Allison Blumenthal, Paris, France
My studio is in the 20th arrondissement of Paris. I am in this rent-controlled space for the past two years and I feel very lucky to have this lovely quiet and large space. In this picture you can see a bit of how I work, although this picture was taken on a clean day. I usually have a few things going on at the same time, here a few smaller format paintings as well as some plaster wall pieces. I mainly work on the floor, even when I am drawing, and hang works to look at them while they are in progress. The paintings leaning against the wall and one hanging are recently finished and are ‘digesting’, sitting while I spend time with them to make sure they are really done. There are two paintings in progress on the floor, plus a plaster wall piece that I just made as part of a group in progress. I have a large table with all of my painting supplies, oil, acrylic, and spray paint, etc. and my pile of plaster making stuff (buckets, frames, clay for moulding).
And, there is my beloved chair for sitting, reading, writing, looking.
April Armistead, Portland, Oregon
At 435 square feet, this is by far the largest studio I’ve had yet with two good sized north facing windows. It’s the entire upstairs of my house with it’s own bathroom and a closet that used to be an office. This insular setup helps separate life from work. I even keep painting clothes in the bathroom so I can change without getting distracted. The closet is getting pretty full between artwork and shipping supplies, so I’m starting to line paintings around the room, but I prefer an empty wall. I have two easels, and a big Ikea desk, but I always work on the floor. Piles of paints, brushes, water cups and towels are always scattered around. My little ponies, rainbow tassel garlands, and some plants keep the place “on brand.” I have a lot of lights, but I rarely use them since I hate painting at night. I’m always blasting music in here which I’m sure the plants enjoy.
Mike McConnell, Phoenix, MD
My painting studio is a converted bedroom in my house. My commute time in the morning is how long it takes to make coffee. I also have a studio in the basement where I make works on paper. The original section of my house is a circa 1750 log cabin that I’ve opened up and expanded. There’s a pond right outside my studio. I’m very nature driven. When it’s warm I open the doors and paint to a soundtrack of bluebirds and frogs.
Marina Dunbar, Charleston, SC
My studio is a little building right off the highway in Charleston, SC. My favorite aspect of the space is that it is it’s own building so it’s always private and quiet. It has two large windows and a glass door which flood the room with light. I like the variety of textures in the space, the brick wall, the wood siding; it feels warm and inviting while also preserving a professional feel.
I paint on the floor and it gets messy so I use two layers of floor protection to cover the space. I like having a lot of open space in the center of the room because my relationship with painting is very physical. I move around the work, positioning myself to direct paint flow from specific angles. The process lends itself to the build up of layers, capturing traces of time and movement. The practice is both seductive and uncertain. Fluid media is sensitive to its environment; a deep breath, a shift in focus, a sound in the distance all impact the process causing the paint to sway from the predetermined path. I approach each painting with a sense of restraint and an embrace of spontaneity.
Monica Coyne, Ettersburg, CA
My studio is tucked beneath a knoll of trees in Ettersburg California. I love watching people when they first come to my shop. There is always that slight hesitation before entering. The faint acrid smell of coal, oil and abrasives neutralizes the sweet smell of the forest. Everything in the shop is either too cold or too hot and nothing is soft. But there is incredible beauty there too. Early in the morning the air is crisp. First light reaches through the trees. It touches the cracked cement floor and turns the shop into sparkling pixels of metal dust. The smoke of a freshly lit fire sends up thick ringlets of smoke. They curl up into ghosts and dragons who float lazily and then get sucked up the flue. My shop is off the grid. Some of the things that you can see here are; two fly presses with their 12lb balls, two anvils, two forges and a pneumatic power hammer. I work here, forging art, with the doors wide open almost every day, year round. I will lower the doors halfway during a rain or snow storm.
Lebanese art dealer Georges Lotfi, who once helped authorities seize looted antiquities, is now accused of doing his own share of trafficking too.
An exhibition depicts how people have reimagined the medieval period in the centuries since, and how they have revealed their own interests and ideals with each new interpretation.
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.
During his 84-year life, Liu Shiming helped shape a new Chinese cultural image rooted in the contributions and sacrifices of everyday people.
Playing at several film festivals this late summer, Ana Vaz’s It Is Night in America asks the viewer to take on unusual perspectives.
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 sealant used for gem-crusted ancient Maya teeth had medicinal properties that prevent tooth infections and decay, according to a new study.
Patrons can listen to a collection of 400 titles at the library and borrow them for up to three weeks.
The Los Angeles-based photographer offers an updated version of the mythologized American cowboy, calling rodeos “the traditional drag of America.”
At its core Line Berg’s Fra Far manifests the anguish of a family whose loved one is convicted of a serious crime.
At first, simply watching people read In Search of Lost Time might seem dull; by the end, you’ll be itching to read or reread it yourself.