CHICAGO — The 33rd installment of a series in which artists send in a photo and a description of their workspace.
Want to take part? Submit your studio — just check out the submission guidelines.
Liz Mares, Chicago, Illinois (site)
This is a view of my studio/apartment just outside of Chicago. I’ve successfully turned one half of my apartment (including the kitchen in the background) into the working space needed in order to create my drawings, paintings and installations. This particular image is split between the main working area as well as the pantry I turned into storage for some of my finished works and materials. Although the space isn’t that big, it suits my needs until I can move into a larger studio space. I always keep my working areas neat, since it is a living area as well, but I find a kind of comfort in knowing that I’m surrounded by my work and can work freely, any time, day or night.
Gina Telcocci, Oakland, California (site)
In the foreground, there’s a wire form in progress attached to a found wooden knot of roots from New Mexico. Behind, a blonde chair which is a reed and wood piece in progress. In the background are: stored found materials like seed pods, snakeskins, shells, etc. in drawers; and cool architectural & furniture fragments on the floor waiting to be included. Behind the leather chair is a basket of roots and branches, also waiting to be included. You can also see other works in various stages and finished pieces on the wall.
Found objects are often inspiration and idea generators for my assemblages. Many of the things I drag home from the arroyo or waterfront are objects that I find so beautiful or evocative — they may sit around the studio for years until I figure out how to use them in a sculpture that will do justice to their native eloquence.
Chalda Maloff, Austin, Texas (site)
I am a digital artist, and my studio is in the condo that I share with my husband. Center stage in this photo is Tasmania, my dedicated art computer. On the desk are my electronic tablet and stylus, which I use to “paint” my images. (Wilma Flintstone here, I haven’t graduated to touch screen.)
Stage right is my CD collection. I listen to the music of Scott Kirby, Frank French, or David Thomas Roberts while I paint.
To the left, not seen in the photo, is a window with a sweeping view of trees, roads, and houses below. When I get stumped with a painting, I stare out this window. When Tasmania freezes up at a critical point, when she saves a file that turns out to be corrupted, when she crashes and I’ve lost three hours of work — I swear I will heave her out this window one of these days. (She’s getting long in the tooth, and her replacement is on order for 2014.)
Michael Klaus Schmidt, Chicago, Illinois (site)
My studio/office is in my basement. When this photo was taken, I was in the middle of several projects. This is how my studio looks when I’m busy. Starting from the left, behind the drawing table, are my shelves, where I keep stuff which I don’t use very often, but can’t throw away. I use the drawing table, well, to draw, and occasionally to cut mats for my paintings. The paintbrush you see hanging above the drawing table is connected to a large florescent light, which is very important when it comes to illumination.
To the right is my computer desk, on which are a number of things, including a rather unsightly stack of books and papers, which I should really consider cleaning up. My computer is an integral part of my work. I use it to color my illustrations, to design 3D objects, and to play games, which have the tendency of burning away my time on occasion.
This leaves us with one more area, quite possibly the most important when it comes to my paintings: the floor. On the floor you can see a blanket, which serves to protect the vinyl floor tiles from my habit of splashing paint and glue all over the place. The large jug of elmer’s glue, which I had to order from the local hardware store, is used to add layers to my paintings. Finally, the large rectangular air purifier, just under the drawing table — I use that to dry the glue in a timely manner. I hope you enjoyed your visit to my studio, next time I’ll tidy up a bit before you come.
I won’t bother you with talk about how obscenely decadent and out of touch the Frieze art fair is. And yet…
Curators Tahnee Ahtone, La Tanya S. Autry, Frederica Simmons, Dan Cameron, and Jeremy Dennis offered the public a window into their curatorial processes through the work they produced during their fellowships.
Who says tragedy has to be tragic? Co-presented with National Black Theatre, this fresh, Pulitzer-winning take on a classic centers Black joy and liberation.
As part of Hyperallergic’s Emily Hall Tremaine Journalism Fellowship for Curators, Jeremy Dennis presents an exhibition to offer insight into his curatorial process.
As part of Hyperallergic’s Emily Hall Tremaine Journalism Fellowship for Curators, Dan Cameron presents an email exhibition to offer insight into his curatorial process.
For the triennial’s eighth edition, work by more than 70 artists is featured in 12 exhibitions and a polyphonic program, installed at various locations throughout the German city.
As part of Hyperallergic’s Emily Hall Tremaine Journalism Fellowship for Curators, Frederica Simmons presents an email exhibition to offer insight into their curatorial process.
As part of Hyperallergic’s Emily Hall Tremaine Journalism Fellowship for Curators, La Tanya S. Autry presents an exhibition to offer insight into her curatorial process.
This exhibition explores the work and short-but-impactful life of the groundbreaking ceramic artist. Now on view at the New Orleans Museum of Art.
As part of Hyperallergic’s Emily Hall Tremaine Journalism Fellowship for Curators, Tahnee Ahtone presents an email exhibition to offer insight into her curatorial process.
This week: Why does the internet hate Amber Heard? Will Congress recognize the Palestinian Nakba? And other urgent questions.
Artist Dan Jian makes the point that landscapes and memory are one and the same.