Suzanne Acosta, Las Vegas, NV (no site)
This photo of my painting studio was done by my daughter, Anna Acosta, a high school student studying photography. The assignment was “Multiplicity,” which involves repeating a figure at least seven times. She used my chaotic studio for her Photoshop project, and she captured me in the studio perfectly.
My studio is a separate shed we had built that is attached to the side of our 1970s house. It has three leaking sky lights and a swamp cooler because the summers are intense in Las Vegas. The studio is crammed with random props such as plastic dinosaurs, a cement mixer, ball and chains, etc. because I have been an adjunct professor for 34 years, teaching painting and drawing at various colleges. My studio has the accumulation of more than 50 years of creating art, and it is an unrecognized archive. It has given me much happiness, and it is a place in which I reflect on the past and nurture the future. It is where I struggle with the demands of teaching and continue to strive to create meaningful art.
Millicent Young, Kingston, NY (site)
I relocated to this live/work space in the Hudson Valley a year ago. My studio is on the street level of a store building built in 1890. Behind me in the photograph are the storefront windows and entrance. At the far end is the doorway to the back workroom. I mounted black pipe in six rows on the ceiling for creating suspended work. I resurfaced the long plaster walls with ¾ plywood. The floor is original. Too thin and wavy to sand, I buffed and coated it with polyurethane. The place was rough when I arrived. Bats came in through openings around the windows, and the filth was thick.
I made the center worktables from two solid core doors seven feet long, and I built the frames to roll on casters. I cover the surface with blue fabric when I am working with hair to see the strands more easily and to assemble very long strands with thread (spools in foreground). With no local storage space yet, I’m housing some of my larger work here, seen in the right half of the image. Because of the space limitations, I’ve been working on wall-mounted lead pieces, seen on the left.
Heather Ryan Kelley, Lake Charles, LA (site)
My studio is located centrally in my house, in what should be the dining room. Instead of an easel, I use two solid core doors positioned against a wall. Large canvases are leaned against the doors. For smaller ones I hammer in a couple of nails and hang the canvas stretchers upon them. The doors have gradually accumulated many key chains, a few mirrors, notes and drawings, found objects, lead weights, rulers, and a line-up of tchotchkes. These objects often become part of the subject matter of my paintings and drawings.
Jeff Kraus, Brooklyn, NY (site)
Here is my 250-square-foot studio in Brooklyn, NY. I recently moved from Michigan to New York back in August and knew I was going to need a studio right away. I had to learn very quickly how to make a small space work for me. I brought a handful of tools and art making materials with me, along with the rolling table. I found the saw horses in the hallway, along with the board to make a temporary table. I also found a broken printer that was used to print out the green images that have been transferred onto the canvas works hanging on the wall. Hallways in studio buildings seem to be a great resource for studio materials. I like to work many surfaces at a time and hang them in proximity to each other so I can see how they relate.
My studio setup is constantly in flux, depending on if I am building panels, spray painting plastic, or stretching canvas. Being able to collapse the saw horses allows me to clean up and de-clutter the space for studio visits.
Anne Lemanski, Spruce Pine, NC (site)
This is the “clean” work area of my studio, which is next to my house on my property in the Blue Ridge mountains of North Carolina. The studio space seen here is constructed of two 8 x 40 feet shipping containers that sit atop a “dirty” work space below. This space gets great natural light all day long and is surrounded by nature, which is the biggest influence on my work.
The settlement comes after Tate prevented an artist who exposed sexual harassment by one of its largest donors from co-curating an exhibition.
Let’s be honest: On a best bathrooms list, no one wants to be number two.
The Newark Museum of Art Presents Jazz Greats: Classic Photographs from the Bank of America Collection
Photographers Antony Armstrong Jones, Milt Hinton, Chuck Stewart, Barbara Morgan, and more capture a breadth of legendary and local musicians and performance artists. On view through August 21.
Advocacy groups are pushing for a 5% royalty in resales, which would pertain even after the artist dies, in which case the funds would go to their estate.
This week, the Getty Museum is returning ancient terracottas to Italy, parsing an antisemitic mural at Documenta, an ancient gold find in Denmark, a new puritanism, slavery in early Christianity, and much more.
Art and photographs, publications from the 19th and 20th centuries, manuscripts, posters and more are set to cross the auction block on August 18.
The absence of an explicit framing of American art, in all of its diversity, as a visual culture of empire distorts and hampers our ability to understand — and reimagine — our social world.
The gap between the material body and the psychological one, which we all too often take for granted, is one of the underlying themes of Hiro’s exhibition.
David Rios Ferreira and Denae Shanidiin join forces to bring awareness to the plight of Indigenous women and girls, and LGBTQ+ individuals.
Metrograph’s series The Process features films that were either directed by Robert M. Young or made with the help of Irving Young’s postproduction facility.
Memes depicting a sinister, all-powerful Joe Biden alter ego are sweeping the internet, and the Democratic establishment is loving it.