Tim Pewe, Horton, Michigan (site)
This view looks toward the south inside my studio. It’s in an old farm granary, with a rebuilt first floor. I like to have several projects going at once, in different media like wood, concrete or metal so I can work on some pieces while thinking about the others.
Francisco Alarcon Ruiz, Los Angeles, California (site)
The studio is divided in two areas, one where I execute the paintings, and the second, where I do the work with the computer. Sometimes I place my canvases by the computer area.
Ruth McCabe, East Suffolk, United Kingdom (site)
A disorganised array of paints, pots and brushes; small studies scattered around, and an abandoned palette clutter the table in the middle of my studio. Watercolours are worked on out of shot, on a flat easel. The paint-splattered floorboards signify my loose, messy working style.
Its a quiet space, in the garden overlooking the arable field behind the house, away from the phone and the internet. Out of sight under the table are many ‘waiting’ canvases, partially worked, and left for a while until a new idea occurs to me. Some have been there a number of years. Very often I feel really uncertain of the merit of something I’ve made. Living in rural England about 5 miles from the reed beds, salt marshes, and light-filled estuaries of the the North Sea coast, I am surrounded by subject matter. The natural world, the delicate balance of life and the stunning resilience of the environment all influence my response. For some reason I love the fact that work of grace and harmony can take form in my messy space.
Robert Stanley, Michigan City, Indiana (site)
This is the working half of the studio. Usually there are several pieces underway. I stay fresh by going to another if one starts stalling out. The other half of the studio has many pieces on the wall or sitting around, favorites or pieces recently completed. These provide subliminal urges to both keep me focused on what’s most important and to provide openings for other horizons in paintings being worked on. There’s also storage cabinets, paper cutter, and even a chair, so a collector can look at pieces slowly. Or, I can use the chair for recess.
Jean Mandeberg, Olympia, Washington (site)
My studio has always been a refuge, a place where I collect, sort, rearrange, and fix in numerous ways the numerous forms usually associated with luck. From the window I look out on snow-covered Mt. Rainier. I can daydream very far away and then focus close-up at the work on my bench. I’m a metalsmith, so the tools and materials are small and tidy even if the process is messy and unpredictable. Cheating is required. In this refuge I respond to fears, sharp edges, and loose ends.
This week, Patrisse Cullors speaks, reviewing John Richardson’s final Picasso book, the Met Museum snags a rare oil on copper by Nicolas Poussin, and much more.
Alexi Worth’s paintings demand a double take that allows viewers to look closer and begin dissembling the painting in order to understand what is being looked at.
Curated by Jill Kearney, this exhibition in Frenchtown, NJ amplifies stories both local and universal with work by Willie Cole, Sandra Ramos, sTo Len, and more.
Anastasia Pelias’s sculpture builds on this mythological legacy, suggesting we all have the ability to commune with a higher power and influence our futures.
Jack Spicer’s poetry can be deeply funny and playful but it has a consistent undercurrent of sadness.
The first lecture is on the relationship between early portrait photography and diverse notions of US identity during the Gilded Age. Register to attend on January 25.
Belinda Rathbone’s biography traces the sculptor’s embrace of kinetic mechanisms to his work in the Singer Sewing Machine factory.
It’s the first time in the country’s history that objects of this significance are offered for public sale.
Part of the university’s Artists on the Future series pairing renowned artists with cultural thought leaders, this online event is free and open to the public.
Schwartz was at the forefront of computer-generated art before desktops or the kind of software that makes it commonplace today.
Curator La Tanya S. Autry shares a set of crucial questions she considers when curating images of anti-Black violence.
Crys Yin’s subject is grief, which, for all that takes place in public, is largely a private matter.