introduction

chapter 1|10 pages

The Back to the Land Movement

From the 1840s to the 1970s

part II|170 pages

The Creative Homesteads of Agnes Martin, Derek Jarman, and Chris Burden

chapter 2|54 pages

We are Born as Nouns Not Verbs

Agnes Martin and the New Mexico Desert (1968–2004)

chapter 3|57 pages

Vaster than Empires and More Slow

Derek Jarman and Prospect Cottage, Dungeness, Kent (1987–1994)

chapter 4|57 pages

In a Free Spot

Chris Burden and Topanga Canyon, California (1984–2015)

part III|2 pages

The Rise of the Town-Country

chapter 5|12 pages

The Lure of the Midsize Metro

Leipzig

chapter 6|12 pages

Neither City nor Country

Hastings

chapter 7|12 pages

In the Ruins, a Garden

Detroit

chapter |3 pages

Conclusion