Alicia Higgins-Kinane, Downers Grove, Illinois (site)
This space has been home to me for 20 years. It has evolved in that time from an easel to how it looks today. It is split into three sections so I can work on fabric and fibers projects while also paintings and drawings. I am experimenting with collage currently so I have several pieces working at once. All my inspiration comes from my daily drawings that are in marker. Situated in my basement, sharing my space with the furnace, water heater, and sump pump, it is a cozy space with lots of storage. I enjoy the view of my yard and the occasional wildlife that looks into my window at me.
One thing not in this space is a clock. It’s inevitable that time is always a factor, so I do not need that reminder while I work. One thing not noticeable may be my music, which is always on and at times soothes my process. Funny how a song outside the studio is fine but I will skip over anything that distracts from the work.
Haimi Fenichel, Ganei-Tikva, Israel
In the photograph presented here, the inner wall of my studio is revealed. There are countless compartments, shelves, drawers, and hangers, which constain my work’s tools and materials. Order, arrangement, severe pedantry, and the fantasy regimentation allow for the masculine instinctive and creative life of a male sculptor artist.
Liz Layton, Johnson City, Tennessee (site)
This small but efficient table-top studio is where I create many 2D illustrations and 3D fiber work. Though I have a basement studio area for creating my large format work, this smaller space is more conducive to my being a full-time student and new mother.
I have been making costume pieces for various exhibitions and film work, which are created with the 1940s sewing machine see here, as well as being hand-embellished with various notions. I avidly utilize mood boards, both physically and digitally, as the one seen in this photo features a variety of fashion inspired images, as well as the vibrant color palette and glittery textures I have been working with. My favorite containers for my art supplies are my beloved tool boxes. My cutting board doubles as an extra palette, when flipped, and holds years of marks from my previous paintings. I like to constantly rotate the kinds of supplies and images that I surround myself with, but thematically, they continually hold the same qualities; sparkly, colorful, and multifaceted!
Ray Cicin, Toronto, Canada (site)
My studio is in a section of an old converted felt factory that was once the loading docks.
The building sits beside two main freight rail lines that bisect this city. I’m continually entertained by the view and rumble of passing trains and the endless flow of graffiti they are tagged with. My west facing windows illuminate the space with intense daylight all day long and provide a great view of the sky and sunsets. I prize working through the brilliant afternoon sunlight.
Luisa Caldwell, Brooklyn, New York (site)
What I love about this studio are the 15 foot tall ceilings that have allowed me to build up, and the 10 foot windows, with a sliver view of the East River. Breezes waft in and the curtains billow in summer, and in winter the low lying sun is blinding (hence the back lit photo) but warms the space nicely. I work with collected materials. The paintings are acrylic paint and fruit stickers, the hanging sculptures to the right are candy wrappers tied with thread, and the tower is made of stacked boxes. It’s with sadness that I submit this photograph, because of April 15 this year about 50 artists were evicted. It was the very last artist-occupied building on the Williamsburg Waterfront. This has been a fantastic studio.
Our favorite US shows of 2021, brought to you by the writers and editors of Hyperallergic.
Naito’s Op-inspired abstractions might have been an oblique way of dealing with feelings of displacement after moving to the United States.
BIENALSUR, the International Biennial of Contemporary Art of the South, has returned to Saudi Arabia for an exhibition presenting more than 20 international artists, including Filwa Nazer, Rafael Lozano-Hemmer, and Tony Oursler.
Braque’s paintings speak of self-containment, of a quietly impassioned, ongoing dedication to the task at hand.
In Amber Robles-Gordon’s artwork, the borders between states matter less than the overlapping territories of self, the never-ending negotiation of identity.
Schulte seems at once focused and restless, determined and open.
The archive kicks off an initiative by the Met Museum and the Studio Museum to conserve and digitize his works, and research the context of his photographs, his singular photographic techniques, and his life.
On view in Abu Dhabi until February 5, 2022, the paintings and sculptures in Modernisms shed new light on artists like Parviz Tanavoli, Fahrelnissa Zeid, and M.F. Husain.
In 1996, Nez Perce Tribe members had to fundraise hundreds of thousands of dollars to pay the Ohio History Connection to secure artifacts that were rightfully theirs.
Andrew McCarthy used a modified telescope to take over 150,000 images of the sun, combining them to create the stunningly crisp photo.
The city brought shows to life that will be talked about for years to come.