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Lauralynn White, Reading, Pennsylvania (site)
This is studio #305 at the GoggleWorks Center for the Arts. It is my work space. I paint, draw, sculpt, and use my 1870s etching press there. I do a lot of plein air painting outside and then come back to the studio and use the color from those studies in my studio work. I spend a lot of time drawing from life models. The landscapes and human form figure largely in my work. I can hang canvases up to ten feet long in my studio, a luxury I don’t have at home.
Alexandra Gjurasic, Gulf Breeze, Florida (site)
My studio space is the sun room of our home. It has great light from the windows that look out on the golf course of the retirement community we live in. We rented the house because of this space. I use the wet bar as my studio sink. I’m just an interloper in the deep South, so my studio provides me solace from the unfamiliar. The large flat file cabinet in the photo was purchased from a local playhouse during a liquidation sale. It was made in Massachussetts of barn wood, and used to store lighting gels. My studio is a catch-all for collecting odd bits to use in my art. When I look out my studio’s huge windows onto the deep Florida landscape, I think to myself: This is someone’s paradise, just not mine.
Laura Davis, Chicago, Illinois (site)
My studio is in an industrial corridor and in such places greenery tends to flourish, such as the trees outside of my windows which are concealing the box recycling facility behind the studio building. There’s a stray cat who lives out there. I’ve never seen him but I’ll hear him meowing if the windows are open. I conceived this 900sf studio to have one dry walled corner area where I could stage sculpture in a gallery-like context. Shown is my 8′ x 8′ table that is the center of my making world. It is built around a 6′ folding table and has wheels and storage. I tend to work on several things at once so some days I just make my way around the perimeter of this table.
Sri Prabha, Miami, Florida (site)
Hunting for that spark! I am in full production mode in this picture and it helps me to see all the compositions that arise. I love color and its nuances in resin. I use a lot of it in mixed media, and I’m fascinated with the complimentary and contrasting feels from the various media. I lay out all the works in progress next to each other on a large table and see which gel together. The 500 sq foot space gets quickly crammed as the work progresses, and new ideas emerge from the chaos. I’m in a building with about 30 other artists, and a few of them are around as much as I am so its easy to discuss and critique ideas. Behind the table, I have a microscope and video art work going, as it keeps me in context of the greater body of work I’m making. In the back , are some finished works, and works to start on. I keep those there to remind me, I’ve still got a lot of work to get done.
T. David Downs, Augusta, Georgia (site)
I spend at least seventy five percent of my painting time staring at the canvas, working out every detail in my mind before brushing it on. For this reason I always keep my workspace as part of my living space, in this case it’s in the corner of the room I sleep in. I go to sleep and wake up looking at the painting. Every moment between the looking and the calculating is spent building the work, mixing the colors and scrubbing in the paint.
An SFMOMA exhibition raises questions about what it means when museum board members have ties to politicians who support border wall policies.
The exhibition at the Jewish Museum delves into “degenerate” art and art made under duress as part of a thought-provoking yet diffuse exhibition.
In Philadelphia, a series of solo shows delves into the interdisciplinary practices of graduates whose work explores identity, familial bonds, political constructs, and nature’s fragility.
Despite his work’s apparent abstraction, Sheroanawe Hakihiiwe insists that “I don’t invent anything, everything I do is my jungle and what is there.”
David Uzochukwu, Kennedi Carter, and Kiki Xue are among the 35 artists whose work will be displayed online and at the festival in Milan, Italy.
On November 14, join Columbia University School of the Arts for virtual information sessions with the program chair, faculty, and staff.
No Vacancy, curated by Jody Graf, will be on view from October 26 through November 8 at the school’s Kellen Gallery in New York City.
To do so before they have returned the Maqdala treasures and the Benin Bronzes and the Easter Island statues and the Maori heads, before a coherent set of precepts for decolonization has been articulated, would affirm the wrong principle.
“Everybody in Mesopotamia, as far as I understand it, believed in ghosts,” said Irving Finkel, a curator of the British Museum’s Middle Eastern department.