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Nick Aumiller, Baltimore, Maryland
This composite view of my basement studio represents my working space of 20 years. More like a cluttered ‘kabinett’ now, I can still complete my necessary work flow. There is a separate room for wood working, dusty carving and framing chores. On the left in the picture are several painting areas. The center pile conceals a large antique “japanning press” which is successful at printing nice-sized plate lithographs and etchings. The far dark corner has several sound systems. The mid-center back table I use for bookbinding and layout chores. The right-hand side has a large glass drafting table. In the basement of my house the spirit-lifting commute is only downstairs. I control light here with a Kelvin-balanced array of assorted light stations. And although I acquired the house for the dry basement, it is not heated and for five months I am chased out by numbed fingers; Still, this is my sanctum sanctorum.
Alysia Davis, Colorado Springs, Colorado
My studio doesn’t have a window, but it does have bright, office-like fluorescent lights. Their harsh hum complements my high-frequency paintings, made of spray paint and acrylic on stretched canvas. I don’t have a table, I prefer to leave as much space as possible for my work.
Amelia Briggs, Nashville, Tennessee
Located in an old classroom in Nashville, my studio is currently strewn with found fabrics, toys and various thrift store finds that either physically become part of the work or serve as inspiration. I often refer to my sculptures as “inflatables” even though they are heavy and not filled with air. Their bulbous, cartoon shapes give them a creature-like presence and reference my interest in childhood identity development. Lately, I have been most interested in using faux fur to build large-scale wall sculptures that almost feel related to stuffed animals or a beloved toy yet retain an unsettling presence.
Tyler Kline, Philadelphia, Pennsylvania
I am now creating in the Papermill Artist Community in the Kensington neighborhood of Philadelphia. I occupy a space on the fifth floor of an old building that was once utilized for industry, large windows grace me with light, air and a spectacular view of downtown. This relative oasis upon the shores of the nations opioid epidemic and post industrial class war between the moneyed overlords and the on the ground street soldiers provides ample fuel for the spirit. My work is concentrated on carving out forms that to define the Chthulucene, this new epoch we have entered, post-Anthropocene, tentacular, multi-optic, and multi-specied. I’m interested in digital instantiation, how our technologies have worked through our central nervous systems and etched marks in our flesh. I feel we are internalizing rapidly shifting currents of change that are moving at velocities that momentarily transcend literal articulation. Pictures and forms work best now, gestures that are quick and close to thinking, and space enough to capture new forms from flickering ephemera.
The new generation of artists and curators is eager to explore alternative organizations and to tackle current social inequalities and issues.
Her female nudes were extraordinary for the time because she portrayed female sexual desire. Her subjects defied conventional ideals of femininity.
In Philadelphia, a series of solo shows delves into the interdisciplinary practices of graduates whose work explores identity, familial bonds, political constructs, and nature’s fragility.
Francis made over 10,000 artworks, starred in more than 100 solo exhibitions, and, in the late 1950s to mid-1960s, commanded the highest prices of any living painter.
Brian Blomerth’s Mycelium Wassonii deploys amazing graphic storytelling to share his own exploration of mushroom history.
On November 14, join Columbia University School of the Arts for virtual information sessions with the program chair, faculty, and staff.
Over a century after Wright designed a workplace that borrowed features from the home, designers are at it again, but who does a homey office really serve?
No Vacancy, curated by Jody Graf, will be on view from October 26 through November 8 at the school’s Kellen Gallery in New York City.
This week, the National Gallery of Art finally acquired a major work by Faith Ringgold, the director of The Velvet Underground talks film, North America’s Hindu Nationalist problem, canceling legacy admissions, and more.
Sculptures of Oaxacan alebrijes, envisioned as guardians of the nation’s immigrant community, and catrinas, Day of the Dead skeletons, are now at Rockefeller Center.