Art
Beer with a Painter: Richard Baker
“No matter what I tried, what fit best was work that involved my love of something small-scale and intimate.”
Art
“No matter what I tried, what fit best was work that involved my love of something small-scale and intimate.”
Interview
"There is an emotional narrative to the way that the paintings are touched," the artist tells us. "If my body touches the surface aggressively or lightly, smearing or sanding, it creates different emotional notes, different speeds, and different focal points.
Interview
“How could I make work that was sexual from a woman’s point of view, that would not turn a woman off, as so much of pornography did?”
Interview
“I look at where things accumulate, where people leave things. Every house has a corner like that.”
Interview
Pensato’s work is about grand gestures and not backing down.
Interview
Wilson warns me that her studio never looks impressive — a hazard of making meticulous, intimately scaled work.
Interview
Essenhigh and Mumford — who live together and work in adjoining studios on the Lower East Side — are unafraid to make declarations about what motivates the other.
Interview
Uttech tells stories through the metaphoric possibilities of paint.
Interview
An artist couple talks about paintings with a punch line and a street full of rats.
Interview
The forms in Emily Cheng’s paintings are suggestive of the most primary elements: the landscape, the body, and religious iconography.
Interview
The cozy studio environment and the casual, gonzo aesthetic of the ceramic objects, not to mention Wackers’s personality, may bely how technically precise and complexly orchestrated his paintings are.
Interview
Acheson does not care about trading niceties or being ingratiating. He would rather propose and debate philosophical ideas.