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CHICAGO — The 24th installment of a series (Part 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15, 16, 17, 18, 19, 20, 21, 22, 23) in which artists send in a photo and a description of their workspace.
Want to take part? You can peruse the submission guidelines here.
C J Shane, Tucson, Arizona (site)
My paintings are abstract landscapes that are deeply informed by the surrounding Sonoran Desert environment. I paint on a big table on my back porch. I usually paint with a brayer, not brushes, so painting on canvas on a flat table works better for me than on an easel.
I also make a lot of monotypes which are also created on a flat surface like my table. Most of the year, I pull up the shades and let the sun shine into my work space. But in the summer shades go down, and I paint only in the mornings because it’s too hot later in the day. Being outside to work and having natural desert light are important both for the experience of painting and for the results. I have a workshop on my property, but that’s mainly for storing finished work and supplies. If I had a choice of painting anywhere in the world, my first choice would always be my back porch.
Francis Sills, Charleston, South Carolina (site)
This is my new studio at the back end of our house. The original owners built the house four years ago and designed this room as the “music room,” hence the high ceilings for the acoustics. The room has great light with windows on three sides overlooking a lush garden.
My previous studio was in an industrial building in Brooklyn, with no natural light, so this is a refreshing change. I’ve attached clamp lights to the rafters overhead, so painting at night is also an option. It’s been a while since I’ve had a studio in my living space, but with three young kids, this seems to be working for now. I like being able to walk in with my morning cup of coffee and see what I’ve done the previous day. With kids this set-up has been particularly helpful, since I can jump right into working while they’re at school or after they’ve gone to bed. I just have to be careful that they don’t wind up playing with my cadmium yellow or lead white when I’m not looking
Joelle McTigue, Los Angeles, California (site)
I have two workspaces in my studio. One of them is portable and made from library carts and a wooden door. On sunny days (what day isn’t in LA?), I roll it into the sun and paint in my bathing suit until sunset.
Elisa Soliven, Greenpoint, Brooklyn (site)
I work in a maze-like building. My space is on the end close to Newton Creek. This photo is a studio view of my work in progress which incorporates materials such as plaster, clay, paper, wax, concrete, bright paint and found objects.
Combining found materials as cultural refuse with molded components, I aim to create art that’s industrial, archaeological and idiosyncratic. My recent figurative sculptures are portraits of friends that I construct through an accumulation of modeled layers of materials.
An SFMOMA exhibition raises questions about what it means when museum board members have ties to politicians who support border wall policies.
The exhibition at the Jewish Museum delves into “degenerate” art and art made under duress as part of a thought-provoking yet diffuse exhibition.
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.
Despite his work’s apparent abstraction, Sheroanawe Hakihiiwe insists that “I don’t invent anything, everything I do is my jungle and what is there.”
David Uzochukwu, Kennedi Carter, and Kiki Xue are among the 35 artists whose work will be displayed online and at the festival in Milan, Italy.
On November 14, join Columbia University School of the Arts for virtual information sessions with the program chair, faculty, and staff.
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.
To do so before they have returned the Maqdala treasures and the Benin Bronzes and the Easter Island statues and the Maori heads, before a coherent set of precepts for decolonization has been articulated, would affirm the wrong principle.
“Everybody in Mesopotamia, as far as I understand it, believed in ghosts,” said Irving Finkel, a curator of the British Museum’s Middle Eastern department.