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Editor’s Note: Temporarily, during the current COVID-19 pandemic, we are asking artists to share their experiences of their studios during times of quarantine. Please continue to follow the guidelines below, but consider capturing something that has changed in your studio during this time: Are you making new kinds of work? Have you had to adapt your materials in any way? Feel free to reflect on making art during times of quarantine in your paragraph description.
If you wish to be considered for inclusion in the A View From the Easel series, please send the following information to aviewfromtheeasel [at] hyperallergic [dot] com:
a) A clear photo (
600 640 1,280 1,460 pixels wide) of your workspace, not showing a particular work too prominently, but mainly your work area. Wide-angle photographs are often ideal to show the whole workspace.
b) A paragraph describing what we see in the photograph and how it relates to your daily process. Text should not be more than 200 words.
No need to mention shows or promote yourself — there will be a link to your website for that, plus the fact that each article is seen instantly by thousands of people!
Views are posted periodically, and you will be notified by email as soon as your View is published.
You can view past A View From the Easel posts here.
The 40-year relationship that unfolded between Toklas and Stein became the bedrock of Paris’s artistic avant-garde.
Fifty works, all created by women, are brought together across time and media as the Norton Museum of Art reckons with the art world’s patriarchal past and present.
Over the course of three months, the resident artists in Going to the Meadow will collaborate and create with a curated set of continually changing materials.
In the Blactiquing Space, curator and collector Kevin Jones presents deeply fraught objects with emotion, connection, and care.
Dobkin caught the attention of critics early on with her quirky and occasionally self-deprecating works, which often center lesbian identity.