Kate Hooray Osmond, Charleston, SC
My studio is located in my home, which was designed in 1960 by modernist architect Woodie Garber. It feels like a fortress and a spaceship. My studio has a wall of glass that looks out onto a laughing Buddha statue under a maple tree in the front atrium. It’s nice to see nature and to get a dose of levity while I work. Currently, I am working on a 59-panel painting-in-the-round titled “Wonderwheel,” which will show in July. The paintings are based on theories of quantum physics and Eastern teachings on consciousness. The paintings depict suburban neighborhoods, semi-automatic weapons, nuclear development facilities, and oil refineries, among many other images that blend together into one endless landscape. I paint in oil and use gold leaf in my work. Most of the imagery in my work is drawn from photos I take from a helicopter. Working on 59 separate painted panels simultaneously isn’t easy and this installation is by far the most ambitious artwork I have attempted. I paint every day and meticulously clean the studio every morning before I start working, making sure to organize my tubes of paint on the wall according to shade- one rack for blue, one for yellow, and one for red.
I share the studio space with my children when they want to create and love the benefit of working in my pajamas and receiving the occasional thumbs up from a delivery person who spots me working through the glass.
Camryn Connolly, Venice, Italy
Although I am a Boston based artist I am currently in Venice, Italy, and this is my little corner of space that I share with 12 other people and my particular room is shared with two other artists. In this picture, I have several paintings at various stages of completion, and one messy table covered with all of my supplies. Enjoy being surrounded by many other fellow artist who can give suggestions and lend a hand if needed, it is a good little community to work within.
Sandy Kinnee, Colorado Springs, CO
There is no easel, I have never used one. I paint on a large open space on the concrete floor. This is ample room to work on up to three 15-foot canvases at a time. Currently two paintings are in progress. I have always worked on the flat, having been mainly a printmaker and papermaker for decades. Multiple works in progress let me work on another while one or two more dry.
Unseen, behind the camera, is a 16-foot-tall roll-up door which, weather permitting, I open for ventilation and northern light. The entire studio is a 1600-square-foot warehouse.
To your right you can see a portion of the eight-foot-deep metal storage racks for the completed paintings. I roll two to three paintings per 6-inch by 8-inch tube. Farther from the camera on the right is the stacked and stored paper mill. When I run out of canvas and paper, I make more paper. I won’t need to make paper for another couple years, as I have more than two thousand sheets of 22-inch by 30-inch heavyweight, handmade paper.
The bright vertical rectangle on the far end leads to the clean studio and editing room.
Arthur Kwon Lee, Jersey City, NJ
In my painting practice I commit time to extensive reading at home, then I visually animate these religious and culturally significant themes in the studio. Whether the inspiration comes from Carl Jung or Joseph Campbell, I enter my space with a contextual plan baring heavy philosophical and spiritual investment onto my work. That being said, materially, my practice is in contrast to the contemplative fashion just stated — I just need my easel and a canvas to produce my language. What is born out of this combination however is a marriage between Fauvism and archetypal imagery.
Greg Bailey, St. Louis, MO
I am a fine artist. The photo shows a view of my studio. It shows a range of works that I have been developing through oil paintings, charcoal drawings and experimental usage of tar. The concept of my work, take concerns within the representation of the Afro-Caribbean identity, within the context of a post colonial setting. My work is a discourse on black representation within canonical art by means of traditional painting techniques and the allegorical meaning that goes into composing images and creating narratives. Simultaneously, I am using drawings to create future relics by portraying Black faces as monuments by means of an aesthetic that enables them to radiate a sculptural affect.
Black American Portraits features over two centuries of artworks centering Black artists and subjects.
A love of Black art and history was the bedrock of the friendship between Dell Marie Hamilton and Susan Denker, who had markedly different racial, economic, and generational subject positions.
With what he says is his final museum bow, Fitzpatrick shines a light on the colorful diversity that composes his city.
The question of race — however hidden, however camouflaged by the shouts of the crowds — is a constant theme and an unanswered challenge.
Weisman Museum of Art Presents Highlights From the Kinsey African American Art and History Collection
An exhibition at Pepperdine University in Malibu chronicles the achievements and contributions of African Americans over the last five centuries.
Brink is not a fun book, and it shouldn’t be.
Those who want to visit the museum muse have a surgical, KN95, N95, or KF94 face mask.
The residency program awards 17 visual artists a year of rent-free studio space in New York City. Applications are due by February 15.
This week, another Benin bronze is returned to Nigeria, looking at the Black Arts Movement in the US South, Senegal’s vibrant new architecture, why films are more gray, and much more.
It is precisely Moon’s openness to using any source that makes her work flamboyant, captivating, odd, funny, smart, uncanny, comically monstrous, and unsettling. And, most of all, over the top.
Tensions between resistance to Surrealism as cultural imperialism and the embrace of it as a universalist vision of freedom unfettered run through the show.