Dawline-Jane Oni-Eseleh, Berkeley, California (site)
I share a small studio with a jewelry maker in a gallery/studio building with a few other artists. I try to keep my things contained in my zone, and I’m successful for the most part. As a printmaker I work a lot in multiples so work tends to accumulate quickly. I rig clothes lines to dry and store work, as well as every available corner for paper, blocks, inks, and reference books.
Nick Szymanski, Grand Rapids, Michigan (link)
My studio is situated in a warehouse on the Southwest side of the city. All of my works on panel and canvas are made in this room. I like to spread out and work on multiple paintings at the same time, so it’s typical of me to have a couple paintings on sawhorses or the ground and one on an easel. It’s nice having enough wall space to be able to see most of the work at once as my work involves a lot of sitting and looking, consideration, trial and error. The room is on the northeast corner of the building so I have an abundance of natural light, which is very important for mixing colors as well as documentation. My studio is first and foremost a private space for work and contemplation, but also a good place to spend time with friends, listen to music, and play darts.
Karla Marchesi, Berlin, Germany (site)
I am an Australian artist, currently living and working from my studio located in Treptow, Berlin. The studio measures 6.5m x 8m and is one of 30 or so spaces housed in this former piano factory. Dating back more than 100 years, this building has had a colourful history: from its industrial past, to historically being bisected by the Berlin Wall and having hosted a radio station during the GDR days, all before becoming a studio house.
The vacant lot in front of the building — the former death strip — has been reclaimed by the community as an unofficial dog park, and often camels, llamas, and donkeys can be sighted there when the circus is in town. For the last 21 years the building has housed the Atelierhaus Mengerzeile arts community. Sadly this will be its last year operating at this site as the building has been sold and will be converted into apartments in 2015.
For the last two years Atelierhaus Mengerzeile has been a generous home to me and the experience has yielded new innovations in my practice. Living and working from my studio on the other side of the world has been a privilege and has allowed me to indulge my more obsessive painting practices.
As seen in the image, ghosts of previous paintings pattern the walls alongside recent works. Colored Post-it notes attached to the back wall mark my attempt in vain to learn Deutsche. Out of the pictorial frame, outside my window on the opposing wall, an industrial chimney laced with vines towers above. It forms a unique interjection to the landscape which will soon be lost.
Clinton Smith, Ashley Falls, Massachussetts (site)
I’m a glass artist, specializing in lamp worked paperweights. In my studio, I have my work bench with a torch, where I lamp-work elements from glass, to go inside the paperweights. To the left of the work table is a small glory hole that allows me to soften the glass that I need to encase the lamp worked elements with. I have a cold working area to the right of my table, where I can grind down the raw sharp bottom of the paperweights, making it safe for handling. The best part of my studio is the large picture window. Since most of my subject matters revolves around nature, I don’t have to look vary far to find inspiration.
Sean Elsegood, Perth, Australia (site)
This is a fish-eye view through the door of my art studio. It’s small — 2.2m wide x 3.2m deep. I built this studio myself in a corner of my back yard, wedged between my house and the neighbour’s fence. It’s all the room I had. What you can’t see from this photo is the west-facing wall which is floor to ceiling clear acrylic sheeting. That light wall and the high ceiling makes the space feel open and airy with views out to the garden and pool. Because of its shady position the studio stays surprisingly cool through the long, hot Perth summers.
I’ve just started painting again after a 30-odd-year hiatus, mostly using acrylics on canvas. On the right hand side is a clear wall where I do most of my painting. I prefer large canvases, though I am limited to 3 metre widths.
In this photo I’m in the process of applying a color ground over two canvases. I have only just started using this space, so for now it all looks a bit sterile. The easel is mostly for doing quick studies. On the left-hand side is a shelf unit with my materials and a comfy chair to sit back, ponder, and sketch ideas. I’m a partner in a busy brand design studio which is all computer screens and keyboards, so this space has been all about getting back to basics and taking the time to craft beautiful things by hand.
The committee’s main responsibilities will be to shape policy goals, stimulate arts philanthropy, and advocate for the expansion of federal backing of the cultural sector.
Some museumgoers pointed out that the museum’s label omitted discussions of HIV/AIDS, which are at the heart of the work.
Featuring over 70 installations and performances at the George Washington University’s historic Flagg Building, the Corcoran’s end-of-year showcase is now available for virtual viewing.
But a museum in Harvard is still named after a member of the disgraced family, notorious for its role in the opioid crisis.
Parker’s stories bring so many of her works alive, give them meaning, and make us warm to her and to them. Is that a problem?
Artists reflect on histories of oppressive power structures in Brazil in this exhibition at the Visual Arts Center at the University of Texas at Austin.
The works, and worlds, on display in Hancock’s exhibition seem saturated with a desire for narrative redemption through self-observation and aspects of his Christian upbringing.
The problem with Andrew Dominik’s biopic Blonde is its assumption that Monroe’s victimization was the most fascinating thing about her.
When I recently came across Sandra Cattaneo Adorno’s photo book Águas de Ouro, I could hear the waves and boomboxes, and even taste the salt on my lips.
Works by over 70 artists of the pan-South Asian diaspora were up for auction to help Pakistan’s most vulnerable communities in a women- and queer-led initiative.
The board of 70 Washington Street in Brooklyn, which previously housed an artist residency, is weighing the replacement of Helen Brough’s “Emulated Flora” with generic photographs of Brooklyn landmarks.