Susan Beallor-Snyder, Weston, CT
This is a view of my studio that shows a piece I was working on at the time on the floor. It’s important for my workspace to have a sense of calm. I love my couch, and when I take a nap, I create in my sleep or work out technical or creative issues before, during, and after I sleep. My rope sculptures are created on the floor. I sometimes have a movie or documentary that I have seen before on in the back ground just to keep me grounded in the work because my brain is busy and wanders all over, and I would be up working on multiple pieces and projects otherwise. My studio is a place where all things are possible for me. I can work undisturbed for hours.
Kirsten Dear, Barbados
I work at our large elm dining room table. In the morning, I cover it with a big waterproof tablecloth and lay out my tools. I rest my computer with my images on an old adjustable height piano stool that swivels. I started working in a bedroom, but as the canvases got bigger, I could not get enough distance to see what I was doing.
There is a large open double door that lets in the light I need to work. If it is raining, I take a break, as I can’t get the colors right in artificial light, but it is rare to have more than just a short shower where we are in Barbados. In the evening, I pack everything away in the sideboard you see in the background and put the half finished painting I am working on in the back bedroom. I put my palette in the freezer — this keeps the oil paints fresh until the next day. The taking out and putting away takes about five minutes each. It is a little ritual to tell me that the workday has started and ended, and additionally is necessary because the dining table is in use for eating daily.
Chase Langford, Los Angeles, CA
Separate from the house, my studio is a slice of paradise in the Santa Monica Mountains above Los Angeles. I studied geography and was a practicing cartographer, which led me to creating abstract works inspired by geographic forms, so it is fitting that I paint in a dramatic location with sweeping panoramic views of canyons, mountains, and valleys. It is quiet, isolated, and has wonderful light from huge skylights and windows.
Although I love my studio, I am often squeezed for space, especially when I soon will start a 55 by 140-inch commission (the canvas is in the background; stretcher bars showing). Out of view is my ‘vault,’ where I keep finished work and two other rooms for storing art supplies and shipping materials. Notice how everything is painted white. It serves two purposes: to eliminate color basis within my view and to provide as much ambient light as possible. Everything is on wheels, including large flat files, so I can reconfigure the studio at a moment’s notice. I have a strict “functionally pure” rule, meaning that I only keep items in my studio that help me paint.
Cassandra Tondro, Ventura, CA
This is my dream studio. I had it built when I moved to Ventura, California five years ago. It’s a bright and airy 800-square-foot space with opening skylights for light and ventilation, French doors and windows that look out onto my native plant garden, and lots of shelf and storage space.
My large collection of scavenged house paints, rescued before they go to waste, makes a colorful display on the shelves. I use these paints for my art, working with colors that I find, rather than colors of my choice. To the right of the paints is a drying rack for wet art. The paintings have to dry flat, otherwise the paint runs right off the canvas. Behind the camera is storage space for unused canvases and finished paintings, a large sink for cleaning up, and the luxury of a bathroom so I don’t have to make trips to the house! Having a big space has allowed me to work larger and work on many pieces at once. I am totally in love with this studio and count my blessings every day.
John Fitzgerald, Pontiac, IL
I am a hobby painter in oil and a retired gemologist. I have a corner of the second floor (2500 square feet) above Pontiac Community Art Center. The second floor is called Honkeytonk Angels Studio. There are four of us that share it. It was a dance hall over 50 years ago, in a building over 100 years old. The place is pretty rough, which gives it a certain appeal. It stays tolerably warm in winter and tolerably cool in summer and costs $25 a month.
The last few years at the museum have not been without controversy, and Decatur will inherit a record of workforce struggles.
Refugees of the Moria camp in Lesvos, Greece are behind the camera in the film Nothing About Us Without Us.
Helen Molesworth’s true-crime sensation marginalizes the artist’s life and legacy.
Members of NatSoc Florida performed the Nazi salute and chanted “Heil Hitler” at a local LGBTQ+ charity’s fundraiser in Lakeland.
This adventurous theater festival returns in person with 36 artists and companies from nine countries performing at different venues across the city.
Nothing on the canvas wholly captures what it means to belong on land or at sea.
Dyson is part of a growing number of contemporary artists to imbue geometric abstraction with a sociopolitical dimension.
Learn more about the New York-based, globally linked program and its upcoming discussions on art and society in the time of AI and data governance.
In an exhibition that consists of mostly small-scale black and white works on paper, viewer engagement almost magically awakens the sleepy room.
Maria Maea’s All in Time continues an intergenerational conversation and exemplifies the artist’s process, not simply the finished pieces.
The program, along with recently announced visiting critics, will provide long term funding, promote access, and safeguard experimentation for future students of color.
Koestler Arts works with incarcerated people and patients in secure mental health units, aiming to improve their lives through creativity.
Local artists and culture workers are wondering how the arena will impact the arts landscape, including museums and alternative spaces.