Work Of Other Artists Research Articles

Peles Macias e Peles Ásperas: as cinco peles de Hundertwasser em conversa com a poética pessoal

This article presents an excerpt from the personal poetic production of the artist João Cóser, selected from the portfolio, and which covers five artistic works created between 2016 and 2020. The analysis of João Cóser's artistic process uses the concepts and symbologies about the skin, as constructed by the Austrian artist Hundertwasser, who defines five levels of coverings or skins for the human being: the epidermis, clothing, the home, the social environment and the global environment. The connections between the chosen poetic production and the works of other artists who deal with corporeality and the senses, such as Ernesto Neto, Chiharu Shiota and Hélio Oiticica, are also explored. The analysis also incorporates the phenomenology of the body, as developed by Merleau-Ponty and other authors who support the research. The tactile movement and manipulation of the object, whether of its visible or invisible materiality, are also addressed as prerogatives of the body.

CHARACTERISTICS OF EXPRESSION OF LITERARY ELEMENTS IN THE ANALYSIS OF ISAJON SULTON'S WORKS

This article discusses the role of literary elements and tools in the analysis of Isajon Sultan's prose works. In the work, the analysis of epic works and the methodical requirements that should be analyzed from them are directly revealed in novels, short stories, and narratives. The uniqueness of the theme in the stories is revealed by the small number of characters, the attention ofthe writers or the decision made regarding the first characters. The mood and psychological images of Isajon Sultan's works are different from the works of other artists listed in literature textbooks. In their analysis, there are similarities in the content of the stories and stories, the disclosure of their natural and artificial features, and the determination of the theory of commonality or singularity of the idea and pathos in the components.

Madrid is Browning: A conversation with Gad Yola

Afro-LatinX drag artist Gad Yola was born in Lima in 1995, migrated to Spain in 2006, and began performing in Madrid in 2017, a year marked by the rise of Spanish nationalism. This interview acquaints us with Gad Yola's artistic vision and practices. It orients us toward the growing presence of “Brown art” in the Peninsula, taking a deeper look at the work of artists who declare themselves “migrants” or “Migrantas” and examining the use of LatinX’s X in Spain. Gad Yola’s career includes performances such as “El drag es marrón” (“Drag Is Brown”), the exhibition “Hypernariz” (“Hypernose”), and the music videos “No exotice” (“Don’t Exoticize”), “Aguanta Migranta” (“Hang in There, Mx. Migrant”), “Travesti del Perú” (“Trans from Peru”), and “Problemática” (“Troublemaker”). The analysis of these works focuses on the use of pop-reggaeton-cumbia rhythms, the politicization of Gad Yola’s fashion, and her references to colonial history and Spanish, Peruvian, and US pop culture. LatinX’s transatlantic “X” emerges on social media and webs across these geographies, accompanying Gad Yola’s oeuvre and the work of other artists from the Spanish capital with whom she has collaborated, including Chenta Tsai Tseng, Samantha Hudson, and the drag families Casa Drag Latina and House of Gad. From Madrid’s bars, squat houses, and museums, Gad Yola reclaims, invigorates, and re-conceptualizes such referents like Peruvian artist and philosopher Giuseppe Campuzano, while also coming up with characters like “Gad Bunny” and “Gadyoncé,” thus embodying a Global South LatinXness. Gad Yola’s queer, anti-racist art evokes a Global Iberian LatinX that bridges these terms and expands them, reconfiguring the cultural scene in Spain and beyond.

Art master Yulia Gusarova is an artist of multifaceted talent

The article contains materials about the work of St. Petersburg artist Yulia Vasilievna Gusarova, a master who creates works in different materials and techniques and has her own theme, manner and style. The purpose of the article is to determine the foundations and nature of creativity, to track the dynamics of the personal development of a hereditary artist. She is multi-faceted and is successfully realized in the art of painting, in mosaics, in ceramics, in textiles, in scientific and pedagogical activities. The main themes of her work: stories from the history of culture and art, travel impressions, the world of the sea and marine life, the fantastic world of the medieval "bestiary" and modern technology. The article presents examples of her works, describes their semantic content and artistic merits, notes theoretical and methodological-pedagogical aspects of the problems of art and art education. The materials of the article have novelty, because they are offered for publication for the first time. There was no scientific study of Y. Gusarova's creativity in domestic and foreign art criticism. The results and research methods in this article can be useful in art criticism for use in writing monographic works about the work of other artists, as well as for creating a complete picture of the features of the work of domestic ceramic artists of the XX - XXI centuries.

The Meaning of Wayang Wong Ramayana at Taman Pule Temple, Mas Village As An Inspiration for Painting

This independent study TA thesis raises the theme of the Meaning of Wayang Wong Ramayana at Taman Pule Mas Village temple as a source of painting creation. Departing from an illustration idea of Wayang Wong Ramayana and the procession carried out by the local community has a very deep meaning both from the Wayang Wong itself and at the time. ritual procession is performed. From this it sparked the author's desire to raise the meaning of Wayang Wong by combining certain techniques and references to achieve the desired meaning. The problem faced is how to visualize the meaning and techniques used in the embodiment of the work so that it looks attractive. The purpose and benefits of this creation are that first, in general, the author wants to embody the meaning of Wayang Wong Ramayana at Taman Pule Mas Village temple into painting, and to be able to embody the meaning or values of Wayang Wong in a symbolic form that reflects the identity of the author.To answer what is the goal in creating this work, the method used by the author in realizing this method is by exploring, improvising, forming, and finalizing the process and combining it with ideas to create 6 works. In realizing the author's work using several references related to techniques from the works of other artists, it is then processed according to the needs of the author to support the meaning to be conveyed and can produce quality work and become the identity of the author.

Philosophical reminiscences in the work of the artist Mikhail Kapustin

The author examines the art history problem of the influence of philosophical trends on the art that is relevant to them on the example of the work of the St. Petersburg ceramic artist Mikhail Yuryevich Kapustin and his philosophical reflections revealed in the plastic search for impressive images. His worldview was formed in a whirlwind of contemporary philosophical trends, scientific and technological discoveries, new trends in culture and contemporary art. The article reveals the regular change of one philosophical direction to the next, often alternative, and how artists reacted to this in their work, finding new ideals and expanding expressive possibilities in the visual arts. The purpose of the article is an attempt to decipher the in-depth meanings of the artist's works. The subject of research is philosophical reminiscences in the author's sculptural and graphic works of the ceramic artist. The main themes of his artwork are Man, Earth, and Time. The study has a novelty, because its materials are original and are offered for publication for the first time. In domestic and foreign art criticism there was no scientific study of the work of M. Kapustin. The works of M. Kapustin are large-scale, peculiar ceramic (sculptural and graphic) compositions of epic imagery, represent a compressed formula of an idea in a tense volume of form. The logical chain of his creative process as a ceramic artist goes as follows: from the idea towards the artistic image, material, technology, and finally – work. The results and research methods in this article can be used in art criticism for contribution in writing monographic works about the work of other artists.

Transcorporeal Witnessing: Re-Figuring Toxic Entanglements Through the Arts

This article seeks to extend discourses of embodiment by deploying Alaimo’s concept of transcorporeality in the context of our grappling with complexities of bearing witness to deforestation and ecological destruction in Alberta’s Tar Sands. Transcorporeality captures senses of porosity among human, nonhuman, and more-than-human bodies and constitutes a productive perspective from which to ethically engage with ecological destruction. Through our artwork and dialogic exchange with each other, and our embodied thinking with the works of other artists and scholars concerned with ecological atrocity, we attend to challenges, nuances, and possibilities of witnessing in ways that both attune to our embodiment and seek to decenter the human. We contend that arts-based practices of being, knowing, and doing offer openings for re-figuring the toxic entanglements that pervade current ecological relations and illustrating pathways toward more regenerative futures.

Interview with Steve Bell

Abstract In this interview, the political cartoonist Steve Bell reflects on his past career and work, seeing it against the wider tradition of British political cartoons, and in relation to the work of other artists whom he admires. He answers questions as to the fundamental nature of visual satire and speculates as to its likely future in an age of media fragmentation, and ideological polarisation and intolerance. Although we now live in turbulent and divisive political times and in an era where it becomes ever harder for satirical artists to find outlets for their work, Bell is by no means pessimistic as he looks to the future. His view is very much that artistic quality and sharp observational wit will continue to find appreciative audiences, whatever the means or media their makers employ.

Ukrainian Symbols and Archetypes in the Historical and Folklore Imagery of Irena Nosyk

The paper examines the concepts of “symbol” and “archetype” and their realization in the artistic thinking of the CanadianUkrainian artist Irena Nosyk. The interest in the use of archetypes as a primary scheme and their subsequent expression in art through the objectification of symbols were examined. The significance of the “spiritual memory of Ukrainian people,” which inspired the artist to depict significant events in the history of Ukrainian culture, was traced. Mythological, historical and folklore imagery in the art of Irena Nosyk were analyzed, in particular: the Scythian woman, Prince Igor Svyatoslavovych, Prince Volodymyr the Great, ethnic Hutsuls, mythical creatures—mavkas. Legends and chronicles are considered primary sources for creating this imagery. At the same time, Christian images in Nosyk’s works served as an indisputable means of systematic and purposeful influence on the viewer’s inner world. The elements of Hutsul life and clothing in Irena Nosyk’s works are analyzed. Parallels between her canvases and the works of other artists, including Petro Andrusiv and Viktor Vasnetsova, are drawn. The features of the creative method of the artist are highlighted in regard to a color-tonal palette, with brown-pink tones signifying the supernatural world. The paper aims to clarify the root causes of the use ofsymbols and archetypes by Irena Nosyk in her art. The methods used were comparative-historical, analogy and synthesis, as well as specialized art analysis methods, such as: iconological, iconographic, formal analysis, and semiotic. It was concluded that a secret language of semantic fields full of symbolic ciphers is a trademark feature of Irena Nosyk’s creativity.

Approaches to Teaching the Works of Cormac McCarthy

Approaches to Teaching the Works of Cormac McCarthy

Complementing Connoisseurship With Artificial Intelligence

AbstractThough humanistic in spirit and scholarship, the practice of art history has long recognized the value of science‐based investigative techniques, particularly for questions involving artwork authentication. Modes of investigation now include analysis of chemical composition and physical structure in addition to the traditional principles of connoisseurship and provenance research. We propose the use of a new tool − convolutional neural networks − to extend scientific analysis to the visual features of two‐dimensional artwork. Trained on the works of an artist under study and visually comparable works of other artists, our system can identify forgeries and propose attributions. It can also assign classification probabilities within a work, revealing mixed authorship and identifying the contributions of different hands. We describe and illustrate performance in connection with Old Master paintings and drawings. With one interesting exception, our system's attributions match those of authoritative experts for paintings whose authorship has been the subject of longstanding controversy. Although computational, our approach supplements and depends on human expertise in judging an artwork's authenticity and lived history.

A Neural Network Looks at Leonardo’s(?) Salvator Mundi

Abstract The authors use convolutional neural networks (CNNs) to analyze authorship questions surrounding the works of Leonardo da Vinci—in particular, Salvator Mundi, the world’s most expensive painting and among the most controversial. Trained on the works of an artist under study and visually comparable works of other artists, the authors’ system can identify likely forgeries and shed light on attribution controversies. Leonardo’s few extant paintings test the limits of the system and require corroborative techniques of testing and analysis.

Georgia O'Keeffe's Wartime Texas Letters by Amy Von Lintel

Reviewed by: Georgia O'Keeffe's Wartime Texas Letters by Amy Von Lintel Linda M. Grasso Georgia O'Keeffe's Wartime Texas Letters. By Amy Von Lintel. (College Station: Texas A&M University Press, 2020. Pp. 248. Illustrations, notes, bibliography, index.) At two different times in the 1910s, when Georgia O'Keeffe was in her twenties, she taught in Amarillo and Canyon, Texas, before becoming a professional artist. The personal and artistic importance of O'Keeffe's time in the Texas Panhandle was first explored by art historian Sharyn R. Udall in a 1988 exhibition and accompanying catalogue, O'Keeffe and Texas (Abrams). In Georgia O'Keeffe's Wartime Texas Letters, Amy Von Lintel once again brings attention to O'Keeffe's Texas years by assembling, editing, and contextualizing a well-curated sampling over more than two hundred letters that O'Keeffe wrote during her time there. Von Lintel's focus on the effects of World War I on O'Keeffe's sensibility is the book's most distinctive feature. Von Lintel's book is an intense immersion in a brief yet formative period in O'Keeffe's life and career, and it reveals how O'Keeffe used letters to sustain relationships, rehearse ideas, make meaning of emotions, chronicle experiences, and create shifting identities. As Von Lintel astutely observes, O'Keeffe was a "verbal creator" who painted "with words as well as with brushes" (2). This artistry, accompanied by nineteen beautifully reproduced color illustrations of O'Keeffe's Texas paintings, as well as the relevant work of other artists and artifacts, is on full display in this collection. Unlike Sarah Greenough's massive tome, My Faraway One (Yale University Press, 2011), which contains correspondence between O'Keeffe and photographer Alfred Stieglitz spanning three decades, Von Lintel's volume features only the letters O'Keeffe wrote while she was in Texas from August 1916 to June 1918. This editorial decision privileges O'Keeffe's syntax, consciousness, and poetic talent and highlights the significance of the region on O'Keeffe's imagination. Italicizing references to the war, identifying O'Keeffe's neighbors, colleagues, suitors, and friends, and providing international and national context about modernism, war, and local practices, the book transports readers into the era and enables us to hear O'Keeffe's voice, which is at times exuberant, angry, reflective, vulnerable, and sardonic. As interpreter and guide, Von Lintel's framing introductory chapter offers new ways to think about O'Keeffe's Texas paintings, linking them, for example, to European modernism and interpreting their images, color, and content through the lens of wartime referents. She also provides concise, insightful summaries of the letters in the conclusion of each of the book's six chapters. However, while Von Lintel helpfully parses O'Keeffe's ambivalent responses to the Great War, noting how she vacillates among a number of reactions, including skepticism, criticism, and despair, the author [End Page 356] misses opportunities to examine O'Keeffe's racial attitudes with the same depth, especially as they were expressed in the American West. For instance, Von Lintel suggests that O'Keeffe's use of the phrase "war path" is evidence that "the war gave her new metaphors for productivity" (9). But surely this idiom, as well as O'Keeffe's employment of the metaphor of scalping to express impatient anger (57, 126), references not World War I but rather the U.S. conquest of Indigenous peoples, which O'Keeffe knew well from boys' stories about the Wild West that were part of her upbringing. And while including only O'Keeffe's letters enables a narrative charged with adventure, romance, risk, and passion, the one-sided correspondence also, ironically, severs O'Keeffe from context by eliminating consideration of how her responses may have been influenced by the people with whom she was corresponding. Most of the letters Von Lintel includes, for example, are to Stieglitz, who subsequently became O'Keeffe's husband and life-long artistic champion. Nevertheless, Georgia O'Keeffe's Wartime Texas Letters is a welcome addition to studies that historicize the artist and make O'Keeffe's letters readily available. Linda M. Grasso City University of New York Copyright © 2021 The Texas...

Minor Feelings: An Asian American Reckoning by Cathy Park Hong

Reviewed by: Minor Feelings: An Asian American Reckoning by Cathy Park Hong Shaina Khan (bio) Minor Feelings: An Asian American Reckoning by Cathy Park Hong. New York, NY: One World, 2020, 224 pp., $27.00 hardcover, $18.00 paper. Early in Minor Feelings: An Asian American Reckoning, Cathy Park Hong explains the Korean word han. There is no English equivalent for han, and so Hong describes it as "a combination of bitterness, wistfulness, shame, melancholy, and vengefulness" that has resulted from horrible, unrectified forces like "colonialism, war, and U.S.-supported dictatorships" (54). Han pervades the book. Melancholy, shame, vengefulness, and the other emotions that Hong lists become prominent in turns, but they are inseparable from each other as Hong details historical and contemporary injustices, her own experiences of racism, and white America's hatred and fragility. Minor Feelings is not a hopeful book. It is not meant to be. However, while I can't speak for all Asian Americans, I find that the book perfectly locates disparate Asian American experiences within the discourse of race in the United States. Hong's chapters are composed in slightly different styles. "United," for instance, is a series of history lessons and analyses about nationally publicized incidents of racism against Asian Americans. "Stand Up" considers the work of other artists, particularly Richard Pryor, whose comedy led Hong to revelations about her own work. Of all the chapters, "An Education" is most like a memoir; here, Hong tells her origin story as a poet. She recounts details of her closest and most complicated friendships during college, one of which shaped her into "the writer I am today" (149). "Portrait of an Artist" reads something like a long-form feature story, albeit one to which Hong has deep emotional connections. The varying styles complement each other. Hong's story about moving into her college dorm, when her father met her roommate's G.I. father who enthusiastically told them he had fought in the Korean War, gains significance in later chapters as Hong conveys pieces of her grandparents' and parents' experiences in Korea during that same war. The stories connect and add depth to each other, uncovering the fears, frustrations, resistances, and silences that are part of many Asian Americans' history and present. Hong begins the book with "United." The multiple meanings of the chapter's title are slowly revealed as Hong elucidates events in the lives of individual Asian Americans and in Asian American communities. She remembers a white stranger who approached her and informed her that "Asians are the next in line to be white" (17–18). Hong's simultaneous eye-rolling and uneasiness are both evident in her description of the incident. Besides the obvious frustration of having white people explain her experiences to her, Hong demonstrates the "vague purgatorial status" that Asian Americans are positioned in. We are separated both from whiteness and from other races through societal narratives that Hong calls "model minority quackery" (13). She also relates poet and [End Page 354] academic Prageeta Sharma's brief term as director of a creative writing program in Montana. After Sharma refused to accept an egregious act of racialized sexual harassment as a friendly joke, she was quickly rejected as "not Montana enough" (24). Hong explains that Sharma's father had been treated similarly in academia, and the commonalities were interpreted as a hereditary problem rather than a systemic, racist one. Lastly, "United" recounts David Dao's brutal removal from a United Airlines flight. Hong contends that, although social media posts described Dao as an "everyman," it was only because Dao is an Asian man—and therefore seen as "passive, unmasculine, untrustworthy, suspicious, and foreign"—that the security officers treated him so violently. The chapter "Portrait of an Artist" pivots around Hong's interest in the work of poet and artist Theresa Hak Kyung Cha. Hong writes that she was a sophomore in college when she first read Cha's Dictee. In Dictee, Cha articulated Hong's own feelings about English, namely that it "could never be a true reflection of her consciousness, that it was as much an imposition on her consciousness as it was a form of expression" (185...

A CONFERÊNCIA COMO ESTRATÉGIA DRAMATÚRGICA DE DESVIO

Este artigo discute estratégias dramatúrgicas que estruturam peças-conferência, ou conferências-espetáculo. O trabalho comenta exemplos dessas formas recorrentes na cena contemporânea e, como perspectiva teórica, baseia-se nas noções de crise do drama e desvio, formuladas respectivamente por Peter Szondi e por Jean-Pierre Sarrazac. O estudo também dialoga com o trabalho de outros artistas e teóricos como Fernando Kinas, Patrice Pavis e Cleise Mendes. Palavras-chavesPeça-conferência. Dramaturgia contemporânea. Desvio.

Prince Boris Nikolaevich Yusupov (1794–1849) and sculptor Ivan Petrovich Vitali (1794–1855). The customer and the sculptor. New documents (Russian State Archive of Ancient Acts).

The article is devoted to the Moscow period of creative life of the sculptor Ivan Petrovich Vitali and his works commissioned by Prince Boris Nikolaevich Yusupov. The tombstone and posthumous sculpture images of commissioner’s father, Prince Nikolay Borisovich Yusupov, were created in 1831–1833 and its history has been reconstructed on the basis of unpublished archival materials. Apart from that the paper interprets the portrait image created by the sculptor, and traces its influence on works of other artists.

Materialność świetlnego zapisu – o rzeczach w dorobku Jerzego Lewczyńskiego

The popularity of Jerzy Lewczyński (1924-2014) coincided with the academic interest in the problem of archive, corresponding to Lewczyński’s program of the “archeology of photography,” developed in the 1970s. Lewczyński’s idea consisted in restoring Kantor’s “reality of the lowest rank,” i.e. the rejected microhistories hidden in the anonymous and the forgotten or taken out of an ashtray at the Warsaw Central train station. Today, however, one tends to forget that Lewczyński’s gesture of artistic legitimization did not aim at giving new meanings, but above all at blurring the boundary between everyday items and those which emerged from some kind of “aesthetic situation” (Maria Gołaszewska). This aspect of his art can be seen, e. g, in his visual journal, where the artist included objects of particular importance – next to Xerox copies of his own works or works of other artists, he placed also shopping receipts. Lewczyński equaled the value of cheap receipt paper with the noble velvety quality of bromine. He did not reduce his collected items to their aesthetic function, having rejected the institutionalized idea of the artifact as a work of art to enjoy by the audience. Anticipating the postulates of Bruno Latour, instead of showing objects appropriated by the power of the gaze, he presented actors: things that asked questions on their own.

Hrvatski povijesni roman u viđenjima ruskog stripskog umjetnika Jurja Pavloviča Lobačeva i drugih hrvatskih umjetnika

Historical novel Čuvaj se senjske ruke (1876) by renowned Croatian writer August Šenoa (1838 - 1881) has been the recorder by the number of his strip adaptations. Albert Kinert was the first Croatian author who conveyed this novel to the media of comic books; second was the tandem Andrija Maurović and Norbert Neugebauer, while the third adaptation was the work of Mladen Trnski. Two Serbian artists (Filipović and Veselinović) also found inspiration in Šenoa's novel, as well as one Russian artist - Jurij Pavlovič Lobačev, whose comic strip was first published in Croatian and Latin script in 2011. Lobačev explained at the time that he had chosen this Croatian novel because he had quality literature for the template, but also because Šenoa's novel expressed eternal values such as struggle for freedom, friendship, honesty, and love. This paper gives an analysis of Lobačev's comic strip mentioned, as well as the works of other artists.

Picasso, Matisse, or a Fake? Automated Analysis of Drawings at the Stroke Level for Attribution and Authentication

This paper proposes a computational approach for analysis of strokes in line drawings by artists. We aim at developing an AI methodology that facilitates attribution of drawings of unknown authors in a way that is not easy to be deceived by forged art. The methodology used is based on quantifying the characteristics of individual strokes in drawings. We propose a novel algorithm for segmenting individual strokes. We propose an approach that combines different hand-crafted and learned features for the task of quantifying stroke characteristics. We experimented with a dataset of 300 digitized drawings with over 80 thousands strokes. The collection mainly consisted of drawings of Pablo Picasso, Henry Matisse, and Egon Schiele, besides a small number of representative works of other artists. The experiments shows that the proposed methodology can classify individual strokes with accuracy 70%-90%, and aggregate over drawings with accuracy above 80%, while being robust to be deceived by fakes.

首都圏における趣味の手作りクラフト市場を構成する場の体系と参加者の活動実態

As demands of consumers are getting more diverse, downtown and residential areas in Japan have changed to satisfy various image requirements, not just functional differences. It should not be overlooked that the activities of people who make, sell, and interact with their hobbies are growing to a non-negligible economic scale, with invisible change of landscape. In this research, through interview surveys at multiple exhibition spot sale meetings held in the Tokyo metropolitan area, we grasp the actual state of the hand-made craft market and the social background of their formation. We grasped the position of handmade craft market in chapter 2 and clarified the following three points. 1) The system of the places for activities constituting the hand-made craft market of hobbies The places for procurement of materials diversified in the real space and the Internet space, and they came to satisfy the quality, kindness, reasonable prices, convenience for the producers. Production of handmade crafts are enhanced by outside places and services such as shared workshops and the vendor services. In addition, the places for selling works has also diversified, with exhibitions and craft market services, the producers felt delighted that their work gained empathy with the purchasers and exchanges between artists and fans were born. These facts lead to their motivation for making. Almost all of the producers are using SNS to receive information and stimulated from works of other artists, and they also try to exhibit / advertise their works in SNS. It was found that the development of SNS supported the hand-made craft market, which have physical and non-physical places on the internet, crossing the process of materials procurement, production of handcrafts, and selling of their works. 2) Types of hobby handmade craft market participants and their characters Participants who started making their works and joined the handmade craft market could be classified into six types, and characters of each types are revealed, based on their motivations, sex, using of interest, working environment, school, occupation and so on. There are diverse participants, one purely enjoys making their works, while another one tries to sell their works, and some have activities for exhibitions and exchanges. It was found that these diverse participants with different purposes were gathered and formed a hand-made craft market. 3) Space and social function of the places for making handcrafts, case study of shared studios In the chapter 5, we targeted at the “share studio”, which is a new working model for handmade crafts. The share studio is a space that can be flexibly changed in layout according to the purpose of use, such as the installation of wheeled equipment, and it has the features that they are located in convenient places close to the station. We had investigation at three shared studios in Tokyo. They are not only providing a place for production but also a system of support for manufacturing of both hobbies and main businesses, while they are also providing a place for exchange of artists and information. They also have a role of expanding the base of monozukuri. They are widely used as a place of production for people who are hard to make their works in their own houses. These shared studios are established as a place to support "making things by yourself that is not by mass production".